Frantz Fanon: a theatre of embodiment.

弗朗茨·法农：体现戏剧。

• 批准号: 2881738
• 金额: --
• 依托单位: University of Nottingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2881738
• 关键词: Frantz; Fanon; theatre; embodiment.

My project, 'Frantz Fanon: a Theatre of Embodiment' is the first critical study of Fanon's plays: 'The Drowning Eye' and 'Parallel Hands' (1949). Drawing on my artistic practice as director-curator of their world premiere in the English language (Autograph Gallery, London, 2017), my research examines Fanon and theatre, developed from my co-authored chapter with Jean Khalfa for 'The Routledge Companion to Global South Literatures' (forthcoming, 2023).Fanon is primarily known as anti-colonial theorist. His theatre has been overlooked. In contrast to his seminal works, published 1952-1961 ('Black Skin, White Masks'; 'The Wretched of the Earth') the plays were first published in 2017. This project contributes to renewed interest in Fanon (Laubscher, 2021) following Khalfa and Young's 'Alienation and Freedom' (2017) and the resurgence of the BlackLivesMatter movement (2020). My project thus offers an original, timely examination of how the content of Fanon's plays and his role as theatre-maker provided a chronological and thematic foundation to his work as psychiatric clinician and political activist.I address this research gap by exploring how their content relates to wider thought in Fanon's critical oeuvre - especially related to body and psyche - and demonstrating how performance in his work informs social responsibilities of twenty-first century theatre practitioners. This project combines critical approaches in phenomenology and theatre (Rayner, 2006) and phenomenology and Fanon (Weate, 2021). I propose that Fanon's philosophical/psychiatric investigations of dramatized character enable Fanon to use theatre as metaphor - and form - to play, test, and revise his later constructions of identity as 'pathology of freedom' (Anders, 1935-1936). Doing this, I closely analyse Fanon's plays alongside case studies/ plays by theatrical writers/practitioners who influenced him:1. examining new, historical contexts for Fanon's work (in Katherine Dunham's contemporary dance theatre performances, 1949);2. examining original, theoretical paradigms for his work, relating to Artaud and surrealism (Bromley-Hall, Khalfa, 2023);3. uncovering overlooked archival resources in Fanon's use of 'playworlds' - developed partly through his correspondence with Nottingham psychiatrist, Duncan Macmillan.MethodologyUsing blended research methods, I combine textual and performance analysis with interdisciplinary sources on psychiatry, political philosophy, postcolonial studies, French Literature, and theatre. As my approach is underpinned by my experience directing the plays, my method is also autoethnographic, including reflection on promptbooks from performances, diaries, production materials, conversations with actors, and recordings. Ethnographic research will also be conducted through oral histories (former personnel at Blida-Joinville Hospital, Algeria; Celestins; Khalfa, Young, Mehdi Lalloui: documentary filmmaker, 'In the Footsteps of Fanon') with access to participants facilitated by my existing relationship with Fanon's estate - and archival research conducted in places listed ('Offsite Research Activities').Otherwise impossible, funding would enable me to finance vital archival research into the historical, site-specific and scenographic contextualisation of these plays.ImpactBeyond offering new Fanon insights across disciplines, this PhD has several planned outputs, ensuring dissemination of my research beyond the academy: monograph guide to Fanon's theatre (Routledge Focus, 2025/6); multi-media play adaptation (New Art Exchange, Nottingham; New Perspectives); radio production (performance rights currently being obtained from French publishers, La Decouverte).

我的项目《弗兰茨·法农：化身剧院》是对法农戏剧的第一次批判性研究：《溺水眼》和《平行手》(1949)。我的研究借鉴了我作为他们英语世界首映式(Autograph Gallery，伦敦，2017)的导演兼策展人的艺术实践，研究了法农和戏剧，这些戏剧是从我与让·哈勒法(Jean Khalfa)合著的一章发展而来的，《全球南方文学的路特利奇同伴》(The Routledge Companion To Global South Writatures)(即将于2023年出版)。法农主要以反殖民理论家著称。他的剧院被忽视了。与他1952年至1961年出版的开创性作品(《黑皮肤，白面具》；《地球的可怜人》)不同，这些戏剧于2017年首次出版。在Khalfa和Young的《异化与自由》(2017)和BlackLivesMatter运动(2020)复兴之后，该项目有助于重新引起人们对Fanon(Laubscher，2021)的兴趣。因此，我的项目提供了一个原创性的，及时的检查法农戏剧的内容和他作为戏剧制作人的角色如何为他作为精神科临床医生和政治活动的工作提供了一个时间和主题的基础。我通过探索它们的内容如何与法农的批评作品中的更广泛的思想--特别是与身体和精神有关--来解决这个研究空白，并展示了他的作品中的表演如何告知21世纪戏剧从业者的社会责任。该项目结合了现象学和戏剧(Rayner，2006)和现象学与法农(Weate，2021)的批评方法。我认为，法农对戏剧化人物的哲学/精神病学研究使他能够使用戏剧作为隐喻--和形式--来发挥、检验和修正他后来构建的身份--自由的病理(安德斯，1935-1936)。为此，我仔细分析了法农的戏剧以及影响他的戏剧作家/从业者的案例研究/戏剧：1.研究法农作品的新的历史背景(在凯瑟琳·邓纳姆的当代舞蹈戏剧表演中，1949)；2.研究他作品的原创理论范式，与阿尔托和超现实主义有关(Bromley-Hall，Khalfa，2023)；3.揭示法农使用“游戏世界”中被忽视的档案资源--部分是通过他与诺丁汉精神病学家邓肯·麦克米伦的通信而发展起来的。方法论我使用混合的研究方法，将文本和表演分析与精神病学、政治哲学、后殖民研究、法国文学和戏剧等跨学科资料相结合。因为我的方法是以我导演戏剧的经验为基础的，我的方法也是自我民族志，包括对表演、日记、制作材料、与演员的对话和录音中的提示录进行反思。人种学研究还将通过口述历史进行(阿尔及利亚Blida-Joinville医院的前人员；Celestins；Khalfa，Young，Mehdi Lalloui：纪录片制片人，《追随Fanon的脚步》)通过我与Fanon遗产的现有关系，我可以接触到参与者--以及在列出的地方进行的档案研究(《场外研究活动》)。否则，资金将使我能够资助对这些戏剧的历史、特定地点和场景背景的重要档案研究。影响-Beyond提供新的Fanon跨学科见解，这个博士有几个计划产出，确保我的研究成果在学院之外传播：Fanon戏剧专题指南(Routledge Focus，2025/6)；多媒体改编(新艺术交换，诺丁汉；新视角)；广播制作(目前正在从法国出版商La Decouverte获得表演权)。