The Palgrave Handbook of Theatre and Migration

ISBN-13: 9783031201950 / Angielski / Twarda / 2023 / 744 str.

Yana Meerzon; Stephen Elliot Wilmer

Opis

The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration. 

Spis treści

Chapter 1: Theatre and Migration: Defining the Field.- Section One: Theatre and Migration: Themes and Concepts. 

Chapter 2: The Eternal Immigrant and the Aesthetics of Solidarity.

Chapter 3: ‘A Real State of Exception’: Walter Benjamin and the Paradox of Theatrical Representation.

Chapter 4: Theatre as Refrain: Representations of Departure from the Terezín/Theresienstadt Ghetto.

Chapter 5: Refugees and the Right to Have Rights.

Chapter 6: Postmigrant Theatre and its Impact on Contemporary German Theatre.

Chapter 7: Interculturalism and Migration in Performance: From Distant Otherness to the Precarity of Proximity. 

Chapter 8: Cosmopolitanism: The Troublesome Offset of Global Migration.-

Chapter 9: Indigenous Migrations: Performance, Urbanization and Survivance in Native North America.

Chapter 10: Migratory Blackness in Leave Taking and Elmina’s Kitchen.

Chapter 11: ‘What needs to happen so we may remain at home?’: Climate Migration and Performance.

Chapter 12: Theatre’s Digital Migration, by Matthew Causey.- Section Two: Early Representations of Migration.

Chapter 13: Theatre and Migration in Gilgamesh.

Chapter 14: Migration and Ancient Indian Theatre.

Chapter 15: Fated Arrivals: Greek Tragedy and Migration.

Chapter 16: Migration in Greek and Roman Comedy.

Chapter 17: Migrating Souls and Witnessing Travellers in the Dramaturgy of Nō Theatre.

Chapter 18: The Things She Carried: The Vertical Migrations of Lady Rokujō in Japanese Theatre.

Chapter 19: The Stranger’s Case: Exile in Shakespeare.

Chapter 20: The ‘English Comedy’ in Early Modern Europe: Migration, Emigration, Integration.

Chapter  21: Migrations and Cultural Navigations on Early-Modern Italian Stages.- Section Three: Migration and Nationalism.

Chapter  22: Immigration and Family Life on the Early Twentieth-Century Argentine Stage.

Chapter 23: Sonless Mothers and Motherless Sons, or How Has Polishness Haunted Polish Theatre Artists in Exile?.

Chapter 24: All Our Migrants: Place and Displacement on the Israeli Stage.

Chapter 25: Shylock is Me: Aryeh Elias as an Immigrant Jewish-Iraqi Actor in the Israeli Theatre.

Chapter 26: Emerging, Staying or Leaving: ‘Immigrant’ Theatre in Canada.

Chapter 27: Migrant Artists and Precarious Labour in Contemporary Russian Theatre.

Chapter 28: Chicano Theatre and (Im)migration: La víctima.

Chapter 29: Staging War at the Home Depot: Yoshua Okón’s Octopus and the Shadow Economy of Migrant Labour.

Chapter 30: From Emigrant to Migrant Nation: Reckoning with Irish Historical Duty.

Chapter 31: Dwelling in Multiple Languages: The Impossible Journeys Home in the Work of Sidi Larbi Cherkaoui and Akram Khan.- Section Four: Migration, Colonialism and Forced Displacement.

Chapter 32: The Theatre of Displacement and Migration in Southern Africa: Zimbabwe and South Africa in Focus.

Chapter 33: From the Yoruba Travelling Theatre to the Nobel Prize in Literature: Nigerian Theatre in Motion.

Chapter 34: Migratory Subjectivities and African Diasporic Theatre: Race, Gender and Nation.

Chapter 35: Immobile Relegations and Exiles: Creation and Migration in French Theatre Between 1980 and 2020.

Chapter 36: Storying Home:  Retracing the Trail of Tears to Restore Ekvnvcakv.

Chapter 37: Diasporic Trauma, Nativized Innovation, and Techno-Intercultural Predicament: The Story of Jingju in Taiwan.

Chapter 38: Our Life Together: War, Migration, and Family Drama in Korean American Theatre.

Chapter 39: Chronicles of Refugees Foretold, by Hala Khamis Nassar.

Chapter 40: Ukrainian Theatre in Migration: Military Anthropology Perspective.- Section Five: Refugees.

Chapter 41: Spaces and Memories of Migration in Twenty-First Century Greek Theatre:  Station Athens’ I Left (E_Φυγα).

Chapter 42: Troubled Waters: The Representation of Refugees in Maltese Theatre.

Chapter 43: Staging Borders: Immigration Drama in Spain, from the 1990s to the Present.

Chapter 44: Performance and Asylum Seekers in Australia (2000-2020).

Chapter 45: Ramadram: Refugee Struggles, Empowerment and Institutional Openings in German Theatre.

Chapter 46: To Come Between: Refugees at Sea, from Representation to Direct Action.

Chapter 47: Theatre, Migration, and Activism: The Work of Good Chance Theatre.

Chapter 48: Theatre and Migration in the Balkans: The Death of Asylum in Žiga Divjak’s The Game.

Chapter 49: Theatre of the Syrian Diaspora.

Chapter 50: The Finnish National Theatre, Refugees, and Equality.- Section Six: Itinerancy, Traveling and Transnationalism.

Chapter 51: Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity.

Chapter 52: German Theatre and August von Kotzebue’s Theatrical Success and Pitfalls in Russia.- 

Chapter 53: The Itinerant Puppet.

Chapter 54: Fin-de-siècle Black Minstrelsy, Itinerancy, and the Anglophone Imperial Circuit.

Chapter 55: Actor Migration to and from Britain in the Nineteenth Century.

Chapter 56: Migration and Marathi Theatre in Colonial India, 1850-1900.

Chapter 57: The Dybbuk:  Wandering Souls of the Vilna Troupe and Habimah Theatre.

Chapter 58: Indian Circus: A Melting Pot of Migrant Artists, Performativity, and Race.

Chapter 59: Contemporary (Post-)Migrant Theatre in Belgium and the Migratory Aesthetics of Milo Rau’s Theatre of the Real.

Chapter 60: Belarus Free Theatre: Political Theatre in Exile. 

O autorze

Yana Meerzon is Professor of Theatre Studies at the University of Ottawa, Canada. She is the author of three books, most recently Performance, Subjectivity, Cosmopolitanism (Palgrave Macmillan, 2020). Yana has also served as co-editor on 7 edited collections, including Migration and Stereotypes in Performance and Culture (Palgrave Macmillan, 2020)

S. E. Wilmer is Professor Emeritus at Trinity College Dublin, Ireland and has written or edited 20 books. He co-edited ‘Theatre and Statelessness in Europe’ for Critical Stages in 2016. His latest books are Performing Statelessness in Europe (2018) and Life in the Posthuman Condition (2023).