Shakespeare in Africa
Members of the BSA may be interested by the following CFP.
Cahiers Shakespeare en devenir (Anniversary Issue 2017)
Shakespeare and Africa
This issue would like to explore the relationship between Elizabethan and Jacobean drama, that of Shakespeare but also his contemporaries, and the representation of Africa, or, from a contextual viewpoint, the perception of the African continent in early modern England. The issue will also discuss 19th-21st c. re-writings, appropriations and adaptations of Shakespeare by African and African-American writers, stage directors and film directors.
Proposals may discuss, among other issues:
– The perception of the African continent in early modern England (in history, cartography, or history of ideas); the appropriation, discussion or rejection of foreign texts on/from Africa, as that of Leo Africanus (translated in 1600 as A Geographical Historie of Africa).
– Africa and African culture represented in drama by Shakespeare and his contemporaries.
– Rewritings of Shakespeare and his contemporaries by black writers: appropriations and distortions of the canonical texts, changes of focus and viewpoints, prequels and sequels, as, for example, Aimé Césaire’s Une Tempête, Djanet’s Sears’ Harlem Duet, Toni Morrison’s Desdemona, etc. Or more sporadic or indirect appropriations of Shakespearean elements by, for example, South-African writers like John M. Coetzee, Geoffrey Haresnape or Nadine Gordimer.
– 19th-21st century performances of early modern plays or their later rewritings in Africa, in French-speaking, Arabic-speaking, English-speaking, Portuguese-speaking countries; screen adaptations such as Alexander Abela’s Makifebo or Youssef Chahine’s Alexandria Trilogy.
– Performances (outside of Africa) by African-American companies. For example, Orson Welles’ 1936 voodoo Macbeth at the Federal Theatre; Brett Bailey’s transposition of Verdi’s Macbeth to the Congo and the Congolese regime; Toni Morrison’s Desdemona with Malian singer Rokia Traoré; work by the African-American Shakespeare Company in San Francisco, etc.
Completed papers, in English or in French, should be sent by late April 2017 along with an abstract, a contributor’s bio and a list of keywords, to Yan Brailowsky and Pascale Drouet: firstname.lastname@example.org, email@example.com
Andrea, Bernadette, “The Ghost of Leo Africanus from the English to the Irish Renaissance”, in P.C. Ingham & M. Warren (eds.), Postcolonial Moves: Medieval through Modern, New York, Palgrave Macmillan, 2003, p. 195-215.
Banham, Martin, Mooneeram, Roshni, Plastow, Jane, “Shakespeare and Africa”, in S. Wells & S. Stanton (eds.), The Cambridge Companion to Shakespeare on Stage, Cambridge, CUP, 2002, p. 284-299.
Brookes, Kristen, “Inhaling the Alien: Race and Tobacco in Early Modern England”, in B. Sebek & S. Deng, Global Traffic: Discourses and Practices in English Literature and Culture from 1550 to 1700, New York, Palgrave Macmillan, 2008, p. 157-178.
Cimitille, Anna Maria, “Shakespeare and Literary Africa: Encounters by Dissonance in Coetzee, Soyinka, Gordimer”, Ranam: Recherches Anglaises et Nord-Américaines, 2014, vol. 47, p. 245-264.
Darragi, Rafik, “The Tunisian Stage: Shakespeare’s Part in Question”, Critical Survey, 2007, vol. 19 issue 3, p. 95-106.
Fensome, Rebecca, “Giving place to Shakespeare in Africa: Geoffrey Haresnape’s African Tales from Shakespeare”, in G. Bradshaw, T. Bishop, L. Wright (eds.), The Shakespearean International Yearbook 9: Special Section, South African Shakespeare in the Twentieth Century, Farnham, Asgathe, 2009, p. 171-191.
Gouws, John, “Shakespeare, Webster and the Moriturus Lyric in Renaissance England”, Shakespeare in Southern Africa, 1989, 3, p. 45-57.
Guarracino, Serena, “Africa as Voices and Vibes: Musical Routes in Toni Morrison’s Marget Garner and Desdemona”, Research in African Literature, 2015 Winter, vol. 46 (4), p. 56-71.
Lebdai, Benaouda, “Traces of Shakespeare’s Tragedies in Africa”, in Eric C. Brown & Estelle Rivier (eds.), Shakespeare in Performance, Newcastle, CSP, 2013, p. 182-193.
Mafe, Diana Adesola, “From Ogun to Othello: (Re)Acquainting Yoruba Myth and Shakespeare’s Moor”, Research in African Literatures, Fall 2004, vol. 35, issue 3, p. 46-61.
Malère, Kaf, “Un Hamlet africain”, Horizons Maghrébins: Le Droit à la Mémoire, 2005, 53, p. 163-171.
Plastow, Jane (ed. And introd.), Shakespeare In and Out of Africa, Woodbridge, Currey, 2013.
Roux, Daniel, “Shakespeare and Tragedy in South Africa: From Black Hamlet to A Dream Deferred”, Shakespeare in Southern Africa, 2015, vol. 27, p. 1-14.
Seeff, Adele, “Titus Andronicus: South Africa’s Shakespeare”, Borrowers and Lenders, 2008 Fall-2009 Winter, 4 (1), no pagination.
Sher, Antony, Doran, Gregory, Woza Shakespeare: Titus Andronicus in South Africa, London, Bloomsbury, 1997.
Ungerer, Gustav, “The Presence of Africans in Elizabethan England and the Performance of Titus Andronicus at Burley-on-the-Hill, 1595-96”, Medieval & Renaissance Drama in England, 2008, vol. 21, p. 19-55.
Voss, Tony, “South Africa in Shakespeare’s ‘wide and universal theatre’”, Shakespeare in Southern Africa, 2015, vol. 27, p. 61-69.
Wilkinson, Jane, Africa: Rivista Trimestrale di Studi e Documentazione dell’Instituto Italo-Africano, 1999 June, 54 (2), p. 193-229, 230.
Willan, Brian, “Whose Shakespeare? Early Black South African Engagement with Shakespeare”, Shakespeare in Southern Africa, 2012, vol. 24, p. 3-24.
Woods, Peneloppe, “The Two Gentlemen of Zimbabwe & Their Diaspora Audience at Shakespeare’s Globe”, in J. Plastow (ed.), Shakespeare In and Out of Africa, Woodbridge, James Currey, 2013, p. 13-27.