New Francophone African and Caribbean theatres
著者
書誌事項
New Francophone African and Caribbean theatres
（African expressive cultures）
Indiana University Press, c2010
- : pbk
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注記
Includes bibliographical references (p. [177]-194) and index
内容説明・目次
内容説明
John Conteh-Morgan explores the multiple ways in which African and Caribbean theatres have combined aesthetic, ceremonial, experimental, and avant-garde practices in order to achieve sharp critiques of the nationalist and postnationalist state and to elucidate the concerns of the francophone world. More recent changes have introduced a transnational dimension, replacing concerns with national and ethnic solidarity in favor of irony and self-reflexivity. New Francophone African and Caribbean Theatres places these theatres at the heart of contemporary debates on global cultural and political practices and offers a more finely tuned understanding of performance in diverse diasporic networks.
目次
- Acknowledgments Preface by John Conteh-Morgan and Dominic Thomas Introduction: Instrumentalizing Performance and the Francophone Postcolonial Performative 1. Cultural Trauma and Ritual Re-membering: Werewere Liking's Les mains veulent dire 2. The Dramatist as Epic Performer: Eugene Dervain's Saran, ou La reine scelerate 3. The Power and the Pleasures of Dramatized Narrative: Bernard Zadi Zaourou's La guerre des femmes 4. Theatre as Writing and Voice: Patrick Chamoiseau's Manman Dlo contre la fee Carabosse 5. Tradition Instrumentalized: Elie Stephenson's O Mayouri 6. Militariat Grotesqueries and Tragic Lament: Tchicaya U Tam'si's Le destin glorieux du Marechal Nnikon Nniku, prince qu'on sort and Le bal de Ndinga 7. From the Grotesque to the Fantastic: Sony Labou Tansi's Qui a mange Madame d'Avoine Bergotha? 8. Exile and the Failure of the Nation
- or, Diasporic Subjectivity from Below: Simone Schwarz-Bart's Ton beau capitaine Conclusion: Francophone Theatres in the Age of Globalization References Index
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