Home Page



Establishment of the Muriel Gold Senior Visiting Scholar Fund at the McGill Centre for Research and Teaching on Women, in recognition of leadership in fund-raising activities.


Gold, Muriel. Unrestricted Dream. In Pearl, Liz, ed. Living Legacies for our Daughters. An Anthology of Contemporary Jewish Women of Value KOPE Associates, Toronto. (forthcoming in 2007)

Gold, Muriel The Fictional Family in the Drama Class and across the Curriculum. In Blattner, Adam, ed. Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance iUniverse, Inc., New York, NY, 2007. The chapter includes gender issues and their problems and treatment in schooling. It demonstrates that the Fictional Family technique can work as a powerful tool to create awareness of gender discrimination, sexual stereotyping and traditional perspectives of women as lesser contributors to a variety of cultures and fields.

Gold, Muriel. THE FICTIONAL FAMILY: An Actor-Training Approach Which Sensitizes Students to Gender Issues in Therapy Through Drama. The Fictional Family. Springfield, Ill. Charles C. Thomas, 2000.

Gold, Muriel. DRAMA AS A THERAPEUTIC APPROACH FOR RAPE SURVIVAL in Therapy Through Drama. The Fictional Family. Springfield, Ill. Charles C. Thomas, 2000.

Journal Articles

Gold, Muriel. Le Petit-Monde de Madame Audet. Traduction: Jean-Guy Laurin. L'ANNUAIRE THÉÂTRAL, Revue québécoise d’études théâtrales. Théâtre et education. L’enfance de l’art. Vol. 16, 165-192, Automne, 1994.

Gold, Muriel. A Missionary of the French Language Through Drama: Mme Jean-Louis Audet (1890-1970) THEATRE HISTORY IN CANADA, Vol 12, No.1, 80-94, 1991.

MacKay, Barbara, Muriel Gold and Erica Gold. A Pilot Study in Drama Therapy with Adolescent Girls who have been Sexually Abused. THE ARTS IN PSYCHOTHERAPY. Vol 14, 77-84. New York. Pergamon Press, November 1987.


Masters Thesis

A Study of Three Montreal Children's Theatres: in British, Russian and French Traditions.

Three Montreal Children's Theatres in the 20th century have had long-standing influence: through drama classes and theatre presentations they have exposed several thousands of children to the theatre experience. The Montreal Children's Theatre directed by Dorothy Davis and Violet Walters (1933 to 1990) which followed the British tradition, the Children's Drama Group of the Jewish Public Library (1953-1990), organized and directed by Dora Wasserman, a graduate of the Yiddish Art Theatre in Moscow, and the studio operated by Madame Jean-Louis Audet (1933-1969), which had its roots in the French tradition, have been selected for this study. The companies offered a cross-section of approaches to pedagogy and theatre philosophy.       

Dorothy Davis and Violet Walters: A Professional Attitude

 The Montreal Children's Theatre founded and run by Dorothy Davis and Violet Walters presented, in its 60 years of existence, over 700 stage productions to more than a quarter of a million children. The founders, influenced by the British tradition of commercial theatre, emphasized the acquisition of acting skills, which they believed released the personality of the child and fostered self-expression. Although training for the professional stage was not a primary goal, many of their pupils entered the profession as actors, drama teachers, film directors, or in other areas of theatre. For these reasons, the writer believes that the Montreal Children's Theatre has been a strong influence and a guiding force in the education of children to the world of theatre, and in the building of an English-speaking audience in Montreal.

Dora Wasserman: A Stanislavski Workshop for Children

Dora Wasserman initiated Stanislavski techniques in modified form to promote emotional expression and imagination, which she considered essential attributes both for theatre and for social living. She attempted to stimulate in children a love of the Yiddish language and culture, and the appreciation of theatre as an art form.

Madame Jean-Louis Audet: A Disciplined Freedom

Madame Audet, phonetician, stressed voice and speech skills which she maintained released the child's latent personality. Language, she believed, was the key to cultural identity: she advocated phonetic instruction to all classes of children in order to preserve the French-Canadian heritage. Because she taught phonetics through the theatre medium, an impressive number of leading French-Canadian actors evolved out of her training program.


Invited Workshops and Lectures

McGill University: Guest lectures/workshops with Women’s Studies students using the Fictional Family, centred around a gender conflict, 2001, 2002.

The Fictional Family: a Therapeutic Approach for Rape Survival. Creative Arts Theatre Conference (CATS) Concordia University, Montreal, Quebec, November 2000

Dealing with Sexual Harassment and Discrimination. Performance of Scenarios by actors, andAnimator of Interactive training workshop with facultyand staff on sexual harassment, harassment, and discrimination, 1996

Interactive Drama Workshop, for Faculty and Staff, Brock University, St. Catherines, Ontario, November, 1996

The Fictional Family: A Dramatic Technique which Sensitizes Participants to Gender Issues, for Creative and Expressive Arts Therapies Exchange (CREATE) conference, Toronto, October, 1993

The Fictional Family: Actor-Training which Sensitizes Students to Gender Issues for McGill Centre for Research and Teaching on Women (MCRTW), Montreal, October, 1992

Concordia University: Co-director, with Barbara MacKay - Drama, Theatre and Video (Drama Therapy), with sexually abused teenage girls in cooperation with Concordia University, Ville Marie Social Services, and Youth Horizons, 1985.


Home Page