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Full Description
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.
Contents
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: Eugène Dervain's Saran, ou La reine scélérate
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 fée Carabosse
5. Tradition Instrumentalized: Elie Stephenson's O Mayouri
6. Militariat Grotesqueries and Tragic Lament: Tchicaya U Tam'si's Le destin glorieux du Maréchal Nnikon Nniku, prince qu'on sort and Le bal de Ndinga
7. From the Grotesque to the Fantastic: Sony Labou Tansi's Qui a mangé 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
