Medea in South Africa: Receptions of the Euripidean Tragedy from the 19th to the 21st Century

本项目研究欧里庇得斯的美狄亚的翻译，改编和性能在南非从世纪中期到今天的黑非洲，南非白人，英国和多元文化背景下跨越殖民地，种族隔离和后种族隔离时期的接收。该项目的一部分涉及调查希腊悲剧在英国，特别是荷兰，霸权殖民主义中被武器化的方式，以及民族主义南非白人身份的文化强化。它还研究了美狄亚神话与南非本土黑人神话，叙事学，历史和社会现实的融合。特别重要的是，移民，种族偏见，社会，文化和种族排斥在南非适应种族隔离后和新千年时代的叙事突出。古希腊悲剧的非洲表演开始受到学术界的关注，但仍然存在重大差距。我希望参与Fleishman和Mbothwe正在进行的梅隆资助的项目，从非洲和全球南部重新想象悲剧，该项目通过悲剧的框架来审视后殖民时代。弗莱施曼和雷兹内克在1994年创作的《美狄亚》是南非向民主过渡的一年，这部作品将成为后种族隔离时代戏剧的一个重要范例。除了创新性地使用多语制来表现殖民和后殖民身份，我还将探讨景观的象征性和情感性使用中的遣返问题，如货车Woensel，Bakker和Topper的MedEia（1998），其中观众随着戏剧的进展而穿过棚户区。在方法论上，我将联合收割机的方法性能研究与历史主义语境化的希腊悲剧在南非的社会政治，文化和学术现实在过去的200年。在我的研究的前沿将是黑色的性能理论，包括杨（2010）;兰金（2013）; Luckett和Shaffer（2017）;和Crémieux，Lemoine和Rocchi（2013），它使用黑色作为一个理论透镜来检查跨学科的身份形成。此外，我的分析将通知的非殖民和后殖民理论，以检查的权力关系和身份的意识形态塑造的“土著南非混合”drama.My建议是由五个临时章节，我将花费两个学期的研究每个。从19世纪开始，看到了种族主义和种族主义思想的硬化，我将调查最早记录的美狄亚表演，滑稽剧，由英国“侨民”在殖民地内的一个孤立的白色至上主义社区参加。第二章将从桑代克对《默里》文本的表演开始，考察20世纪为英国殖民观众翻译的作品。对于这一部分的研究，我将咨询默里的信件与同事在南非，其中默里文件在博德利图书馆，有关生产他的戏剧和他的反应布尔战争。第三章将集中在合成南非荷兰语的翻译和表演，这是为了建立他们的羽翼未丰的语言的文化声望和地位。在与此密切相关的第四章中，我将考察希腊悲剧和古典文学在南非教育和学术中的作用，这种作用经常受到殖民意图的支持，特别关注罗兹奖学金上的白色南非人在牛津大学对古典文学的研究，以及在牛津大学接受教育的南非古典主义者的工作，这些工作有助于种族主义和种族隔离态度的培养。在最后一章，也是最重要的一章，我将关注美狄亚在种族隔离期间和之后的多语言、多文化和多种族表现，在我的分析中集中了黑人非殖民化的研究。

This project researches the reception of Euripides' Medea in translation, adaptation, and performance in South Africa from the mid-19th century to the present day in Black African, Afrikaner, British, and multicultural contexts spanning the colonial, apartheid and post-apartheid periods. Part of this project involves investigating the manner in which Greek Tragedy has been weaponised in British, and particularly Dutch, hegemonic colonialism, and the cultural reinforcement of nationalist Afrikaner identity. It also examines the syncretisation of the myth of Medea with native Black South African mythology, narratology, history, and social reality. Of especial significance is the foregrounding of the narratives of migration, racial prejudice, and social, cultural, and ethnic exclusion in South African adaptations of the post-apartheid and new millennium era.African performances of Ancient Greek tragedies are beginning to receive scholarly attention, but there remain significant gaps. I hope to engage with Fleishman and Mbothwe's ongoing Mellon-funded project, Reimagining Tragedy from Africa and the Global South, which examines the postcolony through the frame of tragedy. Fleischmann and Reznek's radical production of Medea in 1994, the year of South Africa's transition to democracy, will be an important exemplum of post-apartheid theatre. Alongside the innovative use of polyglottism to represent colonial and post-colonial identity, I will explore issues of repatriation in the symbolic and emotive use of the landscape, as in van Woensel, Bakker, and Topper's MedEia (1998), in which the audience walks through the set of a shantytown as the play progresses. Methodologically, I will combine the approaches of performance studies with historicist contextualisation of the reception of Greek Tragedy in the socio-political, cultural, and academic realities in South Africa over the past 200 years. At the forefront of my research will be Black performance theory, including Young (2010); Rankine (2013); Luckett and Shaffer (2017); and Crémieux, Lemoine and Rocchi (2013), which uses Blackness as a theoretical lens for examining identity formation across disciplines. Moreover, my analysis will be informed by decolonial and postcolonial theory, to examine the ideological shaping of power relations and identity in 'indigenous South African hybrid' drama.My proposal is comprised of five provisional chapters, for which I will spend up to two terms researching each. Beginning in the 19th century, which saw the hardening of racialist and racist thinking, I will investigate the earliest recorded performances of Medea, burlesques, attended by British 'expatriates' in an insular, white supremacist community within the colony. A second chapter will examine productions in translation for British colonial audiences in the 20th century, beginning with Thorndike's performances of the text of Murray. For this segment of research, I will consult Murray's correspondence with colleagues in South Africa, amongst the Murray Papers in the Bodleian Library, relating to the production of his plays and his responses to the Boer War. The third chapter will focus on synthesising Afrikaans translations and performances, which were produced in an attempt to establish cultural prestige and status for their fledgling language. In a closely related fourth chapter, I will examine the role of Greek Tragedy and Classics in South African education and scholarship, frequently underpinned by colonial intents, with a particular focus on the study of Classics at Oxford by white South Africans on Rhodes Scholarships, and the work of Oxford-educated Classicists in South Africa, which contributed to the cultivation of racialist and segregationist attitudes. In the final and most important chapter, I will devote attention to multilingual, multicultural, and multiracial performances of Medea during and after apartheid, centralising Black decolonising scholarship in my analys