Marie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt

Marie Vieux Chauvet’s Theatres

From Brill’s Caribbean series: Volume: 35

Editors: Christian Flaugh and Lena Taub Robles

Marie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt at once reflects and acts upon the praxis of theatre that inspired Haitian writer Marie Vieux Chauvet, while at the same time provides incisively new cultural studies readins about revolt in her theatre and prose. Chauvet – like many free-minded women of the Caribbean and the African diaspora – was banned from the public sphere, leaving her work largely ignored for decades. Following on a renewed interest in Chauvet, this collection makes essential contributions to Africana Studies, Theatre Studies, Performance Studies, Postcolonial Studies, and Global South Feminisms. 

Contributors are: Alessandra Benedicty-Kokken, Stéphanie Bérard, Christian Flaugh, Gabrielle Gallo, Jeremy Matthew Glick, Kaiama L. Glover, Régine Michelle Jean-Charles, Cae Joseph-Massena, Nehanda Loiseau, Judith G. Miller, Lizabeth Paravisini-Gebert, Anthony Phelps, Ioana Pribiag, Charlee M. Redman Bezilla, Guy Regis Jr, and Lena Taub Robles. 

This collection is a beautiful gathering of voices exploring Chauvet’s theatrical work, along with the role of theatre in her novels. The richly textured and evocatively written essays offer many new and necessary insights into the work of one of Haiti’s greatest writers.
— Laurent Dubois, Marcello Lotti Professor of Romance Studies and History, Duke University. Author of Haiti: The Aftershocks of History

This collection draws necessary critical attention to how theatre and performance animate the work of a key figure in Caribbean fiction and drama. Using an innovative scholarly and artistic approach, the collection incorporates leading and new voices in Haitian studies and Francophone studies on Chauvet’s depictions of revolt.
— Soyica Diggs Colbert, Professor of African American Studies and Theater & Performance Studies, Georgetown University. Author of Black Movements: Performance and Cultural Politics

Table of contents

Foreword IX 
Lizabeth Paravisini-Gebert
Acknowledgements Xi 
Notes on Contributors Xiii 
List of Illustrations Xix 

Part 1: Gestures of Black and Brown Subjectivities

 1 Perceiving the Relationships in Nature: An Ecofeminist Reading of La Légende des fleurs
Régine Michelle Jean-Charles
 2 Staging the Haitian Revolution Narrative: The Tragic Mulatta’s Vocal Passing, Dissonance and Eziliphonics in Dance on the Volcano
Cae Joseph Massena
 3 Dirty Love: Marie Chauvet, Guy Régis, Jr., and Enfleshed Performances of Revolting Subjects 
Christian Flaugh

Part 2: Theatres and Aesthetics: Crossings of Her Revolt

 4 The Carnivalesque Theatre of Revolt in Marie Vieux-Chauvet’s Folie
Charlee M. Redman
 5  La Danse sur le volcan: Marie Chauvet Tells Her-Story of Theatre in Saint-Domingue at the Dawn of the Revolution 
Stéphanie Bérard
 6 Interlude: “She was a Legba” 
Anthony Phelps

Part 3: Actionable Thought, Policing Acts

 7 “To Live with Her Revolt”: Dance on the Volcano’s Diegetic Pivot 
Jeremy Matthew Glick
 8 The Crime Narrative as Social Commentary: Justice and Power in Marie Chauvet’s “Birds of Prey” and Lucha Corpi’s Eulogy for a Brown Angel
Gabrielle Gallo
 9 Spectacle and Surveillance in Marie Vieux-Chauvet’s Colère
Ioana Pribiag

Part 4: Revolt’s Theatrical Returns

 10 Theatricalizing Amour, Colère, et Folie: José Pliya “Adapts” and “Adjusts” Marie Vieux-Chauvet 
Judith G. Miller
 11 Translation of José Pliya’s Amour, as Adapted from Marie Vieux-Chauvet’s Amour, with Notes from the Translator 
Lena Taub Robles
 12 “To Fire”: A Process of Dramatically Adapting Depictions of Eighteenth-Century Haiti 
Nehanda Loiseau
 13 “Bloodied Flower”: On Translating the Burden of the Floral in Marie Chauvet’s La Légende des Fleurs
Alessandra Benedicty-Kokken
 After-Words: A Dialogue with Kaiama L. Glover and Guy Régis Jr 

One thought on “Marie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt

  1. I have always been fascinated with the fact that ‘the Revolution’ is the highest point of any theatrical performance…

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