Description
Book SynopsisStaging a new politics of performance in the African diaspora
Trade ReviewAn important resource for a broad audience. . . . Highly recommended.June 2011
* Choice *
[Conteh-Morgan's] readings are excellent, and his approach will be of interest to anyone studying post-colonial theatres in a global context. By grouping French-language African and Caribbean theatres together in terms of their genealogical history, and investigating their multiple theatrical influences in context, Conteh-Morgan develops a conscientious reading strategy that melds the cultural–political imperative of post-colonial studies with a respect for the limitlessness of artistic genius.
* Theatre Research International *
In this fascinating and exciting study, the late John Conteh-Morgan succeeded admirably in bringing to Anglophone attention a precious body of Francophone African and Caribbean theater—a rich seam for further enquiry, comparative not least.
* New West Indian Guide *
Table of ContentsAcknowledgments
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
