加拿大原住民作家海威（Tomson Highway）在他所寫的戲劇《保留區姊妹們》（The Rez Sisters）（1986）不但結合原住民神話還有獨特的抗議論述（resistance discourse）。在這齣戲中，海威描述七個加拿大原住民婦女一起去多倫多參加「世界上最大的賓果遊戲」的經過。這七名婦女對她們在家鄉瓦西原住民保護區的生活非常不滿意，她們都想要中賓果頭獎來實現她們的夢想。然而，去多倫多的旅程卻是為這群保留區姊妹幻滅而準備的身心靈之旅。在賓果遊樂店玩賓果時她們一位姊妹去世，她們也沒人中大獎，這兩件事使保留區姊妹們進入了人生的另一階段。海威在這齣戲最後透過納納布希（搗蛋鬼）（Nanabush, the Trickster）的點醒使這群婦女得到精神認知。納納布希的出現間接教導她們要走出「強暴」的陰影（白人文明和白人社會「強暴」了原住民的文化和尊嚴）。在論文中，我將分析海威如何透過這群婦女的經驗來呈現一個新的種族認同。原住民不該只是保持現狀，或是抱怨他們的邊緣地位，他們應該揚棄那些傷害他們的污染（物質慾望；扭曲的自我形象），為傳統保留及更新努力，如此才可以除去白人給他們建立的扭曲主體。同時，更有意義的是，他們應當努力尋求一個屬於他們自己真正的身分認同。

Native Canadian playwright Tomson Highway combines native myth and resistance discourse in his The Rez Sisters. Highway in this play depicts the journey of seven indigenous Canadian women to Toronto to participate in “The Biggest Bingo in the World.” Dissatisfied with their lives in their hometown Wasy, the seven women all wish to win the jackpot to realize their respective dreams. However, the van ride to Toronto serves as a literal and figurative journey for the preparation of the Rez sisters’ disillusionment. With the death of one of their sisters at the Bingo place and the loss of the game, these seven women come to a new stage of their life. Highway at the end of the play allows these women to acquire spirituality through the enlightenment of Nanabush, the Trickster. The appearance of the Trickster teaches them to walk out of the “rape” of the Native pride and culture by white civilization and society. In this paper, I analyze how Highway offers a new racial identity through the lesson these women learn. Instead of staying put, or complaining about their marginalized status, the indigenous should first discard the detrimental pollution (capitalistic materialism; warped self-image) and then strive for preserving and rejuvenating their own heritage, so as to eliminate the distorted subjectivity constructed by whites, and more significantly, to have a true identity of their own.