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Theater and Revolution explores the dynamic and complex relationship between theatrical expression and revolutionary movements across diverse historical and cultural landscapes.
This illuminating volume examines the intricate connections between theater and revolution through a global lens, featuring scholarly essays that analyze performances during revolutionary periods and theater's role in preserving, transmitting, and reimagining revolutionary histories. Organized around three key paradigms-theater as an archive of past revolutions, revolutionary time, and revolutionary spaces-the collection offers rich insights into revolutionary and performance practices across China, Cuba, Egypt, France, Haiti, Iran, Mexico, Russia, the United States, Venezuela, and beyond. Through careful analysis of site-specific examples, the book reveals how theatrical expressions both document and actively participate in revolutionary processes, highlighting the uncanny parallels and stark differences in how revolution manifests through performance across different cultural contexts.
This book will appeal to the scholars and students in theater and performance studies, history, political science, and cultural studies who seek to understand how revolutionary movements are embodied, remembered, and reimagined through theatrical practice.
Sommario
Contributor Biographies
Acknowledgements
"Introduction: Archives, Temporalities, and Spaces of Revolution"
Logan J. Connors, Lillian Manzor, Emily Sahakian Chapter 1
"Of Riots and Representations: The Case of Auguste Macouba's Play
Eïa! Man-maille là!"
Andy StaffordChapter 2
"Rocking the
Canboulay: Trinidad's
Jamette Carnival Outside the Shadow of Revolt"
Stephen CedarsChapter 3
"The National Discourse of a Revolution: Theatrical Censorship and Chavismo Performativity"
Neta KannyChapter 4
"Performing Tropicana: Cuban-American Theater Between Memory and Revolution"
Lilianne Lugo HerreraChapter 5
"Theater Adaptation as a Critical Reservoir of the Mexican Revolution's Memories in
Mendoza by Los Colochos Teatro"
Maritza Beatriz García RodríguezChapter 6
"Repeat Performances: Rehearsing the French Revolution in Late Qing Chinese Theater"
Cecilia FeillaChapter 7
"Revolutionary Avant-Garde Puppetry from Germany, through Japan, to China"
Siyuan LiuChapter 8
"Heiner Müller,
The Mission, and Revolutionary Time"
Liam Johnston-McCondachChapter 9
"Performing Revolution in the Age of Revolutions:
Guillaume Tell across the Revolutionary Chasm"
Marc H. LernerChapter 10
"Revolutionary Time in Edouard Glissant's
Monsieur Toussaint and Maryse Condé's
An tan révolisyon"
Soraya LimareChapter 11
"Three Stages of Iranian Theater in Revolution"
Yassaman KhajehiChapter 12
"Spatial Interventions and Material Re-appropriations: Resisting the Aestheticization of Reality in the New York Young Lords' Garbage Offensive(s)"
Briana BeemanChapter 13
"Retaking Chile: Theater and Space in Authoritarian Times"
Melissa González-ContrerasChapter 14
"Theatricality, Performativity, and the
Fête révolutionnaire: The Paradoxes of French Revolutionary Festivals as Performed Assembly"
Alexis StanleyChapter 15
"R for Rehearsal, R for Revolution: Stories from and About Tahrir Square"
Dalia BasiounyIndex
Info autore
Logan J. Connors is Professor and Chair of Modern Languages and Literatures at the University of Miami.
Lillian Manzor is Professor of Modern Languages and Literatures and Hemispheric Caribbean Studies and Director of the Institute for Advanced Study of the Americas at the University of Miami and founding director of the Cuban Theater Digital Archive (www.cubantheater.org).
Emily Sahakian is Associate Professor of Theatre and French, jointly appointed in the Departments of Theatre & Film Studies and Romance Languages, at the University of Georgia.
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