Abstract On October 22, 2015, two days after the Liberal Party of Canada came to power, The Globe and Mail published an editorial entitled “Canada to the World: Xenophobia Doesn’t Play Here.” The article suggested that, in these times of migration crises, a rising xenophobic discourse and neo-nationalism, it is essential for the European countries to start taking lessons in navigating cultural diversity from Canada, the first country in the world that institutionalized principles of multiculturalism. This view is clearly reflected in the repertoire politics of Canadian theatre institutions, specifically the National Arts Centre (NAC) Ottawa, the only theatre company in Canada directly subsidized by its government. Mandated to support artistic excellence through arts, the NAC acts as a pulpit of official ideology. It presents diversity on stage as the leading Canadian value, and thus fulfills its symbolic function to serve as a mirror to its nation.However, this paper argues that, by offering an image of Canada, constructed by our government and tourist agencies, as an idyllic place to negotiate our similarities and differences, the NAC fosters what Loren Kruger calls a theatrical nationhood (4–16). A closer look at the 2014 NAC English theatre co-production of Kim’s Convenience will help illustrate how the politics of mimicry can become a leading device in the aesthetics of national mimesis – a cultural activity of “representing the nation as well as the result of it (an image of the nation)” (Hurley 24); and how the artistry of a multicultural kitchen-sink can turn a subject of diversity into that of affirmation and sentimentalism.

中文翻译：

---

多元文化主义，（Im）移民，剧院：渥太华国家艺术中心，一个上演加拿大民族主义的案例

摘要 2015 年 10 月 22 日，加拿大自由党上台两天后，《环球邮报》发表了一篇社论，题为《加拿大对世界：仇外心理不在这里发挥作用》。文章认为，在移民危机、仇外言论和新民族主义抬头的时代，欧洲国家必须开始从加拿大吸取文化多样性的教训，加拿大是世界上第一个将多元文化原则制度化的国家。 . 这种观点清楚地反映在加拿大戏剧机构的剧目政治中，特别是渥太华国家艺术中心（NAC），这是加拿大唯一一家由政府直接补贴的剧团。NAC 的任务是通过艺术支持艺术卓越，充当官方意识形态的讲坛。它将舞台上的多样性作为加拿大的主要价值观，从而履行其象征性功能，作为其民族的一面镜子。然而，本文认为，通过提供由我们的政府和旅游机构构建的加拿大形象，作为一个作为协商我们的异同的田园诗般的地方，NAC 培养了 Loren Kruger 所说的戏剧民族 (4-16)。仔细观察 2014 年 NAC 英语剧院联合制作的 Kim's Convenience 将有助于说明模仿政治如何成为民族模仿美学的主要工具——一种“代表民族及其结果的文化活动” （国家形象）”（Hurley 24）；以及多元文化厨房水槽的艺术性如何将多样性的主题转变为肯定和多愁善感的主题。