Self-recognition and the impact of family relations are often connected with the theme of identity in the critical discourse on the francophone dramaturgy of Western Canada. Nonetheless, discussion of these concepts has rarely served as the object of focussed analysis. The present article seeks to address this lacuna through an examination of Roger Auger’s Suite manitobaine. It will show how two important semiotic functions (the hierarchisation and the integration of dramatic works) constitute a key component of this analysis from the perspective of the literary culture of the spectator. The description of a collection of memorial traces and of symbolic mediations (franglais, social realism and reference to a specific family model) contribute to an explication of the first function. An analysis of the family conflict at the heart of Je m’en vais à Régina casts light upon the second.