Journal articles: 'Postcolonial theater'

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Mackenzie, Clayton G., and Moira Arthurs. ""Together Again": Theater in Postcolonial Hong Kong." Comparative Drama 37, no. 1 (2003): 75–87. http://dx.doi.org/10.1353/cdr.2003.0037.

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Vallejo Sameshima, Miguel. "performático en el teatro reciente de la independencia peruana. Rituales que cuestionan los antiguos prejuicios." Tradición, segunda época, no. 21 (December 27, 2021): 90–97. http://dx.doi.org/10.31381/tradicion.v0i21.4482.

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l presente artículo estudia dos piezas teatrales recientes sobre la independencia del Perú, Discurso de promoción (2017) del Grupo Yuyachkani, y Bicentenaria (2017) de Mariana Silva y Claudia Tangoa. Analiza estas obras como experiencia y acontecimiento, mientras revisa sus aspectos ideológicos, y cómo su estilo de representación influye en sus significaciones posibles. De esta manera, revisa cómo estas piezas critican algunas características de la república peruana, como el racismo y el machismo. Palabras clave: Teatro peruano, Teatro latinoamericano, Teatro histórico, Teatro posdramático, Teatro sobre la Independencia, estudios poscoloniales. Abstract The article studied two recent dramatic plays about the Peruvian independence, Discurso de promoción (2017) by Grupo Yuyachkani, and Bicentenaria (2017) by Mariana Silva and Claudia Tangoa. It analyzed these dramatic plays as experiences and happenings. Moreover, it reviewed its ideology. Thus, it studied how these ways of representation influences their possible meanings. This way, it reviews how these dramatic plays criticize some characteristics of the Peruvian Republic, such as racism and male chauvinism. Keywords: Peruvian Theater, Latin American Theater, Historical Theater, Postdramatic Theater, Independence Theater, Postcolonial Studies

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Rifandi, Ilham, and Ikhsan Satria Irianto. ""Membingkai Melayu" Perancangan Metode Akting Berbasis Tradisi Untuk Pembelajaran Makyong di Program Studi Seni Pertunjukan UNIMED." Jurnal Sendratasik 12, no. 2 (June 6, 2023): 157. http://dx.doi.org/10.24036/js.v12i2.122569.

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Theatrical discourse in Indonesia is still dominated by Western theater discourses, both theoretically and practically. This domination ordains theater as an art that is distant from the audience, including Makyong. As an effort to bring theater closer to the community, the development of acting methods based on ethnic traditions can be an alternative. The research method that will be used in this study is the Research and Development method developed by Thiagarajan, et al. The stages of implementing the research are as follows: Defining, Designing, Developing. The theory used as a basis in this study is the theory of postcolonial acting put forward by Asrul Sani and concept of theater anthropology from Eugenio Barba. The results of this study are Malay acting training methods arranged in the order of spiritual knowledge based on Tunjuk Ajar Melayu, pantun skills and body training based on Malay dance techniques. The development of the acting training method, which the author calls Framing Malay, aims to collect things that can help actors in creating Malay behavior.

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Jayathilake, C. "Historicizing anglophone theater in postcolonial South Africa: select political and protest plays." International Journal of Multidisciplinary Studies 8, no. 1 (May 30, 2021): 70. http://dx.doi.org/10.4038/ijms.v8i1.134.

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de Waal, Ariane. "Living Suspiciously: Contingent Belonging in British South Asian Theater." Humanities 9, no. 3 (August 18, 2020): 85. http://dx.doi.org/10.3390/h9030085.

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This article investigates representations of national belonging in British South Asian theater productions after the 2005 London bombings. It identifies a significant yet hitherto underresearched corpus of plays that show the formation of the UK “home front” in the war on terror from the perspective of postcolonial subjects who are deemed threatening rather than worthy of protection. After discussing the construction of British South Asian citizens as suspicious subjects, the article analyzes two plays that offer an extensive consideration of the contingencies of national belonging. It argues that True Brits by Vinay Patel and Harlesden High Street by Abhishek Majumdar dramatize strategies for building, making, or keeping a home in London in spite of the strictures of suspectification and securitization.

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Johnson, Alan, and Nandi Bhatia. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India." Rocky Mountain Review of Language and Literature 59, no. 2 (2005): 108. http://dx.doi.org/10.2307/3655058.

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Roubaud, Luísa. "After Looking North and West: Portuguese Contemporary Dance and the European Crises." Congress on Research in Dance Conference Proceedings 2016 (2016): 323–32. http://dx.doi.org/10.1017/cor.2016.43.

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In the four decades that followed the April 1974 revolution, which ended the Estado Novo's dictatorship (1926–1974) and the Portuguese colonial empire, contemporary theater dance has witnessed an explosion in Portugal. After 1974, the African decolonization, the subsequent flow of immigrants, European Union accession (1986), and the opening to the contemporary Western world have substantially altered Portugal's political and demographic landscapes, social practices, and expressive cultures. Considering the current European crises, this article discusses how Portuguese contemporary dance is recently facing or reflecting the impact of Lusophone postcolonial cultural and demographic reconfigurations, and incorporating or dealing with its patrimonial expressive cultures.

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Minier, Márta. "Translating Welsh Drama Into Hungarian Through English: A Contextual Introduction to Sêra Moore Williams’ Crash in Hungarian Translation." Hungarian Cultural Studies 6 (January 12, 2014): 176–86. http://dx.doi.org/10.5195/ahea.2013.120.

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This article offers a predominantly contextual introduction to my translation of a contemporary Welsh play by Sêra Moore Williams, Crash (2004), into Hungarian. Williams' three-person drama for young people was written originally in the author's native language, Welsh, and translated into English by the playwright herself. In my translation process of the play from English to Hungarian the intermediary role played by English raises ethical concerns from a postcolonial perspective, while in a pragmatic sense it is almost a necessity to rely on it when communicating Welsh-language cultural production to the broader international public, including to other minor languages. The article will place the drama in its generic context, introducing the play as a Theater in Education piece, as Williams' work has been inspirational in the development of tantermi színház [classroom theater] in Hungary since the early 2000s. As a specific case study within the case study, the additional discussion of the translation of Williams' polysemic title will provide an insight into the role such a significant paratext plays in uprooting a dramatic text from one culture to another.

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Schmidt, Kerstin. "Relations with/to the Text: Four Plays on the Move." Journal of Contemporary Drama in English 11, no. 2 (November 1, 2023): 332–42. http://dx.doi.org/10.1515/jcde-2023-0027.

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Abstract The Caribbean philosopher and poet Édouard Glissant is not known for his work on theater; rather, he has been influential for a postcolonial reconceptualization of Caribbean spaces and the ways in which they are intertwined with a history of colonization. His theory of relation has been paramount for a rethinking of a concept of connection, theorizing the layered, complex, and often surprising relations between peoples and cultures that have shaped, questioned, imagined, and often also jumbled up the Caribbean as a world in transformation. Glissant views relation as a skein of networks and not as essentialist recovery of an authentic and true point of origin. This article addresses the theoretical transformative possibilities that this approach helps elucidate. I will mainly focus on the production of Simon Stephens’s 2012 The Curious Incident of the Dog in the Night-Time, an inventive adaptation of Mark Haddon’s 2003 novel that was staged in New York City between 2014 and 2016 to much critical acclaim. Finally, in a comparative approach, I would like to read this production with an eye towards Susanne Kennedy’s 2018 adaptation of Jeffrey Eugenides’s novel The Virgin Suicides (1993) for the Munich Kammerspiele and acclaimed Australian theater director Simon Stone’s 2016 rewrite of Anton Chekhov’s Three Sisters (1901) for the theater in Basel as well as Ulrich Rasche’s inventive 2017 production of Georg Büchner’s Woyzeck.

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Dharwadker, Aparna Bhargava. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India (review)." Modern Drama 48, no. 2 (2005): 440–44. http://dx.doi.org/10.1353/mdr.2005.0024.

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Bose, Neilesh. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India (review)." Theatre Journal 57, no. 3 (2005): 542–43. http://dx.doi.org/10.1353/tj.2005.0088.

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Thomson, Richard. "To Be is to Be Seen: Postcolonial Theory, Existentialism, and the Theater of Athol Fugard." Safundi 14, no. 4 (October 2013): 369–93. http://dx.doi.org/10.1080/17533171.2013.839262.

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Rifandi, Ilham. "The Development Of Makyong Acting Training Method For Environment Of Traditional Theater Courses." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 30, 2022): 328. http://dx.doi.org/10.24114/gondang.v6i2.38003.

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This study aims to develop a Makyong acting training method based on the Malay tradition for enrichment in the North Sumatra Traditional Theater course at the UNIMED Performing Arts Study Program. In particular, this study aims to: (1) be able to interpret Malay advice as spiritual values; (2) identifying Malay dance techniques to prepare for body movements; (3) Identifying the Malay pantun tradition as the improvisational power of makyong actors. This study was designed with a research and development approach. This research was followed up by developing methods and applying methods in training and performances. In analyzing the data the author uses qualitative analysis techniques. As a reference in preparing the training model, the author uses the folklore approach, actor dramaturgical theory from Eugenio Barba and Asrul Sani's postcolonial acting approach as a reference in developing acting training methods.

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Harrison, Olivia C. "Decolonizing History." Comparative Studies of South Asia, Africa and the Middle East 42, no. 2 (August 1, 2022): 454–69. http://dx.doi.org/10.1215/1089201x-9987944.

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Abstract The borders between North and South quickly erode when we study the history of anti-colonial revolutions. This is perhaps especially true of France, where the Palestinian revolution has been a rallying cry in the struggle for migrant rights for the past half century. This article investigates the reactivation of anti-colonialism in the postcolonial era, tracing the decades-long “postcolonial anti-colonial” movements born in migrant circles in France, from the 1970s to the present. What happens to the notion of anti-colonial revolution when it is brought back to the metropole? How does it change when it is brought to bear on the migrant question? First posed by the Palestine committees forged by migrant workers, foreign students, and Maoist militants in the wake of the September 1970 massacre of Palestinians in Jordan, these questions have shaped discourses around migrant rights in France for the past fifty years. In conclusion, this article revisits the archive of the migrant theater collective Al Assifa as it is remediated in Bouchra Khalili's 2017 film The Tempest Society, and speculates on the current place of migration in world historical discourses of decolonization.

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Rennie, Bryan. "Religion and Art Behavior—A Theory and an Example: The Biblical Prophets as Postcolonial Street Theater." Journal for the Study of Religion, Nature and Culture 9, no. 3 (April 1, 2015): 312–34. http://dx.doi.org/10.1558/jsrnc.v9i3.27054.

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Nikolaieva, Oksana. "The mode of theatricality in the work of representatives of “Bu-Ba-Bu” group." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 204–11. http://dx.doi.org/10.28925/2311-259x.2021.4.1.

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The article deals with the phenomenon of theatricalization of the artistic picture of the world in the works of authors-representatives of the group “Bu-Ba-Bu”, (Yuriy Andrukhovych, Viktor Neborak, Oleksandr Irvanets) who carry out a large-scale renewal of Ukrainian literature by dramatizing reality. That is why the mode of theatricality best shows the basic artistic principles of the group (burlesque-balagan-buffoonery). The relevance of the study is due to the need to analyze the work of representatives of Bu-Ba-Bu in the mode of theatricality. The subject of research is the poetic features, the system of characters and the principles of characterization of the group. The purpose of this article is to identify the ideological identity of the literary work of the group “Bu-Ba-Bu” in terms of revealing the theatrical discourse, which provides the research novelty. Research methods: comparative, comparative-historical and descriptive were used. Results of the research. Yu. Andrukhovych’s great prose and O. Irvanets’ drama are considered in the context of the postmodern concept of “theater society”, which treats various forms of social and cultural life as a kind of performance, as well as in connection with the concept of camp, which is characterized by ironic reflection on mass culture and aestheticization of everyday life. Dimensions of theatricality are realized by groups primarily in the form of carnival, which is a means of overcoming postcolonial trauma and a special space of existence (active involvement of the public in theatrical action, blurring the line between “theater” and real life). Addressing the main tenets of Bakhtin’s theory of carnival revealed the peculiarities of the aesthetics of “crisis periods” in prose and drama of modern authors (opposition to official discourses, total freedom and familiarity, accentuation of the bodily “bottom”). Particular attention is paid to corporeality, which reveals carnival features (grotesqueness, fluidity, dynamism) and at the same time becomes a means of rehabilitating human freedom and vitalistic energy, correlating with postcolonial social context. It is proved that the national originality of artists’ creativity is manifested primarily in the constructive nature of the carnival, which, formally correlated with the rhizome, implicitly affirms the value vertical.

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Ben-Ari, Nitsa. "Representations of translators in popular culture." Translation and Interpreting Studies 5, no. 2 (October 28, 2010): 220–42. http://dx.doi.org/10.1075/tis.5.2.05ben.

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The “fictional turn” in translation studies has acknowledged the fact that translators/interpreters have been moved from behind the curtain to center stage. Whether this is a result of poststructuralist or postcolonial scholarship, the fact remains that translators/interpreters now figure as protagonists in film, theater, and especially popular literature. Does this “promotion” reflect a change of status? How are translators portrayed? How is their habitus portrayed? What function do they serve? Has there been a change in their portrayal/function in the last thirty years? Does the change reflect the different approach/es to the “hybrid” in this period? Has the “death of the author” theory and the promotion of translators/interpreters to the status of “authorship” changed their self-image? This essay is an attempt at answering these questions, diachronically and synchronically, with the help of various literary texts from the 1970s on.

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Koliada, Andrii. "Contemporary Music Theater asan Instrument of Human Rights Protection: PENITA.opera and Vitally Important Social Project." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 115–20. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283138.

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The paper discusses Vitally Important Social Project addressing women imprisoned for life in Ukraine, which consists of an opera performance, a photo exhibition, and a series of conferences in several cities of Ukraine. The grounds of the project were considered, namely the problem of attitude towards life prisoners in Ukraine and the legislation that regulates their rights and the possibility of early release. The study offers a holistic analysis of the music theater performance PENITA.opera in its connection with the current social problems of Ukrainian society. It was revealed that contemporary art projects are an effective tool in launching important social and political discussions. At the same time, the unusual themes of contemporary opera require its genre and type transformation, and the modification of established art forms. It is noteworthy that the short-term complex project, after its formal completion, has continued its life in the format of a repertoire performance of the Kyiv National Operetta. In conclusion, the article defines the role of social art projects in creating a common field for public debate. The characters of the documentary opera and photo exhibition evoke empathy in the viewer, and the art projects themselves bring together like-minded people who, by means of communication, convey new values to the public, join the media discussion, and influence public opinion and prompt fundamental changes in legislation. Since the beginning of the full-scale Russian invasion of Ukraine, the topic of colonies, imprisonment, and oppression has gained new relevance, and Vitally Important Social Project has become a part of a powerful postcolonial movement in Ukraine.

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Kwon, Nayoung Aimee. "Conflicting Nostalgia: PerformingThe Tale of Ch'unhyang(春香傳) in the Japanese Empire." Journal of Asian Studies 73, no. 1 (January 3, 2014): 113–41. http://dx.doi.org/10.1017/s002191181300168x.

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In the Japanese empire in 1938, an imperial-language theatrical adaptation of a folktale from colonial Korea,The Tale of Spring Fragrance (Ch'unhyang chŏn)opened to rave reviews in major metropolitan cities throughout Japan. The performance's popularity ignited an encore run later the same year throughout colonial Korea. The play was commissioned by Murayama Tomoyoshi and his Shinkyō Theater Troupe in Japan. The script was penned in Japanese by Chang Hyǒkchu, a bilingual writer from the colony. This article examines a forgotten moment of colonial “collaboration” between Korea and Japan when the two countries’ literary histories converged in a widely publicized performance across the empire. By reading the tensions between parallel yet unbridgeable nostalgic desires between Japan and Korea, and measuring the gap between the consumption of the tale as trendy “colonial kitsch” and timeless “national tradition,” the performance can be read not as the embodiment of harmonious imperial assimilation as touted at the time, but as performing its anxieties and breakdown. This article further considers the significance of the failed collaboration and translation across colonial divides for postcolonial relations.

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Pero, Allan. "At Home in Exile." Canadian Theatre Review 140 (September 2009): 85–87. http://dx.doi.org/10.3138/ctr.140.015.

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This study attempts an important incursion into a dynamic and under-theorized dimension of drama and performance studies: the chiastic spaces of politics, memory and representation within and without the Australian stage. Tompkins’s task is to explore how contemporary drama and performance work toward a re-imagining or unsettling of the ways in which particular ideas of “Australia” have been mapped, constituted, defended and perpetuated by discourses of colonization and white privilege. As a result, she asks us, in her refinement of the concepts in Una Chaudhuri and Elinor Fuchs’s volume Land/ Scape/ Theater, to remain attentive to ideas of space, place and landscape as intellectually and politically contested sites. Such a request is germane to a Canadian context not only because we share with Australia a historical relation to the British Empire and Commonwealth but also because Australia has adopted and adapted Canada’s policy of multiculturalism to suit its own purposes. In this respect, Australia’s imbrications of the postcolonial have some uncanny similarities to those experienced here in Canada.

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Orr, Stanley. "“I Wonder Which of You is Real”." Studies in American Humor 7, no. 2 (October 1, 2021): 329–46. http://dx.doi.org/10.5325/studamerhumor.7.2.329.

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Abstract In response to Judith Yaross Lee's introduction of a framework designed to probe the relationship between empire and American humor, this article analyzes John Kneubuhl's “The Night of the Two-Legged Buffalo,” a 1966 episode of The Wild Wild West (1965-69). Kneubuhl (1920-92) was a Samoan American playwright who wrote for theater, television, and film. Like Mark Twain, he demonstrated a lifelong interest in the trope of the confidence man. In “The Night of the Two-Legged Buffalo” he depicts protagonists and antagonists alike in the US borderlands as con artists contending for power. While agents Jim West and Artemus Gordon emerge as cultural impersonators who serve the ideology of Manifest Destiny, the Prince of the South Sea Coral Islands, a Polynesian aristocrat, deploys American hegemony in Oceania. Kneubuhl draws on conventions of the fale aitu, a Samoan theatrical genre, as well as his association with Sam Amalu, a Native Hawaiian humorist and con man known for his elaborate pranks and swindles. As a site of contest between what Lee terms “neocolonial hybridity” and “postcolonial discontinuity,” “The Night of the Two-Legged Buffalo” exemplifies Kneubuhl's unique trickster aesthetics.

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Meungheyn Sung. "Research of Hyun-Choel’s career as a man of the theater and ‘Chosun Actor School’(1924) - from a perspective of postcolonial criticism -." Korean Journal of Arts Studies ll, no. 13 (June 2016): 243–75. http://dx.doi.org/10.20976/kjas.2016..13.011.

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Lal, Ananda. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.

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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist theatre by women. Most valuably for theatre historians, she places in the public domain many primary sources previously untapped in English, and unearths much secondary material that has escaped academic attention. Not least of all, she writes articulately and readably.

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Althans, Birgit, Elise v. Bernstorff, Carla J. Maier, Jule Korte, and Janna R. Wieland. "Fazit & Ausblick." Paragrana 28, no. 2 (October 25, 2019): 171–214. http://dx.doi.org/10.1515/para-2019-0036.

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Abstract In diesem Fazit & Ausblick werden nun die in der Einleitung formulierten Themenfelder, in denen wir auch die Anschlüsse an Arbeiten und Forschungsgebiete der Historischen Anthropologie gegeben sahen, wieder aufgegriffen. Dies geschieht entlang von Aspekten, die durch die responses aufgeworfen wurden, und die wir hinsichtlich unserer Forschung zu Arenen transkultureller Bildung weiterdenken. Ein wichtiger Schwerpunkt liegt dabei auf den Transmissionseffekten, die sich im Forschungsprozess, auch unter Einbezug der responses, zwischen den Forschungsfeldern – den Arenen Theater und Schule – ergeben haben. Daran anschließend formulieren wir die Implikationen, die sich daraus für die Weiterentwicklung unserer Methoden ergeben haben, sowie einen Ausblick, der sich den Möglichkeiten der Erweiterung der Forschung zu kultureller Bildung unter Einbezug postkolonialer und transkultueller Analyseperspektiven widmet. Wir haben in den drei Method Labs„Method Mixing: Methoden der Praxis in postmigrantischen Kontaktzonen“ (November 2017); „Towards new methodologies in transcultural education: Performativity of the digital, Material Feminism and transcultural analysis” (Juni 2018) und “Arenas of transcultural Education: artistic research, art based methods, New Materialism and Sensory Ethnography“ (Januar 2019). Praktiker*innen und Wissenschaftler*innen, die aus unterschiedlichen Disziplinen und Forschungsschwerpunkten kommen und in verschiedenen europäischen Universitäten und Institutionen forschen und arbeitenSound Studies, Historische und pädagogische Anthropologie; Allgemeine Erziehungswissenschaft, Anglistik und Postcolonial Studies, Global Childhood & Youth Studies, International Childhood Studies, Grundschulpädagogik, Theaterpädagogik und Dramaturgie sowie Lehrerbildung, künstlerische Forschung und kulturelle Bildung., eine Auswahl des über drei Jahre im Feld erhobenen Materials, das Method Mixing der beiden Arenen Schule und Theater, sowie unsere diffraktionellen Analysen, die entstandenen Interferenzen, und das sich daraus entwickelnde Method Mixing des Projekts vorgestellt. Nach intensiven, über zwei Tage andauernden Diskussionen über das unseren Gästen der Method Labs vorgestellte Material haben wir diese um eine Verschriftlichung ihrer responses gebeten. Die Wahl des Themas sowie des Umfangs und der Form wurden dabei freigestellt. Herausgekommen sind sehr unterschiedliche, und, wie wir finden, im Kern ebenfalls diffraktionell operierende Antworten, die in den vorangegangen Kapiteln vorgestellt wurden.

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Afzal‐Khan, Fawzia. "Postcolonial theatre anthropology." Reviews in Anthropology 26, no. 4 (December 1997): 265–77. http://dx.doi.org/10.1080/00988157.1997.9978184.

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Ronkin, Maggie. "Acts of Authority Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor: University of Michigan Press, 2004. 206 pp. $49.50 (cloth)." Journal of Asian Studies 65, no. 3 (August 2006): 638–40. http://dx.doi.org/10.1017/s0021911806001380.

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Bondareva, Olena. "«Close the Sky» of Neda Nezdana: War, Memory, Women’s Traumatic Experience, Conscious Decoloniality." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 14–25. http://dx.doi.org/10.28925/2412-2475.2023.21.2.

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In the article, Neda Nezhdana’s play “Closed Sky” is considered in the theoretical coordinates of postcolonial studies, memory studies, trauma studies, Western European theory of evidence processing in conflict/intervention zones, feminist criticism. It is studied how this play fits into the wider context of modern Ukrainian drama about the full-scale military aggression of Russia against Ukraine. The mechanisms of transformation of one’s own traumatic experience, testimonies and individual oral narratives of eyewitnesses are singled out: first — іnto the space of communicative and discursive practices, and later — іnto a full-fledged artistic material. It was emphasized that it is fundamentally important for Ukrainians to create their own artistic narratives of the current war, to record and interpret its crimes, to include them in the global history of the colonizers’ struggle with Ukrainian identity, and to organize work with transgenerational traumatic memory around this. We must not allow the perception of the war outside of Ukraine to be dominated by narratives of the aggressor. The theatrical and performative potential of the work allows the author of the play to present insightful public stories of strong and self-sufficient Ukrainian women of various ages who suffered from the occupiers and bear witness to their crimes against humanity. “Closed Sky” in Neda Nezhdana’s interpretation turns not into a space of safety and salvation, but into a complex physical and mental labyrinth, which can be opened by unexpected trials and threats, but passing through which cures the heroine of amnesia. The creation of the play, becoming a kind of autopsychotherapy for the author, provokes opportunities for collective psychotherapy in the theater, because our joint work with the traumas of war opens for Ukrainians conscious decolonial perspectives and paves the way to their own stable and unfettered decolonial identity.

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Gibbs, James. "Theatre and Postcolonial Desires (review)." Research in African Literatures 36, no. 2 (2005): 146–47. http://dx.doi.org/10.1353/ral.2005.0116.

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Lothspeich, Pamela. "Chasing the Parsi Theatre in Bareilly." TDR/The Drama Review 59, no. 2 (June 2015): 9–45. http://dx.doi.org/10.1162/dram_a_00447.

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A contemporary restaging of Pandit Radheshyam Kathavachak’s mythological play Heroic Abhimanyu in the style of Parsi theatre raises questions about postcolonial mimicry, hybrid theatre forms, and the vicissitudes of reviving traditional theatre in India.

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Pianca, Marina. "Postcolonial Discourse in Latin American Theatre." Theatre Journal 41, no. 4 (December 1989): 515. http://dx.doi.org/10.2307/3208012.

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Sahakian, Emily. "FRAMEWORKS FOR INTERPRETING FRENCH CARIBBEAN WOMEN'S THEATRE: INA CÉSAIRE'S ISLAND MEMORIES AT THE THÉÂTRE DU CAMPAGNOL." Theatre Survey 50, no. 1 (April 22, 2009): 67–90. http://dx.doi.org/10.1017/s0040557409000076.

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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.

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Salter, Denis. "On Native Ground: Canadian Theatre Historiography and the Postmodernism / Postcolonialism Axis." Theatre Research in Canada 13, no. 1 (January 1992): 134–43. http://dx.doi.org/10.3138/tric.13.1.134.

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This position-paper suggests that both postmodernist and postcolonial thought have been playing a significant-although radically incommensurate and unacknowledged-role in the postwar formation of English-Canadian theatre historiography. Inspired by two ground-breaking collections: The Empire Writes Back, by Bill Ashcroft, Gareth Griffiths and Helen Tiffin (London: Routledge 1989) and After Europe, eds. Stephen Slemon and Helen Tiffin (Sydney: Dangaroo Press 1989), it concludes with a modest manifesto of eight issues which together define one kind of postcolonial theoretical model for the (re)writing of English-Canadian theatre history.

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Chin-A Lee. "Representation of Korean Theatre on Postcolonial Condition." Journal of Korean Modern Literature ll, no. 34 (February 2008): 47–76. http://dx.doi.org/10.35419/kmlit.2008..34.002.

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Fresno-Calleja, Paloma. "Playing (with) Stereotypes in Postcolonial Pacific Theatre." Journal of Commonwealth Literature 45, no. 2 (June 2010): 171–88. http://dx.doi.org/10.1177/0021989410366890.

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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.

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Sibanda, Nkululeko. "Language Use in Postcolonial Zimbabwean Alternative Theatre Performance." Communicatio 46, no. 1 (January 2, 2020): 40–60. http://dx.doi.org/10.1080/02500167.2019.1700294.

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Dharwadker, Aparna. "The Really Poor Theatre: Postcolonial Economies of Performance." Journal of Dramatic Theory and Criticism 31, no. 2 (2017): 99–124. http://dx.doi.org/10.1353/dtc.2017.0005.

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Nilu, Kamaluddin. "A Transformative Journey: Making A Tempest in Postcolonial India." New Theatre Quarterly 34, no. 2 (April 19, 2018): 115–29. http://dx.doi.org/10.1017/s0266464x18000039.

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This article is based on the author's production of Aimé Césaire's A Tempest in India. Guided by the concept of transculturation, a key concern of Kamaluddin Nilu in the working process was to develop positions that could be considered parallel to those of Césaire. The topographical condition of present-day India is interpreted as ‘internal colonialism’, locked in differences within, and presented through a double-framed vision. The parallel to ‘black subjectivity’ was found to be the Dalits, who suffer from systematic discrimination and are segregated from the main social body. Further, when adjusting the text to ‘India's world’, the notion of a ‘third space’, benefiting from the performance matrix of the traditional ritualistic performance Ram Lila as well as a heterotopian space concept, was crucial. The intention to make a theatre production that could give the audience an opportunity to engage in a political debate on the hierarchical nature of Indian society was fulfilled. Breaking the established postcolonial political myth meant that the audience was faced with the unexpected. In such cases an indirect or parabolic performance mode of communication rather than a synergetic one becomes likely. Kamaluddin Nilu is an independent theatre director and researcher affiliated with the Centre for Ibsen Studies, University of Oslo. He is currently a Research Fellow at the International Research Centre ‘Interweaving Performance Cultures’ at the Freie University, Berlin. He was Chair Professor of the Theatre Department at Hyderabad University in India, and Artistic Director of the Centre for Asian Theatre (CAT) in Dhaka.

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SOLOMON, RAKESH H. "From Orientalist to Postcolonial Representations: A Critique of Indian Theatre Historiography from 1827 to the Present." Theatre Research International 29, no. 2 (July 2004): 111–27. http://dx.doi.org/10.1017/s0307883304000276.

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This essay offers a comparative critique of all major Indian theatre histories written during the modern era. It reveals three distinct representations of Indian theatre and argues that each was a manifestation of a discrete historiographic approach, shaped by its particular historical and cultural moment. Theatre histories of the Orientalist period offer a narrow and elitist construction of Indian theatre as synonymous with a single defunct genre, the ancient Sanskrit theatre. Histories of the high nationalist phase make a token acknowledgement of the Sanskrit and traditional genres but define Indian theatre as comprising primarily of the modern genre. Postcolonial histories construct a democratic and comprehensive Indian theatre – embracing the Sanskrit, traditional, and modern genre – but with an unpersuasively high significance assigned to the modern genre's post-Independence phase. Such different representations of Indian theatre show how theatre historiography in the modern period, like theatre historiography in any era, regularly refashioned itself under the pressure of changing historical, political, and cultural conditions.

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Owens, Imani D. "Toward a “Truly Indigenous Theatre”: Sylvia Wynter Adapts Federico García Lorca." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 1 (January 2017): 49–67. http://dx.doi.org/10.1017/pli.2016.34.

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AbstractThis article recuperates the creative work of Jamaican cultural theorist Sylvia Wynter, arguing that her activities as a dramatist and translator constitute foundational efforts to imagine an emerging postcolonial reading public. The article considers Wynter’s heretofore-neglected adaptation of Federico García Lorca’sLa Casa De Bernarda Alba. The play appears in the newly foundedJamaica Journalin 1968, alongside an essay theorizing adaptation, production, and sets. Adaptation, for Wynter, is strategy of postcolonial reading that requires carefulreinterpretation, an emphasis on historicity, and sensitivity to the imperatives of theatricality. The play evidences Wynter’s concern with the politics and poetics of translation, a transformative act that exemplifies the process ofindigenizationtheorized in her later works. Wynter transforms Lorca’s original, “transposing” it to a Jamaican setting and adding dialogue and content to craft a scathing meditation on the legacies of colonialism. Published shortly after Jamaican independence in 1962, this play imagines a “truly indigenous theatre” as central to the formation a postcolonial public.

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Lo, Jacqueline, and Helen Gilbert. "Toward a Topography of Cross-Cultural Theatre Praxis." TDR/The Drama Review 46, no. 3 (September 2002): 31–53. http://dx.doi.org/10.1162/105420402320351468.

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Theatrical practices variously called multicultural, postcolonial, syncretic, intercultural, transcultural, and imperialistic comprise a contested cluster of related operations in need of theorizing. After analyzing a number of approaches, the authors propose a new two-way flow model for intercultural theatre.

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Richards, Shuan. "Throwing Theory at Ireland? The Field Day Theatre Company and Postcolonial Theatre Criticism." Modern Drama 47, no. 4 (December 2004): 607–23. http://dx.doi.org/10.3138/md.47.4.607.

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Delimata, Maria. "Authenticity and commercialization. Cambodian theatre in a postcolonial perspective." Journal of Education Culture and Society 1, no. 2 (January 17, 2020): 15–26. http://dx.doi.org/10.15503/jecs20102.15.26.

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The article discusses the problem of authenticity and commercialization in the context of the postcolonial theatre in Cambodia. It seems that contemporary art in this country depends on foreign funds and at the same time on the special taste of – mainly – Western donors. The author tries to show, that the epithet “pure Cambodian” is very often used to make art more interesting to tourists. A similar situation can be seen in the crucifixions in Cutud (which annually takes place in a Philippine province – Pampanga with a wide touristic audience) and in Balinese theatre (another good example of a postcolonial, hybrid identity). Moreover, a discourse of the battle between “traditional” and “touristic” points of view does not have one answer. The search for purity can be a cause of petrifying traditional forms, as well as a sign of neocolonialism and (self-)orientalisation. On the other hand, a dialogue between indigenous artists and the others, tourists, may give the art a new profile and new meaning.

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Vermeulen, Vasti, and Myer Taub. "Constructing Patience: postcolonial theatre as a possibility for redemption." South African Theatre Journal 32, no. 3 (September 2, 2019): 191–98. http://dx.doi.org/10.1080/10137548.2018.1553627.

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Agbetuyi, Olayinka. "Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–13. http://dx.doi.org/10.32473/ysr.v3i2.129990.

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In this piece, I examine the role of authority in Yorùbá society and how au[1]thority is subverted by moral conflicts generated in the political evolution of the Yorùbá state from city state to empire, leading to disastrous consequences in the society at large as presented in the films of Adébáyọ Fálétí, specifically in Àfọnjá (2002), Basọrun Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì̀ (2005). I argue that such pains and pangs of transformation are not unique to Yorùbá society but mirror similar political evolutions in other societies such as Rome and Greece. Such political upheavals led to the celebrated assassination of Julius Caesar in Rome and Alexander the Great of Macedonia. In particular Àfọnjá ̀ and Baṣọrun ̀ Gáà dramatize evocatively the poignancy of the attendant confrontations. In addition, I evaluate Adébáyọ Fálétí as a Nigerian and African foundational practitioner in the global field of cultural studies and his use of cultural post materialism in his work. Adébáyọ Fálétí can be regarded as the father of modern Nigerian Cultural Studies and in Africa in general in line with the way that the discipline is understood the world over standing, as it were, on the cusp of traditional Nigerian and African drama and modern drama in African mother tongues. In addition, Fálétí epitomizes what modern cultural studies world-wide represent as a cross between the traditional discipline of drama and the television 172 Olayinka Agbetuyi industries as well as filmic industries, along with advertisements, which together constitute what is today known as the culture industries. As defined in the words of Chris Barker, “Culturalism focuses on meaning production by human actors in a historical context.”1 Fálétí’s historical drama and films fall within such category. Barker added that Culturalism focuses on interpretation as a way of understanding meaning.”2 These are the hallmarks of the historical drama that formed the basis of two of the films by Fálétí being examined here. In addition, he stated that cultural studies deal with subjectivity and identity or how we come to be the kinds of people we are. Fálétí’s Afọnja and Gáà’s thematic preoccupation is how the Yorùbá subjectivity has been constituted over time through its political evolution. The three films also demonstrate what Stuart Hall considers to be the connection that cultural studies seeks to make to matters of power and cultural politics.3 With regards to the role of Fálétí as pioneer in the area of radio-vision cultural industries the broadcasting mogul narrated the manner in which he pioneered the phone-in radio broadcast in Nigeria on the programme “Ѐyí Àrà” at the Broadcasting Corporation of Ọyọ̀ ́ State, Ibadan (BCOS) after pioneering Yorùbá broadcasting on Africa’s first television station Western Nigeria Television (WNTV) twenty years earlier.4 Fálétí’s career spanning close to seven decades dovetails public services with private engagement with drama production. He was one of the earliest organizers of a drama performing company in 1949 to produce his own plays. His career development can be divided into three phases: the formative traditional drama performance phase, the literary drama phase which dovetails into his career as a public servant in a symbiotic relationship and his post public service movie production phase which coincided with the efflorescence of the Nollywood. The three works examined here straddle Fálétí’s second and third phases of engagement in drama production. Both Basọrun Gáà (to be hereafter referred to as Gáà) and Ṣawo Ṣẹgbẹ ̀ rì ̀ were first staged in the second phase of Fálétí’s development as a theatre practitioner. In addition to being staged in the theater, Gáà and Ṣawo Ṣẹgbẹ ̀ rì̀ were produced for tele[1]vision audiences as dramatic thrillers and became household favourites in the ‘70s and ‘80s at the time of his career as a radio/television broadcaster. Fálétí’s retirement from public service provided the opportunity needed to build on the experience gained in the television industry to launch a full-blown film production career for which his earlier experience seems to have been a tutelage. Àfọ̀njá (2002), Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì ̀ (2005) are part of the products of this final phase. Although Àfọ̀njá preceded the other two in movie 1 Barker, Chris. Cultural Studies: Theory and Practice. London: Sage, 2012. 2 Barker. 2012, 17 3 Barker, 5. 4 Nigerianfilms.com. February 17, 2008. Accessed Aug 10 2018. Authority and Moral Conflicts in the Films of Adébáyọ Fálétí 173 production, it was the last to be written among the three and is organically a prequel which builds on the success of Gáà and extends a thematic continuum in the Fágúnwà-esque manner of the novels Ògbójú Ọde Ninu Igbó Irunmọlẹ and Igbo Olódùmarè. While Àfọ̀njá and Gáà are historical drama based on actual events in the history of the Yorùbá Empire, Ṣawo Ṣegberi is purely fictional and is based on a postcolonial Nigerian setting. The movies therefore take a reverse order to the chronology of writing and stage performance while Ṣawo Ṣẹ̀gbẹ̀rì, which was the first to be staged among the three, was not written for stage and television performance until it was script-written for film production.5 Àfọ̀njá, Gáà and Ṣawo Ṣẹgbẹ ̀ rì ̀ are each set in a cosmopolis where the Yorùbá citizens have to deal with other nationals in the context of Yorùbá mores within a broader cosmopolitan ethos. In Àfọ̀njá and Gáà that context is provided by the empire phase of Yorùbá civilization in which Yorùbá civilization was the dominant point of reference; in Ṣawo Ṣẹgbẹ ̀ rì ̀ the drama is situated in the context of postcolonial Nigerian city, in a nation that boasts large ethnic nationalities of which the Yorùbá are only one and in which Yorùbá culture is mediated by the postcolonial state with its symbol of the English language as the means of communication and its cultural spin offs. Fálétí demonstrates the mastery of dramaturgy in Àfọ̀njá and Gáà by juxtaposing the dynamics of running a state originally built on a confederation of city state structure very much like the Greek city state structure, at the latter’s comparative stage of political evolution, with a new imperial structure and the conflicts generated by the flux of the two systems; whereas in Ṣawo Ṣẹ̀gbẹ̀rì moral conflict is generated by interpersonal amatorial clashes as well as models of expertise.

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Prykowska-Michalak, Karolina, and Izabela Grabarczyk. "“English with a Polish Accent and a Slight Touch of Irish”: Multilingualism in Polish Migrant Theatre." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 298–316. http://dx.doi.org/10.18778/2083-2931.13.16.

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Issues of migration writing (see Kosmalska) and migrant theatre have recently gained prominence, leading to an increase in research focused on analyzing the theatrical works of artists with a migrant background. This phenomenon is part of a broader trend in intercultural and, often, postcolonial studies. Contemporary Polish migrant theatre is a subject that has not been thoroughly explored yet. Among many methods applied in the study of migrant theatre, intercultural studies or the so-called new interculturalism take the lead. These concepts draw on bilingualism or multilingualism practices, which are slowly taking a more significant role in migrant theatre studies. This article analyzes two theatre plays staged by Polish migrants in Ireland and in the United Kingdom in the context of linguistic practices that exemplify and help define the concept of transnational drama.

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Nicholson, Rashna Darius. "Decolonization and Theatre History." New Theatre Quarterly 39, no. 4 (November 2023): 355–76. http://dx.doi.org/10.1017/s0266464x2300026x.

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‘Decolonization’ has superseded ‘postcolonial’ as the most compelling catchword of the present moment. Broadly speaking, the term possesses two parallel genealogies: African decolonization and Latin American decoloniality. But where are Asian territories such as India and Hong Kong, and, more specifically, fields such as theatre history, located in the debate? This article analyzes the stakes and struggles, inner contradictions and blind spots, involved in decolonizing or decentring the curriculum. It asks whether the decolonial temporalities of our time constitute an adequate lens to theorize theatre history by firstly examining the term’s misuse by popular historians, media, and government; and, second, by interrogating a spectrum of positions on ‘Indian Theatre’ from the nineteenth century onwards. Through this double focus, the article probes the scholarly possibilities for undoing the dominant mode when the ‘decolonization trope itself becomes a tool for colonization’.

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AMINE, KHALID. "Theatre in the Arab World: A Difficult Birth." Theatre Research International 31, no. 2 (June 7, 2006): 145–62. http://dx.doi.org/10.1017/s0307883306002094.

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The present paper aims at illuminating the space that theatrical art occupies in the dynamics of rewriting and rethinking colonial historiography. My main thesis is that Arabic theatrical practices are construed within a liminal space that is thoroughly hybrid. It is a third space that is located between Self and Other, East and West, as well as tradition and modernity. These negotiations are informed by the postcolonial Arab condition of hybridity, a condition that is itself situated across diasporas and diaglossia. The result of this rewriting process is the production of a new kind of performance tradition that is irreducibly different. Western theatre was represented to the nineteenth-century Arabs with a strong aura of authority. The early reception of Shakespeare and Molière had been conditioned by the general shock of encounter with the Western Other since the Napoleonic invasion of Egypt – when Western plays were performed to an Arab audience for the first time. A whole apparatus of translation and theatrical reproduction of Western theatrical canons flourished in the Middle East, bringing about a difficult birth of what can now be called ‘Arab Theatre’, rather than a theatre written in Arabic language. However, The hybrid nature of Arab theatre soon emerged as a result of cultural negotiations that are not simply supplements which reproduce a palimpsest, rather they transform the conditions of the original texts, only to emerge as new and different kinds of performative agency. It is a postcolonial theatre that is located at the crossroads and a continuum of intersections, encounters, and negotiations; the outcome is a complex palimpsest that underlines the powers of impurity rather than a logocentric quest for the pure.

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Duchesne, Scott. ""A Golf Club for the Golden Age": English Canadian Theatre Historiography and the Strange Case of Roy Mitchell." Theatre Research in Canada 18, no. 2 (January 1997): 131–47. http://dx.doi.org/10.3138/tric.18.2.131.

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This article contends that through the work of academics committed to recording and discussing the efforts of the alternate theatre movement, the narrative of English Canadian theatre history was subsequently revised. As a result, two suppositions were established which form the implicit basis of much research into contemporary English Canadian theatre history. They are: (1) the significant development of an English Canadian dramatic literature by a movement of professional and postcolonial theatre-makers signaled the theatre's "coming of age", and therefore (2) a specific set of events from 1968 to 1975 constitute the "golden age" of English Canadian theatre history. The narrative as it stands, therefore, clearly and unfairly privileges the achievements of the alternate movement at the expense of numerous other, equally vital historical voices. This article will focus on a particular individual who serves as a prime example of this exclusion; the director and theorist Roy Mitchell (1884-1944).

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Gibbs, James. "BOOK REVIEW:Awam Amkpa. THEATRE AND POSTCOLONIAL DESIRES. London: Routledge, 2004." Research in African Literatures 36, no. 2 (June 2005): 146–47. http://dx.doi.org/10.2979/ral.2005.36.2.146.

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Journal articles on the topic 'Postcolonial theater'

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