Proposal deadline: April 1, 2017
Paper deadline: September 1, 2017
Over the past decade, the writing of Marie Vieux Chauvet (1916-1973) has become increasingly associated with the theme and act of revolt. Critics continue to draw such connections with Chauvet’s texts, be it formally through analyses of plot or character action, thematically in readings of her engaged responses to forms of oppression, or somewhere in between. Conclusions regularly point to a once undervalued insight, talent, and wisdom palpable in her work. Today Chauvet’s writing – in the original French and in translations – proves itself to be a timely and timeless reflection on, and representation of the revolt against imbalanced power structures in Haitian and global spaces writ large. Said revolts target, but are not limited to, the arbitrary yet real systems of order based on class, gender, and race with health and disability as equally important theoretical frameworks. The 2016 special issue of Yale French Studies (128), “Revisiting Marie Vieux Chauvet: Paradoxes of the Postcolonial Feminine,” draws one of the clearest paths to date on how Chauvet’s life and fiction embody and inspire revolt.
Theatre has garnered next to no critical attention with respect to Chauvet’s work. The absence is surprising given the readily evident presence of theatre as genre as well as related discursive and performance elements, topics discussed at the 2016 Segal Theater Center “Chauvet’s Theatres of Revolt” meeting. Chauvet began writing and staging dramatic texts in her teenage years as well as performing in other productions. Her published corpus begins with her first and only published work for the theatre, La légende des fleurs (1947). Many of her novels, like Fille d’Haïti (1954) and Les rapaces (1986), depend on formal and informal theatrical spaces for the unfolding of their action, characters, and revolts. The dramatic content, tone, and form of Chauvet’s best-known prose fiction, Amour, colère, et folie (1968), have even inspired adaptations for the stage.
This special issue of Brill’s “Caribbean Series” encourages further reflection on the intersection of theatre and revolt in Marie Vieux Chauvet’s writing, and in particular at the nexus of action, aesthetic, and adaptation broadly conceived. We invite contributions that explore such questions in Chauvet’s writing and life as well as in translations, adaptations, and performances (completed or in progress) of her work. Equally welcome are reflections from or bringing together fields such as but not limited to performance studies, adaptation studies, translation studies along with gender studies, queer studies, disability studies, Caribbean studies, postcolonial studies, and transnational studies. Contributions will be 5,000 to 7,000 words (including notes and bibliography) in English and MLA style (8th edition). Images (black & white or in color) are welcome, as long as the author can secure rights by 9/1/17. Proposals of 250 words are due 4/1/17; papers are due 9/1/17; expected date of publication is 2018. Please send questions and submissions to: Christian Flaugh (email@example.com) or Lena Taub Robles (firstname.lastname@example.org).