Indigenous theater in Canada, like its artistic counterparts in Australia and Aotearoa/New Zealand, has become a significant force in the nation’s cultural repertoire over the past twenty-five years, capturing the attention of both local audiences and the international performing arts market, notably at major festivals. Not only has there been a rapid expansion in the number and variety of performance works created by Canada’s First Peoples since the mid-1980s but also a concerted attempt to develop industry structures – publicity networks, production companies, training schools, and research laboratories – that will ensure the continued visibility of Indigenous artists in theater across the nation. This cultural project has been an important part of the broader campaign by Aboriginal Canadians to address the multiple effects of European colonization and thereby reclaim forms of agency. The power of performance to expose and reconfigure social relations has been evident on several fronts, not least of which is the contested terrain of representation itself. As practitioners and scholars have observed, Aboriginal theater-makers necessarily contend – in a very visceral and visual way – with the particular burden of stereotyped Indigeneity that has accumulated over centuries through images of “Indianness” circulated in a wide range of pedagogical and imaginative texts. In this context, one of the key achievements of this theater has been to stage the mechanisms by which Indigeneity is constructed, envisaging, in the process, more flexible and varied representations of Aboriginal cultures and practices.