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Artículos de revistas sobre el tema "Francophone theater"

Autor: Grafiati

Publicado: 25 de mayo de 2024

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1

Moss, Jane. "Francophone Theater of Western Canada: Dramatic Tales of Disappearing Francophones". American Review of Canadian Studies 39, n.º 1 (11 de mayo de 2009): 29–37. http://dx.doi.org/10.1080/02722010902834243.

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2

Forsyth, Louise. "Some Thoughts about Theater Translation in Francophone and Anglophone Canada". Quebec Studies 50 (octubre de 2010): 113–26. http://dx.doi.org/10.3828/qs.50.1.113.

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3

Mangerson, Polly T. "From Classroom to Stage to Community: The Francophone Youth Theater Experience". French Review 92, n.º 3 (2019): 46–59. http://dx.doi.org/10.1353/tfr.2019.0181.

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4

Camara, Samba. "Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn". African Arts 56, n.º 1 (2023): 94–95. http://dx.doi.org/10.1162/afar_r_00703.

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5

Denyer, Heather J. "Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn". Journal of Dramatic Theory and Criticism 37, n.º 1 (septiembre de 2022): 91–93. http://dx.doi.org/10.1353/dtc.2022.0018.

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6

Elstob, Kevin. "Introduction: Francophone Theatre Today". Theatre Research International 21, n.º 3 (1996): 191–95. http://dx.doi.org/10.1017/s0307883300015303.

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In the wake of French colonization, exploration and trade throughout the world, the French language permeated cultures on five continents. Depending on the source of the statistics, today's world-wide French-speaking population numbers anywhere from 67 to 450 million people. It is estimated that in the year 2000 there will be 500 million French speakers. French is the world's twelfth language, but next to English, the only language to be spoken on all five major continents. From such statistics we might project a community, but do these figures represent a genuinely united people? And, why, if the francophone community is growing should French governmental and cultural organizations be so concerned about the preservation of French? Before examining these questions, let us briefly outline the evolution of ‘la francophonie’.

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7

Beauchamp, Hélène. "Les 15 jours de la dramaturgie des régions". Canadian Theatre Review 102 (marzo de 2000): 80–82. http://dx.doi.org/10.3138/ctr.102.013.

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Jean-Claude Marcus, artistic advisor for the National Arts Centre’s Théâtre français, acted as artistic director for this fifteen-day event focused on the dramaturgy of the francophone regions of Canada, organized in Ottawa, “the geo-theatrical centre par excellence,” according to press releases. It was not a festival as such, argued Marcus, but an “instantaneous shot” of the state of artistic creation – musical, poetical, dramaturgical and theatrical – in francophone Canada. And it was a beautiful celebration, with artists of the Franco-Canadian parole – authors, musicians, poets, storytellers – presenting fourteen shows, ten readings of new scripts, one evening of “Poèmes aux quatre vents” and as much music and song as the evenings could afford. For its part, the Association des théâtres francophones du Canada (ATFC)1 organized talks on the performances themselves and workshops on themes like writing, directing, owning one’s theatre space, creating theatre in a region, co-producing, touring and so on.

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8

Castadot, Elisabeth. "Amnesia, Revelation, and Understanding in Francophone Algerian Theater: Au loin, les caroubiers by Fatima Gallaire and Mémoires à la dérive by Slimane Benaïssa". L'Esprit Créateur 54, n.º 4 (2014): 27–36. http://dx.doi.org/10.1353/esp.2014.0054.

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9

Parish, Richard. "Playing the Martyr: Theater and Theology in Early Modern France. Christopher Semk. Scènes francophone. Lewisburg: Bucknell University Press, 2017. xxiii + 174 pp. $75." Renaissance Quarterly 71, n.º 1 (2018): 401–2. http://dx.doi.org/10.1086/697872.

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10

Le Lay, Maëline. "VALENTE-QUINN (Brian), Senegalese Stagecraft : Decolonizing Theater-Making in Francophone Africa. Evanston (IL) : Northwestern University Press, coll. Performance Works, 2021, xi-202 p. – ISBN 978-0-810-14366-1". Études littéraires africaines, n.º 52 (2021): 226. http://dx.doi.org/10.7202/1087093ar.

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11

Colangelo, Jeremy. "Hannah Simpson. Samuel Beckett and the Theatre of Witness: Pain in Postwar Francophone Drama". Modern Drama 67, n.º 1 (1 de marzo de 2024): 122–24. http://dx.doi.org/10.3138/md-67-1-rev7.

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Samuel Beckett and the Theatre of Witness: Pain in Postwar Francophone Drama examines the role of pain in Beckett’s works and those of several post-war francophone authors, arguing that these texts figure the act of witnessing as a central problematic of dramatic depictions of pain in this era.

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12

Hitchcott, Nicki y John Conteh-Morgan. "Theatre and Drama in Francophone Africa". Modern Language Review 91, n.º 1 (enero de 1996): 236. http://dx.doi.org/10.2307/3734059.

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13

Beauchamp, Hélène. "Theatre of Commitment in Francophone Canada". Canadian Theatre Review 108 (octubre de 2001): 83–85. http://dx.doi.org/10.3138/ctr.108.014.

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It is not a new festival, but it has changed its name from the rather descriptive “Les 15 jours de la dramaturgie des régions” (reviewed in CTR 102) to the more catchy “Festival du Théâtre des Régions” (FTR). Founded by the Association des Théâtres francophones du Canada (ATFC) and the Théâtre français of the National Arts Centre (NAC), the Festival exists to bring together those professional companies and artists who write, create and produce theatre in French from Vancouver to Moncton and Caraquet. The Festival provides a showcase for selected productions, as well as precious time for discussions between companies and artists on co-producing and touring and official meetings with groups like the Canada Council, the National Theatre School and the Centre des auteurs dramatiques. In addition, Ontario’s Théâtre Action (TA), the West’s Association des Théâtres francophones de l’Ouest (ACTO) and the Association des Théâtres francophones du Canada hold their general meetings and elect their officers at the Festival; this year Guy Mignault of the Théâtre français de Toronto was elected president of ATFC for a two-year mandate.

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14

Chapin, Carole. "Représentations du théâtre russe dans la presse francophone des Lumières". ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 4 (17 de noviembre de 2016): 118–31. http://dx.doi.org/10.21900/j.vivliofika.v4.634.

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In the eighteenth century, journals carried information and promoted literary productions. They also acted as conduits for the reception of foreign cultures: thus, they show the ambiguities of Franco-Russian cultural relations. They acted as a medium that facilitated debates and polemics. This phenomenon is particularly interesting when the journalists discussed theatre, because this art form can act as a political and social instrument. Interest in the Russian theatre in French-speaking periodicals in the eighteenth century was not only a sign of greater interest in ‘Russian subjects’, but also formed part of a general reflection about contemporary drama. This trend was characterized by more openness towards foreign cultures. During this period of theoretical questioning, national theatre cultures tended to strengthen their specificities, while also using borrowings and translations from others theatres. The interest of French theatre aficionados for Russian theatre is well-known, as is the enthusiasm of the purveyors of Russian theatre for French theatre. However, the choice of words used to describe Russian theatre in the Francophone press—whether they be of praise or of criticism—can hide other goals, such as showing the greatness of Catherine II’s government or insisting on the role of the French model in Russia’s cultural development. In this paper, a corpus of selected articles is used to show several practices and issues o pertaining to the topic of the Russian theatre in the Francophone press. We question several possible political and aesthetic consequences of the image of Russia, which were spread by French-speaking periodicals in Europe. Furthermore, we try to analyze the role played by the specific discourse used by the periodicals in order to demonstrate its importance for researchers working on eighteenth-century European theatre and cultural relations.

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15

Small, Jean. "Doing Theatre: Theatre Pedagogy through the Folktale". Cultural and Pedagogical Inquiry 11, n.º 3 (6 de enero de 2020): 80–91. http://dx.doi.org/10.18733/cpi29505.

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Theatre Pedagogy holds that cognition is body-based. Through performance the body’s unconscious procedural memory learns. This information learned through repeated interaction with the world is transmitted to the brain where it becomes conscious knowledge. Theatre Pedagogy in this case study is based on the implementation of a Caribbean cultural art form in performance, in order to teach Francophone language and literature at the postsecondary level in Jamaica. This paper describes the experience of “doing theatre” with seven university students to learn the French language and literature based on an adaptation of two of Birago Diop’s folktales. In the process of learning and performing the plays, the students also understood some of the West African cultural universals of life which cut across the lives of learners in their own and in foreign cultural contexts.

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16

Knowles, Ric. "Festival de Théâtre des Amériques". Canadian Theatre Review 92 (septiembre de 1997): 90–95. http://dx.doi.org/10.3138/ctr.92.015.

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In a press conference at the end of the seventh edition of Montreal’s biannual Theatre Festival of the Americas (fta), its Director, Marie-Hélène Falcon, indicated that the Festival would not compromise its artistic plan in the interests of increasing attendance. Although attendance at most of the twenty shows performed to a total audience of 21 000 over eighteen days was excellent, “uncompromising” is perhaps the most accurate way of characterizing the Festival as a whole. While presenting outstanding theatre from Argentina, Australia, Germany, Italy, Lithuania, and the United States, as well as francophone and anglophone Quebec, francophone Ontario, and (anglophone) Alberta in an astonishing variety of styles and formats, most of the shows were singularly uncompromising in their form, subject matter, and style, as they were remarkably uncompromising in their treatment of actors and audiences.

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17

Wright, Heather. "Francophone Theatre in Ontario: On n’est plus loin deToronto". Canadian Theatre Review 46 (marzo de 1986): 42–49. http://dx.doi.org/10.3138/ctr.46.005.

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Like so many of the audience, Helen Stone is attending the production of Michel Tremblay’s Hosanna at Toronto’s Théâtre du P’tit Bonheur for professional reasons: she works in French Services in the provincial government and needs to maintain her French. Hosanna’s process of self-exposure and self-discovery, culminating in his powerful nude scene with his lover, Cuirette, leaves her squirming. But she has no choice: if she wants to go to French theatre, this is the only game in town. Miles from Toronto, a typical spectator at a production by Théâtre du Nouvel-Ontario yields a very different profile. TNO’s Sudbury audience consists largely of members of the community that this theatre has carefully nurtured over the years-retirees, students, unemployed francophones, and their friends and families-all living in the moulin-à-fleur district. Currently these two theatres define the opposite extremes of the Franco-Ontarian theatre community. Contrasting and comparing them, an overview of the issues and opportunities within this community begins to emerge.

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18

Whiteley, David. "Of Mothers and Dragonflies: Two Montreal Solo Performances". Canadian Theatre Review 92 (septiembre de 1997): 34–38. http://dx.doi.org/10.3138/ctr.92.007.

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As an anglophone experiencing francophone theatre in Montreal, it is easy to believe in the old cliché of “two solitudes.” The two theatre cultures are separated not only by language but by unions, performance spaces, cultural references, political priorities, and aesthetic values. Nevertheless, solo performance is as rife in Québécois theatre as it is elsewhere in Canada. This repertoire includes works as diverse as Pol Pelletier’s autobiographical Joie, René-Daniel Dubois’s Ne blâmez jamais les Bédouins, Larry Tremblay’s Le Déclic du destin and Leçon d’anatomie, and Robert Lepage’s one-man Hamlet, Elseneur.

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19

HITCHCOTT, N. M. "Review. Le Theatre en Afrique noire francophone. Scherer, Jacques". French Studies 52, n.º 4 (1 de octubre de 1998): 489. http://dx.doi.org/10.1093/fs/52.4.489.

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20

Miller, Judith G. y John Conteh-Morgan. "Theatre and Drama in Francophone Africa: A Critical Introduction". International Journal of African Historical Studies 29, n.º 3 (1997): 676. http://dx.doi.org/10.2307/221409.

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21

Harrow, Kenneth W. y John Conteh-Morgan. "Theatre and Drama in Francophone Africa: A Critical Introduction". African Arts 29, n.º 4 (1996): 91. http://dx.doi.org/10.2307/3337409.

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22

Bruner, Charlotte H. y John Conteh-Morgan. "Theatre and Drama in Francophone Africa: A Critical Introduction". World Literature Today 70, n.º 1 (1996): 222. http://dx.doi.org/10.2307/40151997.

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23

T. Nsah, Kenneth, Lisette N. Malung y Noella M. Ngunyam. "The Slow Integration of Sustainability into Contemporary Theatre and Performance Practices in Cameroon". Peripeti 19, n.º 37 (19 de diciembre de 2022): 58–71. http://dx.doi.org/10.7146/peri.v19i37.135191.

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The Cameroonian theatre landscape, both Anglophone and Francophone, is not left untouched by current concerns and discourses about climate change, ecological degradation, and particularly environmental/natural sustainability. In this article, we will examine the emerging inclusion of sustainability in theatre and performances in Cameroon. Specifically, we will discuss the ways in which choices of costumes, makeup, stage props, and occasionally thematics reflect and seek to promote the sustainable management of Nature. Methodologically, we will employ data gathered from five current theatre troupes in Cameroon, interviews conducted with some theatre directors and practitioners, and the personal experiences of (some) co-authors who are also theatre practitioners. We will begin by discussing some unsustainable practices that characterised much of previous Cameroonian theatrical performances and then proceed to present the evolution of the situation, especially as demonstrated in the choices and deployment of costumes, makeup, stage props, and thematics in a selection of theatre performances and theatre scripts. In this way, we hope to highlight the contribution of Cameroonian theatre towards ensuring a just and sustainable planet Earth for all.

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24

Graham, Catherine. "The Audience-driven Aesthetic of Recent Canadian Political Plays". Canadian Theatre Review 115 (junio de 2003): 57–61. http://dx.doi.org/10.3138/ctr.115.012.

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The 1996 National Film Board film, Fermano, His Life on Stage, features an important discussion between playwright David Fennario and the former artistic director of Montréal’s Centaur Theatre, Maurice Podbrey. In it Podbrey notes Fennario’s success at the Centaur theatre with such political plays as On the Job and Balconville. There can be little doubt about the political impact of Balconville in 1970s Québec: it was and remains one the most important works in the history of English-Canadian theatre history in that province. Produced at Montreal’s Centaur Theatre two years after the election to power of the Parti Québécois and two year’s before Quebec’s first referendum on sovereignty, it used formal means as much as thematic content to confront anglo Quebecers with the new reality that history was forcing them to confront. As the name suggests, Balconville takes place on the balconies of a rental property in the southwest of Montréal, where working-class Anglophones and Francophones live beside each other without every really trying to understand each other. Yet the play demonstrates, often through humour, working-class families who have the same problems with gender relations and landlords, whichever of Montreal’s two dominant languages they are speaking. In formal terms, the play presented a distinct challenge for the audience, as it was played in both French and English. The choice to have Marc Gélinas, a Francophone actor, play his role in a very vernacular Québécois French, which was more than a little difficult for anglo Quebecers of the time (schooled in the regularly conjugated version of the language) to understand, challenged Centaur’s audience (see MacLeod). In effect, for Montréal Anglophone audiences of the time, to try to understand the action of this play was to face the new realities of a Québec where one could either retreat into a unilingual English ghetto or make an attempt to communicate despite the fear that one was never completely understanding what was said. Yet in his discussion of this important work in the film, Fennario announces that he considers Balconville a failure, largely because of the middle-class audiences to whom it was presented. Centaur’s audience, Fennario tells Podbrey, could and would never really rise to the challenge Balconville posed and this in itself made the production less politically effective than it might otherwise have been (qtd. in MacLeod).

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25

Chiasson, Zénon y Roland Viger. "The Acadian Theatre". Canadian Theatre Review 46 (marzo de 1986): 50–57. http://dx.doi.org/10.3138/ctr.46.006.

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Canadian francophones living east of Quebec have been learning to spell the word “Acadie” for 350 years now without ever having come across it In their geography textbooks. And they have been honoring their flag and singing their national anthem, especially on their August 15 national holiday, for the last 100 years. Lacking a country, the Acadians have forged themselves durable symbols Instead. Today they still remember their history and preserve their customs, language, and accents. This highly specific culture has produced a whole range of artists, some of whom, like Edith Butler, Antonine Maillet, Viola Léger, and Jacques Savoie, are internationally known. They have become the Illustrious ambassadors of a much-sought, Utopian homeland of the soul, one of the most striking ambiguities of the Canadian cultural mosaic.

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26

Ackerman, Marianne. "Anglophone Theatre in Montreal: A Crisis of Vision". Canadian Theatre Review 46 (marzo de 1986): 21–27. http://dx.doi.org/10.3138/ctr.46.002.

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Habitual newspaper readers could hardly have been surprised by the gloomy tone of a recent La Presse story about English-language theatre in Montreal. Since the mid-1970s, various publications and politicians have routinely announced and denounced the death of anglophone Quebec. Despite the newly-elected Liberal government’s conciliatory tone, anglo Quebeckers are still humming a dirge. In the last decade, francophone nationalism, high unemployment, and the multi-faceted acceleration of a westward shift in power have dealt anglo cultural institutions a hard blow. Individual artists have suffered as well. Centaur Theatre has felt the change: most productions at Montreal’s only government-subsidized English-language theatre are completely cast in Toronto. The once-thriving amateur theatre scene has registered a noticeable decline in both the talent and numbers of volunteers. And while a handful of small ventures have struggled to get established, neither the commercial dinner theatres nor semi-professional dramatic ventures have yet defined a profile or built resources upon which a stable future could be predicted with any certainty.

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27

Goodwin, Jill Tomasson, Don Rubin y Michael J. Sidnell. "The Theatre’s Nations: The World Encyclopedia of Contemporary Theatre: Volume I: Europe". Canadian Theatre Review 86 (marzo de 1996): 58–60. http://dx.doi.org/10.3138/ctr.86.011.

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This volume is the first of a planned five that will constitute WECT, “a project implemented with the support of UNESCO”. Volume 2 is to be devoted to the theatre of “The Americas”; Volume 3 to the theatre of Africa; Volume 4 – varying the geographical definitions – to “The Arab World”; and Volume 5 to “Asia/Oceania”. Culture and language are clearly not conceived as organizing principles for a work which puts Britain, Australia and North America in three different volumes and similarly apportions francophone and hispanic theatrical manifestations according to geo-political criteria. But nor, as the definition “Arab World” indicates, is the overall organizing principle a strictly geographical one. In fact, the “Europe” of Volume 1 includes, without explanation, Israel and Turkey.

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28

Klassen, Jeffrey. "Retour sur la vie théâtrale de Guy Michaud : homosexualité, sida et voix marginalisées sur les planches fransaskoises". Theatre Research in Canada 43, n.º 2 (1 de octubre de 2022): 168–90. http://dx.doi.org/10.3138/tric.43.2.a01.

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This article presents the theatrical career of Guy Michaud, playwright, actor, and director. Working in two languages in a province that is primarily Anglophone, Michaud’s work is situated at the intersection of two minority groups in Saskatchewan: the gay community and the Francophone community. Michaud’s bilingual career in Saskatchewan coincided with the emergence of AIDs theatre, which redefined dominant ideologies regarding homosexuality. With compassion and care, Michaud created characters who gave a human face to the AIDs tragedy and called into question the anglophone and heteronormative hegemony in Saskatchewan. By examining Michaud’s writing and conducting a research interview with him, the current study offers a biographical portrait of this theatre artist followed by an in-depth exploration of the topics found in his work: AIDs and its associated grief, homosexuality, and alienated youth.

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29

Steiciuc, Elena-Brândușa. "« Et les gens qui ne voulaient pas aller jusqu’au bout ont été envoyés au camp » : Matei Vișniec et la condition de l’écrivain dans les régimes totalitaires". Caietele Echinox 39 (1 de diciembre de 2020): 276–82. http://dx.doi.org/10.24193/cechinox.2020.39.20.

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"Matei Vișniec was exiled in Western Europe before the fall of the totalitarian regime in his native country, Romania. The traumas of his life experience have left an important mark in the writer’s conscience as a result of which, after becoming a well-known Francophone writer, he started to denounce this terror in his plays, notably the trilogy that constitutes “the trial of communism through theatre”. This article draws attention to Vișniec’s ethical attitude, the writing techniques utilized in the trilogy and the way in which intellectuals can deploy resistance in such a terrifying atmosphere."

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Beauchamp, Hélène y Ric Knowles. "Theatre and Translation". Canadian Theatre Review 102 (marzo de 2000): 3–4. http://dx.doi.org/10.3138/ctr.102.fm.

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Among the contexts in which this issue is produced is the memory one of us has of growing up francophone in Ottawa, feeling the frustration of always having to translate in order to get on with the business of everyday life: the feeling, spoken in the epigraph above, of both speaking and being heard “in translation,” as a distant echo of “what’s inside.” But, in a sense, all human communication – the encoding and decoding of meanings – consists of acts of translation, of refracted echoes. And since such acts are performative, the topic of theatre and translation is potentially a very broad one, taking all human communication as its subject-including, as Ellen MacKay and Jeanne Klein demonstrate in this issue, various kinds of border crossing and code-switching both within and across linguistic divides, and various performances of identity. To a greater or lesser degree, moreover, all translation, between languages, peoples, cultures, species and codes – and even between individual people in intimate relationships who speak the same languages but remain proverbially “misunderstood” – is mistranslation. This, of course, is at the root of many conflicts in the home, the workplace and the world, ranging from divorces to disasters: brutal wars and intercultural conflicts that are all too familiar as the world sidles anxiously into the third millennium with no sign that the human capacity for brutality is on the decline. But, as Jacob Wren points out in this issue, translation as an inexact science is also at the root of all invention and creativity: mistranslation itself constitutes the frisson, friction and Assuring from which pleasure derives and from which emerges the possibility for social change. When translation happens within generous and congenial contexts such as those Don Druick describes in this issue at the Tadoussac residency, moreover, the possibility emerges of enlightened and mutually enriching exchange – and, through exchange, change.

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SCHERER, J. "Review. Theatre and Drama in Francophone Africa: A Critical Introduction. Conteh-Morgan, John". French Studies 50, n.º 2 (1 de abril de 1996): 238. http://dx.doi.org/10.1093/fs/50.2.238-a.

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32

Vetinde, Lifongo. "Theatre and Drama in Francophone Africa: A Critical Introduction by John Conteh-Morgan". Comparative Drama 31, n.º 2 (1997): 316–19. http://dx.doi.org/10.1353/cdr.1997.0010.

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Alemdjrodo, Kangni y R. H. Mitsch. "New Theatre in Francophone and Anglophone Africa, and: Politics and Performance: Theatre, Poetry and Song in Southern Africa (review)". Research in African Literatures 30, n.º 4 (1999): 220–21. http://dx.doi.org/10.1353/ral.2005.0024.

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34

Sprung, Guy. "Canada Dry!: A Canadian Theatre Company in Egypt". Canadian Theatre Review 110 (marzo de 2002): 88–91. http://dx.doi.org/10.3138/ctr.110.020.

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Last September Infinitheatre, my small Montreal “risk theatre,” took a bilingual production of Beckett’s Fin de Partie/Endgame to the thirteenth Cairo International Festival for Experimental Theatre. We had originated our production in Old Montreal, in the unheated shell of a former foundry where temperatures dipped to freezing in the November chill. With the breath of the actors visible in the air, the audience huddled together under blankets to watch the love/hate power struggle of Hamm and Clov. Hamm was played by a Francophone (Jean Archambault) and Clov by an Anglophone (Sean Devine); this allowed us to graft together Beckett’s own French and English versions. Language became part of the battleground as the characters switched between French and English in mid-dialogue with the frequency and ease we Montrealers do in our daily existence. Clov’s constant threat: “Je te quitte,” the mantra of anglo Quebec, took on a very specific resonance. Somehow word of our production reached the Egyptian Consul in Montreal and we were invited to participate in what Egyptians consider one of the great international cultural events of the Arab world.

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35

Forsyth, Louise H. "Introduction: Les Femmes dans le Théâtre du Québec et du Canada / Women in the Theatre of Quebec and Canada". Theatre Research in Canada 8, n.º 1 (enero de 1987): 3–8. http://dx.doi.org/10.3138/tric.8.1.3.

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This special issue is dedicated to the many women of Canada and Quebec who, from the very beginnings of this country, made a major contribution to its cultural life. Specifically, it is dedicated to the women who made, who taught how to make, or who helped to make theatre here. A glance through the volume will reveal, though, that it has been possible to speak of only a few of these women. In fact, the majority of their names and what they did will never be known - the Ursulines for whom theatre was a vital approach to education in early 17th century Quebec; the women in towns and outlying communities who looked after social activities and sustained the vital bonds by organizing shows, pageants and concerts in schools, churches and community halls; others, whether in amateur or professional theatres, in anglophone or francophone communities, who looked after the myriad details and tasks involving costumes, props, rehearsals, publicity, administration, which are so often overlooked and yet without which performances could not have taken place. I am reminded here as well of the many mothers or wives mentioned in the reminscences of those who were active in amateur theatre. It is claimed that these women had little interest in theatre, and yet for years they allowed their closets and cupboards to be raided for costumes and props, their homes invaded by actors and directors in search of rehearsal space, while they provided the nurturing and services necessary so the others could make theatre. With their own unique talents, and in a variety of ways women have been making and helping to make theatre throughout Canadian history and, no doubt, in every Canadian community.

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TANGWA, GODFREY B. "Anglophone Theatre in a Francophone City: The Flame Players and Other Troupes in Yaoundé". Matatu 20, n.º 1 (26 de abril de 1998): 155–68. http://dx.doi.org/10.1163/18757421-90000286.

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Layne, Glenda-Rose. "Honouring Caribbean Folk Cultures: A Personal Reflection". Cultural and Pedagogical Inquiry 11, n.º 3 (6 de enero de 2020): 92–104. http://dx.doi.org/10.18733/cpi29506.

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Drawing on my considerable knowledge of the field, this essay examines key components of the intangible cultural heritage of several Caribbean countries. It maps pictures of cultural similarities which can be traced to their roots in traditional sub-Saharan, African cultures. The article demonstrates that oral African cultural traditions derived from a rich cultural heritage are shared by the former Anglo and Francophone, Caribbean colonies. The article suggests that the cultural similarities in the folk culture, help Caribbean people to identify with each other as members of the larger African diaspora. Furthermore, the article also explores possible roles of synergy theatre, digitization and animation as mechanisms to maintain and retain the folk culture, once disseminated exclusively by our oral cultural traditions.

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Rauer, Selim. "The Racial Unconsciousness of the Parisian Public Theatre: Borders and Demotions in Francophone Contemporary Drama". Modern Drama 61, n.º 3 (septiembre de 2018): 411–35. http://dx.doi.org/10.3138/md.s0918.

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Yewah, Emmanuel. "Congolese Playwrights as Cultural Revisionists". Theatre Research International 21, n.º 3 (1996): 219–28. http://dx.doi.org/10.1017/s0307883300015339.

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The Central African sub-region has a well developed literary history. Although such countries as Cameroon and Zaire have been the region's literary vanguard, the Congo presents a rather fascinating case study given its size, population and its incredible contribution to national and African literature. Roger Chemain insightfully notes: ‘De toute l'Afrique dite “francophone”, le Congo compte le plus fort pourcentage d'écrivains par rapport à l'ensemble de la population au point qu'il peut prétendre à être l'un des “poles” culturels de cette partie de l'Afrique, au même titre que le Sénégal ou le Cameroun, pourtant beaucoup plus peuplés.’ Indeed, the Congo has produced some of the continent's most innovative and daring political writings. In the theatre, a number of playwrights have attempted to take issue with post-colonial dictatorships and cultural assumptions inherited from African traditions and colonialism.

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Williams, Dave. "Theatre and Drama in Francophone Africa. By John Conteh-Morgan. Cambridge: Cambridge University Press, 1994; pp. 242. $59.95 hardcover." Theatre Survey 37, n.º 2 (noviembre de 1996): 144–46. http://dx.doi.org/10.1017/s0040557400001678.

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Banham, Martin. "Theatre and Drama in Francophone Africa. By John Conteh-Morgan. Cambridge: Cambridge University Press, 1994. Pp. xii + 243. £35/$59.95." Theatre Research International 20, n.º 3 (1995): 292. http://dx.doi.org/10.1017/s0307883300008853.

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Alem, Kangni A. "BOOK REVIEW: ed. Anne Fuchs.NEW THEATRE IN FRANCOPHONE AND ANGLOPHONE AFRICA.Matatu20. Amsterdam: Rodopi, 1999. and ed. Liz GunnerPOLITICS AND PERFORMANCE: THEATRE, POETRY AND SONG IN SOUTHERN AFRICA. Witwatersrand: Witwatersrand UP, 1994." Research in African Literatures 30, n.º 4 (diciembre de 1999): 220–21. http://dx.doi.org/10.2979/ral.1999.30.4.220.

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Garnier, Xavier. "FUCHS Ann (sous la direction de), New Theatre in Francophone and Anglophone Africa, Matatu n° 20, Amsterdam-Atlanta, Rodopi, 1999, 293 p." Études littéraires africaines, n.º 7 (1999): 28. http://dx.doi.org/10.7202/1042098ar.

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Upton, Carole-Anne. "John Conteh- Morgan Theatre and Drama in Francophone AfricaCambridge: Cambridge University Press, 1994. 243 p. £35.00 (hbk). ISBN 0-521-43453-X." New Theatre Quarterly 12, n.º 45 (febrero de 1996): 94. http://dx.doi.org/10.1017/s0266464x00009830.

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Simpson, Hannah. "Trying Again, Failing Again: Samuel Beckett and the Sequel Play". New Theatre Quarterly 37, n.º 3 (19 de julio de 2021): 258–72. http://dx.doi.org/10.1017/s0266464x21000166.

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Samuel Beckett’s Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and re-evaluates the original text, and its reiterative nature aptly parallels the paradox of non-ending in Beckett’s original Waiting for Godot. Focusing on four unauthorized stage sequels to Beckett’s play – Miodrag Bulatović’s Godo je došao (Godot Has Arrived, 1966), Alan Titley’s Tagann Godot (Godot Arrives, 1987), Daniel Curzon’s Godot Arrives (1999), and Minoru Betsuyaku’s Yattekita Godot (Godot Has Come, 2007) – this article examines how these sequels rework the cultural logic of Godot’s arrival to their own critical and political ends. These playwrights draw on the very recursive, even frustrating, nature of the sequel form itself as an exegetic framework, reproducing the trope of non-ending that characterizes Beckett’s own work. Hannah Simpson is the Rosemary Pountney Junior Research Fellow in British and European Drama at St Anne’s College, University of Oxford. She is currently working on two forthcoming Beckett-related monographs: Witnessing Pain: Samuel Beckett and Post-War Francophone Theatre and Samuel Beckett and Disability Performance.

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Joshi, Swati. "Samuel Beckett and the Theatre of the Witness: Pain in Postwar Francophone Drama. By Hannah Simpson. New York: Oxford University Press, 2022. Pp. xi + 188. $80 Hb." Theatre Research International 48, n.º 3 (octubre de 2023): 328–29. http://dx.doi.org/10.1017/s0307883323000251.

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Kerras, Nassima y Moulay Lahssan Baya. "Analysis of the Algerian Novel Fahla (Rabah Sbaa) from a Sociolinguistic Approach". Arab World English Journal For Translation and Literary Studies 6, n.º 4 (24 de octubre de 2022): 15–31. http://dx.doi.org/10.24093/awejtls/vol6no4.2.

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This study analyzes the Algerian novel Fahla from a sociolinguistic point of view. The author has taken the initiative to write his novel in Algerian and in Latin characters and Arabic characters for both Arabic and Francophone readers since Algerian remains uncodified to this day. The main objective is to observe the linguistic system of the Algerian language and that of the standard Arabic one to understand the functioning of the dialect mentioned above and demonstrate the need to study its linguistic typology and the phylogenetic relationships between the two languages. It is essential to investigate the relationship between language use, society, and identity to compare them. The novel is an appropriate example to analyze this three-dimensionality of language as osmosis that reflects the uniqueness of each speaker. A sociolinguistic study is carried out to evaluate the validity of Algerian as an official language. Fragments of texts that reflect these characteristics are considered following a qualitative methodology based on the observation and interpretation of data to demonstrate the use of various literary resources, syntax, structures and phrases of a language which is considered a dialect. The analyzed work reveals the real attitudes of society through the Algerian language for the first time in the literary field. It is a linguistic revolution that accompanies the social revolutions of recent years. The importance of communication in the mother tongue is shown through this work. To further raise awareness in the sociolinguistic community, there must be more encouragement for authors and journalists to write in this language, just as it is used by the media and culture (through means such as the theatre and the cinema) to emphasize the importance of identity values, including verbal and written expression in the mother tongue.

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Redaktion. "English Summaries". Peripeti 19, n.º 37 (19 de diciembre de 2022): 250–53. http://dx.doi.org/10.7146/peri.v19i37.135214.

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Connected Matters: Collaboration and Care in Nana Francisca Schottländer’s Bodyscaping By Solveig Gade This article is preoccupied with the dramaturgies and collaborations between human and more-than-human agents in contemporary eco-performance. Putting Anna Tsing’s concept of contamination as collaboration as well as Maria Puig de la Bellacasa’s notion of care time into dialogue with theatre and performance studies, the article investigates Danish choreographer Nana Fransisca Schottländer’s performance Bodyscaping, arguing that contemporary eco-performance does not only represent, but also practice care. Jessie Kleemann’s Art of Survival By David W. Norman In her work as an educator, actor, poet and visual artist, Jessie Kleemann has persistently expanded the limits of arts discourse in Kalaallit Nunaat, not least through her unique approach to body art informed by historical Kalaallit theatrical forms and antimimetic dramaturgy. Emphasizing how Kleemann’s embodied practice prompts reflection on the potential for action amid environmental collapse, this essay situates her work alongside schools of thought that have theorized the body during moments of crisis. I focus on Kleemann’s early experimentation with analog video and recent ecocritical poetry, aligning her work with traditions ranging from ancestral Inuit performance genres to post-1945 action art and contemporary practices advocating on behalf of missing and murdered Indigenous women and girls. Kleemann’s methods, refracted through these traditions, place embodied action at the center of efforts to form more ethical relations. The Art of Sustainability By Sarah Woods As the systems thinker Fritjof Capra points out, through the course of Western history we have tended to give more attention to elements or things than to interconnections or relationships, thinking more mechanistically than holistically, asking “What is it made of?” rather than “What is the pattern?” 26. Sometimes, however, the study of patterns and relationships comes to the fore. Now, in our networked, digital world, as we wrestle with some of the 66 continuous problems that Donella Meadows and her team addressed in the classic Limits to Growth27, like climate change, global inequality and migration, is one of those times. This article shows the diverse and multi-fold advantages of using systems thinking as a methodology for working creatively with complexity. It explores the basic biological patterns that define life; the nature, patterns and effects of different forms of feedback; and how systems thinking can assist us in problem-solving, managing complexity and in understanding how creativity works. Living sustainably means living within the finite limits of our system. Understanding more about the systems we live with, whether through taking action on climate change or creating a well-functioning piece of art, helps us to live well and to create well. The Slow Integration of Sustainability into Contemporary Theatre and Performance Practices in Cameroon By Kenneth T. Nsah, Lisette N. Malung and Noella M. Ngunyam The Cameroonian theatre landscape, both Anglophone and Francophone, is not left untouched by current concerns and discourses about climate change, ecological degradation, and particularly environmental/natural sustainability. In this article, we will examine the emerging inclusion of sustainability in theatre and performances in Cameroon. Specifically, we will discuss the ways in which choices of costumes, makeup, stage props, and occasionally thematics reflect and seek to promote the sustainable management of Nature. Methodologically, we will employ data gathered from five current theatre troupes in Cameroon, interviews conducted with some theatre directors and practitioners, and the personal experiences of (some) co-authors who are also theatre practitioners. We will begin by discussing some unsustainable practices that characterised much of previous Cameroonian theatrical performances and then proceed to present the evolution of the situation, especially as demonstrated in the choices and deployment of costumes, makeup, stage props, and thematics in a selection of theatre performances and theatre scripts. In this way, we hope to highlight the contribution of Cameroonian theatre towards ensuring a just and sustainable planet Earth for all. Costume and Sustainability: From Past Practice to Future Strategies for an Ecological Costume Praxis By Sofia Pantouvaki, Ingvill Fossheim and Susanna Suurla What can we learn from past traditions and what sustainability practices are currently employed in the field of costume? Moving towards a more ecological costume creation, there is an increasing need to address the responsibility of the costume practitioners through the lifecycle of costume from design to production. This article provides an overview of current sustainable costume practices and suggests that it is timely to rethink costume praxis from an ecologically responsible perspective. The article addresses the necessity of embedding ecological equity into all aspects of costume creation and proposes that a resilient ecosystem of costume practice can be envisioned within professional institutions, as well as the individual costume designer. Seeking Performance Sustainability within Disability By Molly Joyce The disability community has traditionally been left out of sustainability conversations. Disability is often seen as a “blind spot” in such frameworks (Miethlich 2019) and is not considered part of sustainability metrics (Beyond Green,2019). Therefore, it is pertinent to investigate what sustainability can manifest within the institutional and aesthetic circumstances of disability arts, specifically through the lens of disabled artists across performative disciplines. Leave No Bodymind Behind: Sins Invalid’s Vision of Crip Sustainability By Nina Muehlemann This article discusses how the work of US-collective Sins Invalid, particularly the 2021 documentary Loving with Three Hearts and 2020 performance piece We Love Like Barnacles, addresses the exclusion of disabled people, especially multiply marginalised disabled people, in discourses and practices that address ecological disaster. The article argues that the company positions ableism as a crucial part of said exclusion and with their work proposes a version of sustainability that is rooted in collective access and care.

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Barlet, Olivier. "Les salles de cinéma en Afrique sud saharienne francophone (1926–1980) / Movie Theaters in French-Speaking Africa South of the Sahara (1926–1980), by Claude Forest: A Welcomed and Essential Historical Work". Black Camera 14, n.º 1 (junio de 2022): 313–19. http://dx.doi.org/10.2979/blackcamera.14.1.18.

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Sillars, Stuart, Ton Hoenselaars, Rebecca Roberts, Muriel Cunin, Elizabeth Ford, Edward Gieskes, Colette Gordon, Jean-Marie Maguin, Ton Hoenselaars y Janice Valls-Russell. "Book Reviews: The Bowdler Shakespeare, the Cambridge Introduction to Shakespeare's History Plays, Elizabethan Architecture: Its Rise and Fall, 1540–1640, Rhetoric, Theatre and the Arts of Design. Essays Presented to Roy Eriksen, Shakespearean Metaphysics, Representing France and the French, Tragicomic Redemptions: Global Economies and the Early Modem English Stage, Œuvres complètes, the Whirligig of Time: Essays on Shakespeare and Czechoslovakia, the Shakespeare's Mine: Adapting Shakespeare in Anglophone Canada, Cruel Tears, a Certain William: Adapting Shakespeare in Francophone Canada, Hamlet, Prince of Québec". Cahiers Élisabéthains: A Journal of English Renaissance Studies 77, n.º 1 (abril de 2010): 81–100. http://dx.doi.org/10.7227/ce.77.1.8.

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