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Abstract: THIS SPECIAL ISSUE, "Replaying the Francophone Early Modern in the Twenty-First Century," asks how performance practices of the present might reframe, redescribe or otherwise reimagine the Francophone early modern.1 Defining performance broadly to include theatre, dance, performance art, virtual gaming, opera, and museum installations, we ask how these aesthetic and material practices might open paths for different ways of knowing, doing, and being. We bring together a range of perspectives from theatre practitioners, literary and cultural scholars, specialists in postcolonial, gender, and sexuality studies, scholars of theatre and performance studies and of digital humanities, and many combinations thereof. We ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: IN 1971 MARTINIQUE, a group of schoolteachers and community members traveled the French Caribbean island, presenting their co-created play Histoire de nègre to thousands of working-class spectators.1 The free performances took place in outdoor public spaces, where spectators, whether passing by, recruited by collaborators or drawn in by pamphlets, would gather with their chairs, accompanied by their families. At the start of each performance, the character of the Prologue, establishing the codes of spectatorship, stressed interaction and participation: he invited the audience to see themselves as the "real actors and actresses" and to "[b]egin with us [the performers] this history of misfortune, our history" (29). ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: IN 1952, FRANTZ FANON, born in the former French Antillean colony of Martinique and one of the central figures of anti-colonial struggle, wrote of his island's history, "c'est une histoire qui se passe dans l'obscurité."2 Over half a century later, French theatre director Eva Doumbia complained that when she was looking for a play to stage on France's involvement in the slave trade, she could not find one.3 Some French activists highlight the colonial disremembering—the omission of France's colonial past—from history, culture, and education.4 Even in France's overseas territories including Réunion, Guiana, Guadeloupe, and Fanon's native Martinique (a French département since 1946), where most schoolchildren are ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Citoyens, citoyennes […], la Comédie-Française s'empressera toujours à satisfaire le désir de la nation, à se montrer digne de son indulgence. Nous allons donc représenter pour vous, ce soir, Charles IX. Mais auparavant, je vous demanderai d'éteindre vos téléphones portables. Vous ne savez pas du tout ce que c'est qu'un téléphone portable en 1789, mais enfin si jamais l'idée vous vient…TELS SONT LES MOTS par lesquels Thierry Hancisse accueille les spectateurs lors de la toute première des « Journées particulières », le 7 novembre 2015. Depuis, treize éditions programmées par Éric Ruf, administrateur général de la Comédie-Française depuis 2014, se sont tenues1. Initié par un chercheur en études théâtrales, Christian ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: CAN COMPUTERS AFFORD US THE ABILITY to play (and replay) the past' The VESPACE (Virtual Early modern Spectacles and Publics, Active and Collaborative Environment) project aims to use video game technologies—in particular, the illusion of presence afforded by virtual reality and the potential for emotionally consistent and internally coherent interaction between players and AI-controlled non-player characters (NPCs)—to illustrate one possible path for a post-print academic culture that repositions the computer tool as an immersive simulator. Starting from a narrow disciplinary base—French ancien régime theatrical cultures, practices, and literatures—this article will discuss some implications of bringing the digital ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: CETTE RÉFLEXION PREND APPUI sur des expériences majoritairement développées au sein de l'université Paris Nanterre, avec des étudiantes et des étudiants de master spécialisés en études théâtrales1. Depuis 2015, nous avons mené plusieurs ateliers d'expérimentation scénique à partir de textes dramatiques français de la première modernité. Nos choix de pièces, articulés à nos corpus de recherche, se sont portés prioritairement sur des œuvres à la fois peu étudiées et absentes des scènes de théâtre depuis des siècles. En écartant les textes canoniques, notre objectif, inséparablement pédagogique et scientifique, est notamment de neutraliser la question de la valeur littéraire de ces pièces au profit d'une interrogation ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: CONTINUING FASCINATION WITH eighteenth-century France and its aristocratic libertines whose wealth and status allowed them the freedom to indulge voracious erotic appetites tends to obfuscate problems of power and violence that go hand-in-hand with libertine philosophies and lifestyles. This article considers eroticism and history in three exhibitions and installations recalling eighteenth-century sensuality and sexuality in twenty-first-century Paris and its environs. Yinka Shonibare's installation Jardin d'amour / Garden of Love at the Musée du Quai Branly (2007) and Anish Kapoor's Dirty Corner exhibition at Versailles (2015) juxtaposed contemporary appropriations of rococo sensuality and its generally libertine ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: THERE ARE SIX DANCING FIGURES onstage and one of them is a Black man. Graceful and strong, he stands out in part because, in this production of Jean-Philippe Rameau's Les Boréades at the Opéra de Dijon in 2019, everyone else, singers and dancers, is predictably white. The man's name is Yacnoy Abreu Alfonso, and he hails from Havana. What is he doing dancing in these northern latitudes' What meaning can we ascribe to his dance—modern, cosmopolitan, yet still at home in this old French work' These questions are of course preposterous, since France, despite the claims of some exclusionary discourses, was never monoracial, and since it is now an assertively multiethnic society. Yet the onstage flights of this Cuban ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Clearly, to know Jocasta's maternal story, we would have to rewrite completely the story of Oedipus and of the child's development: we would have to begin with the mother.LOOKING AT THE HISTORY of Oedipus Rex plays and adaptations in the Francophone world, Pierre Corneille's 1659 tragedy Œdipe stands out for its focus on the mother.2 Not only does Corneille open the play with Dircé, a daughter of Jocaste he invents, he also develops Jocaste as a protagonist in her own right by writing her into most scenes, giving her ample lines and making her a significant part of the denouement. Corneille's early modern Jocaste may come as a surprise when we consider the dearth of Jocastas-as-mothers in the twentieth and ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: WHEN CONSIDERING HOW Molière's Dom Juan from Le Festin de pierre gets replayed today, we must first acknowledge that Molière's work was itself a reimagined variation of a play, a recycling of an oft-represented literary and dramatic archetype that has become a ubiquitous figure symbolizing masculine sexual desire, seduction, pursuit, and conquest.1 Moreover, it was the very way in which Molière reimagined the infamous protagonist as a freethinker and not a sexual predator that the French censors found unacceptable, leaving theatres and directors with fragmented editions, a puzzle to be pieced back together for the next several hundred years to serve their artistic visions.This article considers four contemporary ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Theatre returns, it always does. It returns to places where it has already been before and to times in which it has already appeared. And while it does so, it sends us too, the spectators, to those places and times, performance after performance. Theatre also rewrites. It constantly does. It rewrites history, relationships, stories and rules. […] In so doing, it adapts itself to present contingencies and situations, like an animal species struggling to survive through evolution.1MARGHERITA LAERA'S ASTUTE DESCRIPTION of theatre's reiterative quality underscores its concomitant return to the past and its rooted position in the present. Laera also notes the transformative and adaptive quality of theatre, which she ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: MOLIÈRE IN THE PARK is a striking example of how the notion of replaying the early modern past can engage powerfully with the present moment. Founded in 2018 by Artistic Director Lucie Tiberghien and co-founded by Executive Producer Garth Belcon, Molière in the Park is an antiracist theatre organization that offers contemporary productions as well as inclusive productions of Molière's comedies for free in Prospect Park, Brooklyn, each year. Despite the outbreak and continuation of the pandemic in the 2020 and 2021 seasons, Molière in the Park earned widespread critical acclaim for its innovative performances in virtual format. On June 8, 2021, we sat down with Tiberghien to discuss the past, present, and future of ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: In his erudite and exciting new book, Hall Bjørnstad urges those of us who study premodern France and its afterlives to take another look at absolutism. We moderns may think we already know all about this political system in which kings received their power and authority from God. We can easily identify absolutism's most spectacular avatars in the royal person of Louis XIV and his palace at Versailles. Bjørnstad argues, however, that our presumption of knowledge about absolutism, and our familiarity with its signs and wonders, has inhibited our ability to understand fully its logic and appreciate its inner workings. A key methodological problem with scholarship on absolutism is a tendency to label it "mere ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Mohit Chandna's stimulating book examines the consequences of spatial production under European colonialism, and how spaces of colonialism have produced colonial and postcolonial subjectivities. The spatial legacies of colonization play themselves out to this day, whether as forms of postcolonial nationalism, or in the colonially inflected socio-spatial divisions of metropolitan France. The book's strengths lie in its concerted effort to read the impact of colonialism in spatial terms, and its exploration of how the subjectivities produced by colonialism are located within and respond to specific spatial configurations. Chandna's account begins with Jules Verne's Le tour du monde en quatre-vingts jours, a text ... Read More PubDate: 2022-07-16T00:00:00-05:00
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