Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces (Critical Companions)

Description

This foundational study offers an accessible introduction to Native American and First Nations theatre by drawing on critical Indigenous and dramaturgical frameworks. It is the first major survey book to introduce Native artists, plays, and theatres within their cultural, aesthetic, spiritual, and socio-political contexts. Native American and First Nations theatre weaves the spiritual and aesthetic traditions of Native cultures into diverse, dynamic, contemporary plays that enact Indigenous human rights through the plays' visionary styles of dramaturgy and performance. The book begins by introducing readers to historical and cultural contexts helpful for reading Native American and First Nations drama, followed by an overview of Indigenous plays and theatre artists from across the century. Finally, it points forward to the ways in which Native American and First Nations theatre artists are continuing to create works that advocate for human rights through transformative Native performance practices. Addressing the complexities of this dynamic field, this volume offers critical grounding in the historical development of Indigenous theatre in North America, while analysing key Native plays and performance traditions from the mainland United States and Canada. In surveying Native theatre from the late 19th century until today, the authors explore the cultural, aesthetic, and spiritual concerns, as well as the political and revitalization efforts of Indigenous peoples. This book frames the major themes of the genre and identifies how such themes are present in the dramaturgy, rehearsal practices, and performance histories of key Native scripts. Cover page CRITICAL COMPANION TO NATIVE AMERICAN AND FIRST NATIONS THEATRE AND PERFORMANCE Series page Title page copyright page Epigraph CONTENTS ILLUSTRATIONS FOREWORD ACKNOWLEDGMENTS PART ONE SETTING THE STAGE CHAPTER 1 THE CIRCLE OF INDIGENOUS SPACES Native Dramaturgy Sovereignty and Performative Sovereignty Overview of Chapters CHAPTER 2 INCURSIONS INTO PERFORMANCE CULTURES Jacksonian Policy toward Removal The Creation of the Noble Savage in Culture and Performance The Indian Princess; or, La Belle Sauvage and the Roots of the Indian Princess Stereotype Metamora; or The Last of the Wampanoags (1829) Representing Indians During the Allotment and Assimilation Era Wild West Shows and the Frontier Narrative Show Indians and Native Agency PART TWO RECLAIMING THE STAGE CHAPTER 3 CULTURE BEARERS: THE GRANDMOTHERS OF NATIVE THEATRE AND PERFORMANCE Te Ata (Chickasaw) Zitkala-Ša (Dakota) Lucy (Princess Watahwaso) Nicolar (Penobscot) Molly Spotted Elk (Penobscot) The Circulating Influence of Culture Bearers CHAPTER 4 HOMELAND YEARNINGS ACROSS SETTINGS PART THREE REVOLUTIONIZING THE STAGE CHAPTER 5 ACTIVATING THE STAGE Activism and Protest as Performance Artistic Mentorship as Activism Activating Arts Education: Institute of American Indian Arts Native American Theatre Ensemble Body Indian Foghorn 49 Spiderwoman Theater Bruce King William Yellow Robe, Jr CHAPTER 6 ADVANCING THE STAGE Emily C. General (Mohawk/Cayuga) Activism and the Arts Tomson Highway (Cree) The Rez Sisters Dry Lips Oughta Move to Kapuskasing Drew Hayden Taylor (Ojibway) Someday Trilogy Blues Quartet Margo Kane (Cree/Saulteaux) CHAPTER 7 THE HEART OF THE MATTER: INDIGENOUS PERFORMANCE AND COMMUNITY Yvette Nolan Truth and Reconciliation Commission Material Witness by Spiderwoman Theater and Aanmitaagzi (2017) Margo Kane and Full Circle Project HOOP (Honoring Our Origins and People through Native Theater, Education, and Community Development) Native Voices at the Autry PART FOUR TRANSFORMING THE STAGE CHAPTER 8 TRANSFORMING PRODUCTION PROCESS Te Ata by JudyLee Oliva (Chickasaw), Directed by Christy Stanlake: Community Development within the Professional Theatre Burning Vision by Marie Clements (Métis), Directed by Courtney Elkin Mohler: Directing Native Theatre in the Academic Setting Aiming for Performative Sovereignty in Professional and Academic Theatre CHAPTER 9 BEING AND BECOMING Indigenous Playwriting for the Twenty-First Century Convergence of the Long-Overdue: Native Women Playwrights Transform Oregon Professional Theatre in 2018 DeLanna Studi (Cherokee), And So We Walked Larissa FastHorse (Sicangu Lakota), The Thanksgiving Play Mary Kathryn Nagle, Manahatta Randy Reinholz (Choctaw), Off the Rails (2017) Two-Spirit Performance Muriel Miguel (Kuna/Rappahannock), Hot’n’Soft Waawaate Fobister (Grassy Narrows), Agokwe Kent Monkman (Cree), Taxonomy of the European Male Organizational and Institutional Changes in Support of Indigenous Performance Native Performance in Other Forms CHAPTER 10 WIDENING THE CIRCLE WITH FUTURE GENERATIONS NOTES BIBLIOGRAPHY INDEX