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Critically Black: Contemporary Black British Dramatists and Theatre in the New Millennium

批判性的黑人：新千年的当代英国黑人剧作家和戏剧

基本信息

批准号：
AH/I002073/1
负责人：
Deirdre Osborne
金额：
$ 3.92万
依托单位：
Goldsmiths University of London
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2011
资助国家：
英国
起止时间：
2011 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FI002073%2F1
关键词：
Critically Black Contemporary British Dramatists

项目摘要

This research offers detailed comparative and critical attention to the impact upon contemporary British drama, of new millennial indigenous black writers: Kwame Kwei-Armah, debbie tucker green, Lemn Sissay and Roy Williams. To date, only a handful of anthology and journal articles have considered the contribution of black drama to UK drama and literary heritage, let alone this recent influential coterie. Monographs relevant to the field have either omitted neo-millennial dramatists, focused upon specific historical periods (staging slavery, Ira Aldridge), considered women practitioners only, or else mentioned drama in relation to other predominant genres (novels, life-writing, poetry or their adaptation for theatre) and British Asian writing. My task is shaped by four intentions: (i) to contribute to a critical infrastructure that interrupts the legacy of disappearance characterising black people's drama in British theatre and literary historiographies and hence, establish a problematised continuum; (ii) to extend theorization developed in other disciplines (film, television, music) and genres (novels, poetry) through engaging specifically with the field of drama: its live performance endpoint and as published text; developing an inter-referential methodology which better considers these texts as both printed and performed embodiments of words, taking into account the experiential and linguistic knowledge they create and the production contexts which influence this (iii) to make thematic links between the dramas through tackling issues of form, genre, aesthetics and performance strategies by offering analyses of theatricalised concerns and complexities around: language, family, violence and victimhood, diasporic and indigenous identities, universality and sociological inevitability (iv) to recognise the grip of genre and its traps--social realism and postcoloniality--and their stifling effect upon an emerging black British drama aesthetic, as filtered through two influential receptive contexts: theatre critics and the academy.My theorising of these writer's aesthetics foregrounds a further marginality, dramatisations of: black lesbian, queer and mixed-race experiences and the care system. Substantial socio-cultural commentary exists regarding mixedness, the care system and trans-racial family structures. However, performance and literary analysis lags behind in examining creative representations of these experiences. If theatre is to serve the indigenous multi-cultures that constitute contemporary Britain, the building and sustaining of a critical infrastructure, through retrieving and assessing black people's drama contributions is vital. Euro-centric and Western aesthetic principles have dominated performance and literary criticism as definitive indicators of quality, smothering potential for alternative aesthetic identifications and forms of articulation evident in recent contemporary writing. I focus upon work which sidesteps these impediments, notably through analysing tucker green's radical dramatic-poetics and mondrama's formal theatricalising of spoken-word performance strategies in relation to black British cultural self-fashioning, exploring the legacies identifiable from both European and African traditions. My research culminates in the monograph titled, Critically Black: Black British Dramatists and Theatre in the New Millennium. Its six chapters provide theatrical, literary and socio-historical frameworks for analysis of the profiled dramatists' inheritances. It draws together research I have been undertaking into this field over the past six years featuring ongoing dialogue with the dramatists and their peers through interviews and publications. Selective reference to their contemporaries (black and white) elicits comparisons and contrasts that testify to the noteworthy transformations black British dramatists' work has effected to conceptions of contemporary indigenous British drama both at home and abroad.

这项研究提供了详细的比较和批判性的关注，对当代英国戏剧的影响，新千禧年土著黑人作家：夸梅·奎阿玛，黛比·塔克·格林，莱姆·西赛和罗伊·威廉姆斯。迄今为止，只有少数文集和期刊文章考虑了黑人戏剧对英国戏剧和文学遗产的贡献，更不用说最近有影响力的小圈子了。与该领域相关的专著要么省略了新千年的剧作家，专注于特定的历史时期（演出奴隶制，艾拉·奥尔德里奇），只考虑女性从业者，要么将戏剧与其他主要类型（小说，生活写作，诗歌或其改编为戏剧）和英国亚洲写作联系起来。我的任务有四个意图：(i)建立一个关键的基础设施，打破英国戏剧和文学史学中黑人戏剧消失的遗产，从而建立一个有问题的连续体；（ii）通过专门参与戏剧领域，扩展在其他学科（电影、电视、音乐）和流派（小说、诗歌）中发展起来的理论化：戏剧的现场表演终点和出版文本；开发一种相互参照的方法，更好地将这些文本视为文字的印刷和表演体现，考虑到它们创造的经验和语言知识以及影响这一点的生产环境（iii）通过提供对戏剧化的关注和复杂性的分析，通过解决形式、类型、美学和表演策略等问题，在戏剧之间建立主题联系：语言、家庭、暴力和受害者身份、流散和土著身份、普遍性和社会学必然性（iv）认识到流派的控制及其陷阱——社会现实主义和后殖民主义——以及它们对新兴的黑人英国戏剧美学的窒息作用，通过两个有影响力的接受环境：戏剧评论家和学院过滤。我对这些作家美学的理论化展望了进一步的边缘化，对黑人女同性恋，酷儿和混血经历以及护理系统的戏剧化。大量的社会文化评论存在关于混合，护理系统和跨种族的家庭结构。然而，表演和文学分析在研究这些经历的创造性表现方面落后了。如果戏剧要服务于构成当代英国的本土多元文化，那么通过检索和评估黑人戏剧贡献来建立和维持一个关键的基础设施是至关重要的。以欧洲为中心和西方的美学原则主导了表演和文学批评，作为质量的决定性指标，扼杀了在当代写作中明显存在的替代美学认同和表达形式的潜力。我专注于避开这些障碍的作品，特别是通过分析塔克·格林激进的戏剧诗学和mondrama对口语表演策略的正式戏剧化与黑人英国文化自我塑造的关系，探索欧洲和非洲传统中可识别的遗产。我的研究在专著《批判黑人：新千年的英国黑人剧作家和戏剧》中达到高潮。它的六个章节提供了戏剧、文学和社会历史的框架来分析被描述的剧作家的遗产。它汇集了我在过去六年中一直在这一领域进行的研究，其中包括通过采访和出版物与剧作家及其同行进行的持续对话。有选择性地参考他们的同时代人（黑人和白人），引出比较和对比，证明了英国黑人剧作家的作品对当代英国本土戏剧概念的显著转变，无论是在国内还是在国外。