埃苏的十字路口和奥根的跨越:Femi Euba戏剧中的跨文化创造力和后殖民未来

IF 0.3 Q2 HISTORY
Eric Mayer-García
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引用次数: 0

摘要

摘要在本文中,我从尤巴作为演员、剧作家和评论家的多方面职业生涯来定义尤巴的戏剧。在我讲述尤巴的艺术轨迹时,我一直关注着沃勒·索因卡,反思他的指导和合作如何在戏剧、创意写作和批评方面开辟道路,尤巴作为索因卡圈子中的杰出成员,利用这些道路并朝着新的方向发展。在讨论尤巴的流行病戏剧理论、他在《pèráWónyåsi》(1977年)中对摩西上校的表演以及他的戏剧《海湾》(1991年)时,我认为尤巴的戏剧作品是由十字路口定义的,这是一种灵活的范式,为跨文化创造力提供了信息,同时也是时间上的越轨行为。我认为,尤巴作品中的多时间性创造了一种后殖民的未来性,它将对成为过程的能动性与当前正在进行的理解奴隶制和殖民主义后果的斗争联系起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Esu’s crossroads and Ogun’s crossing over: Intercultural creativity and postcolonial futurity in the theater of Femi Euba
ABSTRACT In this essay, I define Femi Euba’s theater in respect to his multifaceted career as an actor, playwright, and critic. As I narrate Euba’s artistic trajectory, I keep Wole Soyinka in sight, reflecting on the ways his mentorship and collaboration opened pathways in theater, creative writing and criticism that Euba, as a prominent member of Soyinka’s circle, utilized and took in new directions. In discussing Euba’s theory of Drama of Epidemic, his acting performance of Colonel Moses in Òpèrá Wónyòsi (1977), and his play The Gulf (1991), I argue that Euba’s theatrical works are defined by the crossroads, a flexible paradigm that informs intercultural creativity, as well as temporal transgressions. I argue that multitemporality in Euba’s works creates a postcolonial futurity, which aligns agency over processes of becoming with an ongoing struggle in the present to make sense of the aftermath of slavery and colonialism.
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来源期刊
CiteScore
0.60
自引率
25.00%
发文量
18
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