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

本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，新千年的土著黑人作家：夸梅Kwei-Armah，黛比塔克绿色，莱蒙Sissay和罗伊威廉姆斯。迄今为止，只有少数选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忽略了新千年的戏剧家，侧重于特定的历史时期（上演奴隶制，伊拉阿尔德里奇），只考虑女性从业者，要么提到戏剧与其他主要类型（小说，生活写作，诗歌或其改编为戏剧）和英国亚洲写作的关系。我的任务是由四个意图形成的：（i）有助于一个关键的基础设施，中断在英国戏剧和文学史学中描述黑人戏剧的消失遗产，因此，建立一个问题化的连续体;（ii）扩展在其他学科中发展的理论（电影、电视、音乐）和流派（小说，诗歌）通过专门从事戏剧领域：其现场表演的终点和作为出版文本;发展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的体现，考虑到它们创造的经验和语言知识以及影响这一点的制作环境（iii）通过处理形式，体裁，美学和表演策略，提供戏剧化的关注和复杂性的分析，围绕：语言，家庭，暴力和受害者，散居和土著身份，普遍性和社会学的必然性（iv）认识到体裁的控制及其陷阱-社会现实主义和后殖民主义-以及它们对新兴的英国黑人戏剧美学的扼杀作用，通过两个有影响力的接受背景：戏剧评论家和学院。我对这些作家的美学理论的进一步边缘化，戏剧化：黑人女同性恋，酷儿和混血儿的经验和照顾系统。关于混合、照料制度和跨种族家庭结构，存在大量社会文化评论。然而，表演和文学分析落后于检查这些经验的创造性表现。如果戏剧要为构成当代英国的土著多元文化服务，通过检索和评估黑人的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。欧洲中心主义和西方美学原则主导了表演和文学批评，将其作为质量的决定性指标，扼杀了近年来当代写作中明显存在的其他美学认同和表达形式的潜力。我专注于工作，回避这些障碍，特别是通过分析塔克绿色的激进的戏剧诗学和mondrama的正式戏剧化的口语表演策略有关的黑色英国文化的自我塑造，探索遗产可识别的欧洲和非洲的传统。我的研究在题为专着达到高潮，批判性的黑色：黑色的英国剧作家和戏剧在新千年。本章共六章，分别从戏剧、文学和社会历史三个方面分析了这些人物的传承。它汇集了我在过去六年中一直从事这一领域的研究，通过采访和出版物与戏剧家及其同行进行持续对话。有选择地提及他们同时代的人（黑人和白色），这有助于进行比较和对比，证明英国黑人剧作家的作品对国内外当代本土英国戏剧观念的影响是值得注意的。

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.