Post-Colonial Drama

Gilbert, Helen; Tompkins, Joanne

doi:10.4324/9780203421062

Cited by 143 publications

(11 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Although it is a favourite catch-cry of theatre critics, the "universal theme" allows no appreciation of cultural difference. 41 This statement from probably the most influential text on postcolonial theatre criticizes a universalist discourse that comes surprisingly close to Ina Césaire's comments on identity. However, while Gilbert and Tompkins associate the universalism they disparage with theatre critics who, we can presume, take universality for granted by virtue of their personal cultural standpoint, Ina Césaire rewrites the French universal through a diasporic marasa consciousness.…”

Section: French Caribbean Theatre and The Postcolonial -Interculturalmentioning

confidence: 91%

FRAMEWORKS FOR INTERPRETING FRENCH CARIBBEAN WOMEN'S THEATRE: INA CÉSAIRE'SISLAND MEMORIESAT THE THÉÂTRE DU CAMPAGNOL

Sahakian¹

2009

Theat Surv

View full text Add to dashboard Cite

The plays and performances of French Caribbean women, which have mostly been examined in the French language and in the field of French literary studies, require a new theorization of postcolonial theatre. Highly influenced by what I call French universalism, French Caribbean women's theatre moves continuously between evoking Caribbean and gender difference and mobilizing the concept of the human universal. Their work enacts a restorative postcolonial women's agenda that is specific to the cultural context of the French overseas departments of Martinique and Guadeloupe.

show abstract

Section: French Caribbean Theatre and The Postcolonial -Interculturalmentioning

confidence: 91%

FRAMEWORKS FOR INTERPRETING FRENCH CARIBBEAN WOMEN'S THEATRE: INA CÉSAIRE'SISLAND MEMORIESAT THE THÉÂTRE DU CAMPAGNOL

Sahakian¹

2009

Theat Surv

View full text Add to dashboard Cite

show abstract

“…72 Following Gilbert and Tompkins's argument that the choice of a specific language within postcolonial drama is a political act in itself that determines an implied audience, we might also scrutinize the particular brand of Crioulo employed in Rei Lear. 73 The adaptation's dialogue evidences the coarse rhythms and consonant-dominated tones that characterize Crioulo from São Vicente Island, rendering all of the characters explicitly Mindelense. Branco's explanation of the kind of Crioulo he employs in such adaptations, what he calls "Shakespearean Crioulo," suggests that Shakespeare's dialogue can be rendered only in São Vicentian Crioulo.…”

Section: Theatre Surveymentioning

confidence: 97%

From Adaptation to Transformation: Shakespeare Creolized on Cape Verde's Festival Stage

McMahon¹

2009

Theat Surv

View full text Add to dashboard Cite

This is a tale of two directors. The setting is the Republic of Cape Verde, a former Portuguese colony and a tiny archipelago nestled off the coast of Senegal in West Africa. Framing the story is Cape Verde's annual Mindelact International Theatre Festival, which since 1997 has invited Lusophone theatre artists from three continents to perform a wide array of theatre genres on a mainstage program alongside Cape Verdean troupes. João Branco, a Portuguese director who moved to the islands in the early 1990s, is the artistic director of both the Mindelact Festival and the veteran Cape Verdean theatre troupe GTCCPM (Grupo de Teatro do Centro Cultural Português do Mindelo/Theatre Group of the Mindelo Portuguese Cultural Center). For Mindelact 2003, GTCCPM performed an abridged version of King Lear rendered in Cape Verdean Crioulo, a mix of Portuguese and several West African languages. Beyond bolstering Branco's cherished goal of creolizing Shakespeare's plays by transporting them to Cape Verde's Afro-European cultural milieu, Rei Lear worked in concert with the festival's media blitz to extol local spectators in Mindelact's host city, Mindelo, for their good taste. Two years later, Herlandson Duarte, a young Cape Verdean director and Branco's former theatre student, staged a Crioulo-language Midsummer Night's Dream at Mindelact with his new theatre company, Solaris. Duarte's production transformed Bottom's play-within-a-play into a searing critique of Mindelense audiences and the structures of authority that prop up the festival itself.

show abstract

“…The colonial context is an important historical perspective for conceptualising dance practices (see Burt 1998;Camaroff 1985;Gilbert and Tompkins 1996;Ness 1992). A historical perspective of how dance has been colonised demonstrates a deliberate suppression of the knowing, perceiving and way of being that is embedded in the practice.…”

Section: Dance In the Colonial Contextmentioning

confidence: 99%

Critical postcolonial dance recovery and pedagogy: an international literature review

Banks

2009

Pedagogy, Culture & Society

View full text Add to dashboard Cite

This paper examines how the historical punishment of the dancing body in (post)colonial contexts has been a measure for controlling the mind and undertaking effective cultural imperialism. I bring to focus the striking global dance movement to revitalise oppressed dance forms, in an effort to do what Tuhiwai Smith calls 'the recovery of ourselves'. Borrowing from Freire's notion of 'the pedagogy of the oppressed', I begin with a discussion about dance pedagogy as a tool for decolonisation. The work of Katherine Dunham is highlighted to exemplify critical postcolonial dance recovery and pedagogy. In addition, relevant literature is reviewed to explore the colonisation of indigenous dance practices and how dance is being innovated and regenerated to reclaim the intellectual, spiritual and cultural knowledge that make up a people.

show abstract

Post-Colonial Drama

Cited by 143 publications

References 0 publications

FRAMEWORKS FOR INTERPRETING FRENCH CARIBBEAN WOMEN'S THEATRE: INA CÉSAIRE'SISLAND MEMORIESAT THE THÉÂTRE DU CAMPAGNOL

FRAMEWORKS FOR INTERPRETING FRENCH CARIBBEAN WOMEN'S THEATRE: INA CÉSAIRE'SISLAND MEMORIESAT THE THÉÂTRE DU CAMPAGNOL

From Adaptation to Transformation: Shakespeare Creolized on Cape Verde's Festival Stage

Critical postcolonial dance recovery and pedagogy: an international literature review

Contact Info

Product

Resources

About