Marie Vieux Chauvet’s Theatres

Thought, Form, and Performance of Revolt

Series:

Marie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt at once reflects and acts upon the praxis of theatre that inspired Haitian writer Marie Vieux Chauvet, while at the same time provides incisively new cultural studies readings about revolt in her theatre and prose. Chauvet – like many free-minded women of the Caribbean and the African diaspora – was banned from the public sphere, leaving her work largely ignored for decades. Following on a renewed interest in Chauvet, this collection makes essential contributions to Africana Studies, Theatre Studies, Performance Studies, Postcolonial Studies, and Global South Feminisms.

Contributors are: Alessandra Benedicty-Kokken, Stéphanie Bérard, Christian Flaugh, Gabrielle Gallo, Jeremy Matthew Glick, Kaiama L. Glover, Régine Michelle Jean-Charles, Cae Joseph-Massena, Nehanda Loiseau, Judith G. Miller, Lizabeth Paravisini-Gebert, Anthony Phelps, Ioana Pribiag, Charlee M. Redman Bezilla, Guy Régis Jr, and Lena Taub Robles.

This collection is a beautiful gathering of voices exploring Chauvet’s theatrical work, along with the role of theatre in her novels. The richly textured and evocatively written essays offer many new and necessary insights into the work of one of Haiti’s greatest writers.
— Laurent Dubois, Marcello Lotti Professor of Romance Studies and History, Duke University. Author of Haiti: The Aftershocks of History

This collection draws necessary critical attention to how theatre and performance animate the work of a key figure in Caribbean fiction and drama. Using an innovative scholarly and artistic approach, the collection incorporates leading and new voices in Haitian studies and Francophone studies on Chauvet’s depictions of revolt.
— Soyica Diggs Colbert, Professor of African American Studies and Theater & Performance Studies, Georgetown University. Author of Black Movements: Performance and Cultural Politics

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Biographical Note
Christian Flaugh, Ph.D. (2005), is Associate Professor of French, Africana, and Caribbean Studies, and Performance Research Workshop co-organizer at SUNY-University at Buffalo. Author of Operation Freak: Narrative, Identity, and the Spectrum of Bodily Abilities (McGill-Queen's University Press, 2012), he also has numerous published articles.

Lena Taub Robles, Ph.D. (2016), is Assistant Professor of French at California State University, Bakersfield, where she teaches French and Caribbean literature. She has published on Francophone Caribbean authors and has translated scholarly essays from French and Spanish into English.
Table of contents
Foreword IX
Lizabeth Paravisini-Gebert
Acknowledgements Xi
Notes on Contributors Xiii
List of Illustrations Xix
Introduction

Part 1: Gestures of Black and Brown Subjectivities


 1 Perceiving the Relationships in Nature: An Ecofeminist Reading of La Légende des Fleurs
Régine Michelle Jean-Charles
 2 Re-staging the Haitian Revolution Narrative: The Tragic Mulatta’s Dissonance and Eziliphonics in Dance on the Volcano
Cae Joseph-Massena
 3 Dirty Love: Marie Chauvet, Guy Régis Jr, and Enfleshed Performances of Revolting Subjects
Christian Flaugh

Part 2: Theatres and Aesthetics: Crossings of Her Revolt


 4 The Carnivalesque Theatre of Revolt in Marie Vieux-Chauvet’s Folie
Charlee M. Redman Bezilla
 5  La Danse sur le volcan: Marie Chauvet Tells "Her-Story" of Theatre in Saint-Domingue at the Dawn of the Revolution
Stéphanie Bérard

  Interlude: “She was a Legba”
Anthony Phelps

Part 3: Actionable Thought, Policing Acts


 6 “To Live with Her Revolt”: Dance on the Volcano’s Diegetic Pivot
Jeremy Matthew Glick
 7 The Crime Narrative as Social Commentary: Justice and Power in Marie Chauvet’s “Birds of Prey” and Lucha Corpi’s Eulogy for a Brown Angel
Gabrielle Gallo
 8 Spectacle and Surveillance in Marie Vieux-Chauvet’s Colère
Ioana Pribiag

Part 4: Revolt’s Theatrical Returns


 9 Theatricalizing Amour, Colère, et Folie: José Pliya “Adapts” and “Adjusts” Marie Vieux Chauvet
Judith G. Miller
 10  Love: Translation of José Pliya’s Amour, as Adapted from Marie Vieux-Chauvet’s Amour, with Notes from the Translator
Lena Taub Robles
 11 “To Fire”: A Process of Dramatically Adapting Depictions of Eighteenth-Century Haiti
Nehanda Loiseau
 12 “Bloodied Flower”: On Translating the Burden of the Floral in Marie Chauvet’s La Légende des Fleurs
Alessandra Benedicty-Kokken

 After-Words: A Dialogue with Kaiama L. Glover and Guy Régis Jr
Readership
All interested in the thought and praxis of theatre, performance, and Postcolonial Global South Feminisms in Marie Vieux Chauvet’s work; anyone studying Haitian, Caribbean, and African diaspora theatre and prose.