Judith G. Miller – författare

The work of renowned Ivoirian playwright Koffi Kwahulé has been translated into some 15 languages and is performed regularly throughout Europe, Africa, and the Americas. For the first time, Seven Plays of Koffi Kwahulé: In and Out of Africa makes available to an Anglophone audience some of the best and most representative plays by one of Francophone Africa’s most accomplished living playwrights.Kwahulé’s theater delves into both the horror of civil war in Africa and the diasporic experience of peoples of African origin living in Europe and the “New World.” From the split consciousness of the protagonist and rape victim in Jaz to the careless buffoonery of mercenaries in Brewery, Kwahulé’s characters speak in riffs and refrains that resonate with the improvisational pulse of jazz music. He confronts us with a violent world that represents the damage done to Africa and asks us, through exaggeration and surreal touches, to examine the reality of an ever-expanding network of global migrants. His plays speak to the contemporary state of humanity, suffering from exile, poverty, capitalist greed, collusion, and fear of “the other”—however that “other” gets defined.Judith G. Miller’s introductory essay situates Kwahulé among his postcolonial contemporaries. Short introductory essays to each play, accompanied by production photos, contextualize possible approaches to Kwahulé’s often enigmatic work. Anglophone theater scholars and theater professionals eager to engage with contemporary theater beyond their borders, particularly in terms of what so-called minority theater artists from other countries are creating, will welcome this indispensable collection. Students and scholars of African studies and of global French studies will also find this work intriguing and challenging.

Plays by French and Francophone Women presents eight recent plays by contemporary French and francophone women writers. The plays vary in style and form from the satirical to the poetic, from the comedic one-woman show to the potential multi-media esoteric production, and have been written by French, Qué becois, Acadian, and Caribbean francophone writers. The editors have provided informative headnotes to introduce each play, then faithful translations rendered with an ear toward production in English. A general introduction to the volume situates each work within the broader context of contemporary French-language theater by women. The volume also includes an annotated bibliography by Cynthia Running-Johnson of thirty-one additional plays by women in French.Featured plays and playwrights are The Scent of Sulphur by S. Corinna Bille; When Fairies Thirst by Denise Boucher; Island Memories by Ina Césaire; Warmth: A Bloodsong by Chantal Chawaf; The Goddess Lar or Centuries of Women by Andrée Chedid; The Name of Oedipus: Song of the Forbidden Body by Hélène Cixous; The Table: Womenspeak by Michèle Foucher; and The Rabble by Antonine Maillet.

The work of renowned Ivoirian playwright Koffi Kwahulé has been translated into some 15 languages and is performed regularly throughout Europe, Africa, and the Americas. For the first time, Seven Plays of Koffi Kwahulé: In and Out of Africa makes available to an Anglophone audience some of the best and most representative plays by one of Francophone Africa’s most accomplished living playwrights. Kwahulé’s theater delves into both the horror of civil war in Africa and the diasporic experience of peoples of African origin living in Europe and the “New World.” From the split consciousness of the protagonist and rape victim in Jaz to the careless buffoonery of mercenaries in Brewery, Kwahulé’s characters speak in riffs and refrains that resonate with the improvisational pulse of jazz music. He confronts us with a violent world that represents the damage done to Africa and asks us, through exaggeration and surreal touches, to examine the reality of an ever-expanding network of global migrants. His plays speak to the contemporary state of humanity, suffering from exile, poverty, capitalist greed, collusion, and fear of “the other”—however that “other” gets defined. Judith G. Miller’s introductory essay situates Kwahulé among his postcolonial contemporaries. Short introductory essays to each play, accompanied by production photos, contextualize possible approaches to Kwahulé’s often enigmatic work. Anglophone theater scholars and theater professionals eager to engage with contemporary theater beyond their borders, particularly in terms of what so-called minority theater artists from other countries are creating, will welcome this indispensable collection. Students and scholars of African studies and of global French studies will also find this work intriguing and challenging.  

The Israeli author’s poetry, essays, and stories on the haunting legacy of WWII “swirl mystically out of history and into dazzling floods of wonder” (Don DeLillo, author of White Noise).   In this portrait of the artist as a young woman, one of Israel’s most acclaimed contemporary writers weaves together a kaleidoscope of fiction, poetry, and essays. Populated by both fictional and real people, each tale is in some way a search for meaning in a post-Holocaust world.   Reminiscent of W.G. Sebald, characters irrationally and humanely find reason for hope in a world that offers little. Essays describe Govrin’s visits to Poland as a young adult, where her mother had survived a death camp, but had lost her husband and their child, Govrin’s half-brother. Capturing the depths of denial and the exuberance of youth in a multiplicity of voices, this haunting collection “joins the few serious books that try through artistic means to face the unspeakable” (Aharon Appelfield, author of Badenheim 1939).

Bringing together in English translation eleven Francophone African plays dating from 1970 to 2021, this essential collection includes satirical portraits of colonizers and their collaborators (Bernard DadiÉ’s BÉatrice du Congo; Sony Labou Tansi’s I, Undersigned, Cardiac Case; SÉnouvo Agbota Zinsou’s We’re Just Playing) alongside contemporary works questioning diasporic identity and cultural connections (Koffi KwahulÉ’s SAMO: A Tribute to Basquiat and Penda Diouf’s Tracks, Trails, and Traces…). The anthology memorializes the Rwandan genocide (Yolande Mukagasana’s testimony from Rwanda 94), questions the status of women in entrenched patriarchy (Werewere Liking’s SinguÈ Mura: Given That a Woman…), and follows the life of Elizabeth Nietzsche, who perverted her brother’s thought to colonize Paraguay (JosÉ Pliya’s The Sister of Zarathustra). Gustave Akakpo’s The True Story of Little Red Riding Hood and Kossi Efoui’s The Conference of the Dogs offer parables about what makes life livable, while Kangni Alem’s The Landing shows the dangers of believing in a better life, through migration, outside of Africa.

Bringing together in English translation eleven Francophone African plays dating from 1970 to 2021, this essential collection includes satirical portraits of colonizers and their collaborators (Bernard DadiÉ’s BÉatrice du Congo; Sony Labou Tansi’s I, Undersigned, Cardiac Case; SÉnouvo Agbota Zinsou’s We’re Just Playing) alongside contemporary works questioning diasporic identity and cultural connections (Koffi KwahulÉ’s SAMO: A Tribute to Basquiat and Penda Diouf’s Tracks, Trails, and Traces…). The anthology memorializes the Rwandan genocide (Yolande Mukagasana’s testimony from Rwanda 94), questions the status of women in entrenched patriarchy (Werewere Liking’s SinguÈ Mura: Given That a Woman…), and follows the life of Elizabeth Nietzsche, who perverted her brother’s thought to colonize Paraguay (JosÉ Pliya’s The Sister of Zarathustra). Gustave Akakpo’s The True Story of Little Red Riding Hood and Kossi Efoui’s The Conference of the Dogs offer parables about what makes life livable, while Kangni Alem’s The Landing shows the dangers of believing in a better life, through migration, outside of Africa.

These well-researched essays speak to the situation of African-descended artists on the French stage, especially in prestigious government-subsidized theatres. Through documentation, historical analysis, close attention to productions, and witnessing by Black French-speaking artists, Chalaye uncovers and critiques the unacknowledged racialization (and racism) that have circumscribed the careers of Black actors. She ascribes responsibility for this frustrating situation in large part to the lingering impact of the colonial empire on the French imaginary, one that sees “otherness” in French people perceived as non-white. She calls for a recognition of how “race” and racial tropes have operated in French theatre and she advocates exploding the concept of “race”, while creating a theatre that represents the multicultural country that France has become. A translator’s preface examines the concepts of “race”, “nation”, and “theatre” as they operate in France and in the Anglo-American sphere, inviting readers to compare the impact of multiculturalism with the notion of the universal human.Sylvie Chalaye is the foremost French scholar of theatre in French by African and African descended artists. She is professor of theatre at the University of Paris III-Sorbonne Nouvelle, co-founder of the journal Africultures, and director of the Research Laboratory SeFeA. Recent publications include: Scènes et détours d’Afrique: Les Aventuriers de la coopération théâtrale de Jean-Marie Serreau à Christian Schiaretti (Passages, 2022) and (with Judith G. Miller) Contemporary Francophone African Plays: An Anthology (Bucknell, 2024). Her book, Race et théâtre en France: un impensé politique, won the Prix André Malraux in 2020.