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parsed(2010-08-01) - pubdate: 2010-08-01
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pub date: 1280638800
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New Francophone African and Caribbean Theatres

August 1, 2010 | Hardcover
ISBN: 9780253355133
$91.95
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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.

About this Author

John Conteh-Morgan (1948-2008) was Professor in the Department of French and Italian at the Ohio State University. He is author of Theatre and Drama in Francophone Africa and editor (with Tejumola Olaniyan) of African Drama and Performance (IUP, 2004).

Dominic Thomas is Chair of the Department of French and Francophone Studies and Professor of Comparative Literature at the University of California, Los Angeles. He is author of Nation-Building, Propaganda, and Literature in Francophone Africa (IUP, 2002) and Black France (IUP, 2006).

ISBN: 9780253355133
Format: Hardcover
Series: African Expressive Cultures
Pages: 230
Publisher: Indiana University Press
Published: 2010-08-01

Reviews

Conteh-Morgan (Ohio State Univ.) and Thomas (UCLA) investigate key historical periods in the emergence of theater in sub-Saharan Africa and the Caribbean, primarily the latter, specifically Martinique, Guadeloupe, and Guyana. They compare theater trends and trace the interaction between the African and Caribbean cultures in their colonial and
postcolonial contexts. The book analyzes how the Francophone Caribbean and African playwrights attempted to redefine theater and rewrite its trajectory and how they strove to undo and surpass their predecessors in order to establish what they deemed 'authentic' theater. It also discusses the debate between the pre-1990s playwrights who were preoccupied with the notion of origin and those in the post-1990s who endeavored to free theater from any particular definition. Addressing an array of significant themes--identity, language, nationalism, postcolonialism, indigenous and European models, tradition, and universalism, among others--this noteworthy addition to the literature challenges the reader to extend the debate on Francophone theater in the age of globalization. An important resource for a broad audience, the book is particularly valuable for its in-depth discussion of a number of Francophone plays. Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals. --ChoiceH. Bahri, York College, CUNY, June 2011--H. Bahri, York College, CUNY (01/01/2011)

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