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Libros sobre el tema "Postcolonial theater"

Autor: Grafiati
Publicado: 25 de mayo de 2024

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1

Theatre and postcolonial desires. London: Routledge, 2003.

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2

Amkpa, Awam. Theatre and Postcolonial Desires. London: Taylor & Francis Group Plc, 2003.

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3

Indonesian postcolonial theatre: Spectral genealogies and absent faces. New York: Palgrave Macmillan, 2010.

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4

Bhatia, Nandi. Acts of authority, acts of resistance: Theater and politics in colonial and postcolonial India. Ann Arbor: University of Michigan Press, 2004.

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5

Behera, Gourhari y Sunita Murmu. Representation and resistance: Essays on postcolonial theatre and drama. Delhi, [India]: ABS Books, 2015.

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6

Feminist visions and queer futures in postcolonial drama: Community, kinship, and citizenship. New York: Routledge, 2010.

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7

1939-, Adler Heidrun y Röttger Kati, eds. Performance, pathos, política de los sexos: Teatro postcolonial de autoras latinoamericanas. Madrid: Iberoamericana, 1999.

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8

Chowdhury, Khairul. Three Bangladeshi plays considered in postcolonial context: Three Bangladeshi plays. Saarbrücken: LAP Lambert Academic Pub., 2010.

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9

Batra, Kanika. Feminist visions and queer futures in postcolonial drama: Community, kinship, and citizenship. New York: Routledge, 2011.

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10

Intersecciones.: Ensayos sobre cultura y literatura en la condición postmoderna y postcolonial. Buenos Aires: Galerna, 2002.

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11

Winet, Evan Darwin. Indonesian Postcolonial Theatre. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230246676.

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12

1964-, Rings Guido y Morgan-Tamosunas Rikki, eds. European cinema: Inside out : images of the Self and the Other in postcolonial European cinema. Heidelberg: Universitätsverlag Winter, 2003.

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13

Brillenburg Wurth, Kiene y Ann Rigney. The Life of Texts. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463720830.

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This innovative introduction to literary studies takes 'the life of texts' as its overarching frame. It provides a conceptual and methodological toolbox for analysing novels, poems, and all sorts of other texts as they circulate in oral, print, and digital form. It shows how texts inspire each other, and how stories migrate across media. It explains why literature has been interpreted in different ways across time. Finally, it asks why some texts fascinate people so much that they are reproduced and passed on to others in the form of new editions, in adaptations to film and theatre, and, last but not least, in the ways we look at the world and act out our lives. The Life of Texts is designed around particular issues rather than the history of the discipline as such. Each chapter concentrates on a different aspect of 'the life of texts' and introduces the key debates and concepts relevant to its study. The issues discussed range from aesthetics and narrative to intertextuality and intermediality, from reading practices to hermeneutics and semiotics, popular culture to literary canonisation, postcolonial criticism to cultural memory. Key concepts and schools in the field have been highlighted in the text and then collected in a glossary for ease of reference. All chapters are richly illustrated with examples from different language areas.
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14

Collective, Feminist Review. Postcolonial Theatres: Feminist Review. Palgrave Macmillan, 2008.

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15

Amkpa, Awam. Theatre and Postcolonial Desires. Taylor & Francis Group, 2004.

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16

Amkpa, Awam. Theatre and Postcolonial Desires. Taylor & Francis Group, 2004.

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17

Theatre and Postcolonial Desires. Routledge, 2003.

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18

Amkpa, Awam. Theatre and Postcolonial Desires. Taylor & Francis Group, 2004.

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19

Amkpa, Awam. Theatre and Postcolonial Desires. Taylor & Francis Group, 2004.

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20

Amkpa, Awam. Theatre and Postcolonial Desires. Taylor & Francis Group, 2004.

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21

Amkpa, Awam. Theatre and Postcolonial Desires. Routledge, 2007.

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22

Bhatia, Nandi. Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. University of Michigan Press, 2010.

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23

Bhatia, Nandi. Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. University of Michigan Press, 2004.

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24

Batra, Kanika. Feminist Visions and Queer Futures in Postcolonial Drama: Community, Kinship, and Citizenship. Taylor & Francis Group, 2011.

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25

Batra, Kanika. Feminist Visions and Queer Futures in Postcolonial Drama: Community, Kinship, and Citizenship. Taylor & Francis Group, 2011.

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26

Batra, Kanika. Feminist Visions and Queer Futures in Postcolonial Drama: Community, Kinship, and Citizenship. Taylor & Francis Group, 2011.

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27

Batra, Kanika. Feminist Visions and Queer Futures in Postcolonial Drama: Community, Kinship, and Citizenship. Taylor & Francis Group, 2012.

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28

Batra, Kanika. Feminist Visions and Queer Futures in Postcolonial Drama: Community, Kinship, and Citizenship. Taylor & Francis Group, 2011.

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29

Syncretic Arenas: Essays on Postcolonial African Drama and Theatre for Esiaba Irobi. BRILL, 2014.

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30

Diala, Isidore. Syncretic Arenas: Essays on Postcolonial African Drama and Theatre for Esiaba Irobi. Rodopi B.V. Editions, 2014.

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31

Adler, Heidrun y Kati Röttger (eds ). Performance, Pathos, Política de los Sexos. Teatro postcolonial de autoras latinoamericanas. (Teatro en Latinoamerica). Iberoamericana Vervuert, 1999.

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32

Winet, Evan Darwin. Indonesian Postcolonial Theatre. Palgrave Macmillan, 2010.

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33

Thiongo, Ngugi wa. Theatre and Postcolonial Desires. Routledge, 2004. http://dx.doi.org/10.4324/9780203495766.

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34

Winet, Evan Darwin. Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces. Palgrave Macmillan, 2010.

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35

Hachad, Naïma. Revisionary Narratives. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.001.0001.

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Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. It analyzes auto/biographical and testimonial acts in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater performance, and digital media, situating them within specific sociopolitical and cultural contexts of production and consumption. Part One begins by tracing the rise of a feminist consciousness in prison narratives produced and/or published in the late 1970s through the 2000s. Part Two moves to analyzing the ubiquity of auto/biography and testimony in the arts as well as contemporary sociopolitical activism. The focus throughout the various case studies is women’s engagement with patriarchal and (neo)imperial norms and practices as they relate to their experiences of political violence, activism, migration, and displacement. To understand why and how women collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary, the book employs a broad, transdisciplinary, montage approach that combines theories on gender and autobiography and takes into account postcolonial, postmodern, transnational, transglobal and translocal perspectives.
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36

Biberman, Yelena. Gambling with Violence. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190929961.001.0001.

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State outsourcing of violence to nonstate actors is a global practice that challenges our notions of legitimate warfare, statehood, and citizenship. It matters for counterinsurgency, civil war outcomes, the humane treatment of civilians and former combatants, and the prospects of post-conflict peace. In South Asia, the use of nonstate proxies is deeply entwined with questions of state fragility, the postcolonial social contract, and the rivalry between two nuclear powers. This book explains the origins of state-nonstate alliances in times of civil war. A new balance-of-interests framework is generated through systematic fine-grained analyses of violence outsourcing by Pakistan and India in Kashmir, East Pakistan/Bangladesh, and their respective tribal belts. Central to this framework are the distribution of power inside the theater of war and varied interests of both the state and the nonstate actors. The cases drawn from Pakistan and India demonstrate how different configurations of local power and actors’ priorities result in distinct alliance patterns. The potential applicability of the balance-of-interests approach beyond South Asia is then demonstrated with analyses of Russia’s counterinsurgencies in Chechnya and Turkey’s operations against Kurdish rebels. The book builds on and contributes to the existing scholarship on civil war and counterinsurgency, in particular the burgeoning literature on militias, alliances, and South Asian security.
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37

Bennett, Susan. Experimental Shakespeare. Editado por James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.6.

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‘Experimental Shakespeare’ considers the various meanings of ‘experimental’ as it has been attributed to productions of the plays in the last fifty years. It looks at innovation in performance style as well as the criticism these stage practices have inspired. In addition, the chapter considers the emergence and popularity of a ‘global’ Shakespeare and how audiences engage non-English-language and postcolonial productions in diverse cultural markets. Finally, it looks at the idea of original practices productions in replica theatre buildings and considers what effects are produced by claims to an authentic Shakespearean performance practice. Each of these traditions of ‘experimental’ Shakespeare contributes to the ongoing cultural and economic impact of the playwright and his work.
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38

Nevitt, Marcus y Tanya Pollard, eds. Reader in Tragedy. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781474270465.

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This unique anthology presents the important historical essays on tragedy, ranging from antiquity to the present, divided into historical periods and arranged chronologically. Across its span, it traces the development of theories and philosophies of tragedy, enabling readers to consider the ways in which different varieties of environmentalist, feminist, leftist and postcolonial thought have transformed the status of tragedy, and the idea of the tragic, for recent generations of artists, critics and thinkers. Students of literature and theatre will find this collection an invaluable and accessible guide to writing from Plato and Aristotle through to Freud, Nietzsche, Schopenhauer and 21st-century theorists. Ideas of tragedy and the tragic have been central to the understanding of culture for the past two millennia. Writers and thinkers from Plato through to Martha Nussbaum have analyzed the genre of tragedy to probe the most fundamental of questions about ethics, pleasure and responsibility in the world. Does tragedy demand that we enjoy witnessing the pain of others? Does it suggest that suffering is inevitable? Is human sexuality tragic? Is tragedy even possible in a world of rolling news on a digitally connected planet, where atrocity and trauma from around the globe are matters of daily information? In order to illustrate the different ways that writers have approached the answers to such questions, this Reader collects together a comprehensive selection of canonical writings on tragedy from antiquity to the present day arranged in six sections, each featuring an introduction providing concise and informed historical and theoretical frameworks for the texts.
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39

Torlone, Zara Martirosova, Michael Lambert y Barbara Goff. Greek Tragedy and the Middle East. Editado por Pauline Donizeau, Yassaman Khajehi y Daniela Potenza. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350355729.

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Employing the idea of interculturality to study Middle Eastern adaptations of Greek tragedy from the turn of 20th century until the present day, this book first explores the earlier phase of the development of Greek classical reception in Middle Eastern theatre. It then moves to focus on modern Arabic, Persian and Turkish adaptations of Greek tragedy both in the early post-colonial and contemporary periods in the MENA and in Europe. Case by case, this book examines how the classical sources are reworked and adapted, as well as how they engage with interculturality, hybridisation and the circulation of aesthetics and models. At the same time, it explores the implications and consequences of expressing socio-political concerns through classical Greek sources. While Muslim thinkers and translators introduced Greek philosophy – in particular Aristotle’s Poetics – to the West in the Middle Ages, adaptations of Greek tragedies only appeared in the MENA region at the very beginning of the 20th century. For this reason, the development of Greek tragedy in the Middle East is difficult to disentangle from colonialism and cultural imperialism. Encompassing language differences and offering for the first time a broad approach on the Middle-Eastern reception of Greek tragedy, this book produces a renewed focus on a fascinating aspect of the classical tradition. While the Greek heritage has penetrated Muslim thought very early in time and the Arabs introduced Greek philosophy—and in particular Aristotle’s Poetics—to the West, Greek tragedy is not part of the cultural and theatrical heritage of Arab-Muslim societies. Indeed, the introduction of the tragedy in the Middle East is a result of European penetration in this region. This book maintains that the development of an interculturality in the Middle Eastern adaptations of the Greek tragedy is difficult to disentangle from a colonial situation and a cultural imperialism, but seeks to go beyond that observation. Starting with an exploration of the earlier phase of the development of Greek classical reception in Middle Eastern theatre in the 19th century, this study focuses then on modern Arabic, Persian, and Turkish adaptations of the Greek tragedy both in the early postcolonial period and in contemporary times, both in the MENA region and in Europe. From an aesthetic point of view, it examines how the classical sources are reworked and adapted, according to which strategies they are integrated and presented, and how they engage with interculturality, hybridization, and the circulation of aesthetics and models. Yet it deeply explores the political implications and consequences of expressing socio-political concerns through classical Greek sources. Encompassing language differences and offering for the first time a broad approach to the Middle Eastern reception of the Greek tragedy, this book produces a renewed focus on a fascinating aspect of the classical tradition.
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