New Francophone African and Caribbean Theatres places these theatres at the heart of contemporary debates on global cultural and political practices and offers a more finely tuned understanding of performance in diverse diasporic networks.

Acknowledgments
Preface by John Conteh-Morgan and Dominic Thomas
Introduction: Instrumentalizing Performance and the Francophone Postcolonial Performative
1. Cultural Trauma and Ritual Re-membering: Werewere Liking's Les mains veulent dire
2. The Dramatist as Epic Performer: Eugène Dervain's Saran, ou La reine scélérate
3. The Power and the Pleasures of Dramatized Narrative: Bernard Zadi Zaourou's La guerre des femmes
4. Theatre as Writing and Voice: Patrick Chamoiseau's Manman Dlo contre la fée Carabosse
5. Tradition Instrumentalized: Elie Stephenson's O Mayouri
6. Militariat Grotesqueries and Tragic Lament: Tchicaya U Tam'si's Le destin glorieux du Maréchal Nnikon Nniku, prince qu'on sort and Le bal de Ndinga
7. From the Grotesque to the Fantastic: Sony Labou Tansi's Qui a mangé Madame d'Avoine Bergotha?
8. Exile and the Failure of the Nation; or, Diasporic Subjectivity from Below: Simone Schwarz-Bart's Ton beau capitaine
Conclusion: Francophone Theatres in the Age of Globalization
References
Index

John Conteh-Morgan (1948-2008) was Professor in the Department of French and Italian at the Ohio State University. He is author of Theatre and Drama in Francophone Africa and editor (with Tejumola Olaniyan) of African Drama and Performance (IUP, 2004).
Dominic Thomas is Chair of the Department of French and Francophone Studies and Professor of Comparative Literature at the University of California, Los Angeles. He is author of Nation-Building, Propaganda, and Literature in Francophone Africa (IUP, 2002) and Black France (IUP, 2006).