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.
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.
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
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
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