What motivates North American Indigenous theatre? What differentiates this type of theatre, and what informs its culture? To what extent does this reality contend with the Western theatrical expectation of a radicalized "Indian"? This brief study explores key concepts that shape and motivate North American Indigenous theatre, while providing insight and best practices for understanding and appreciating Indigenous plays. Explored through four key topics - being and knowing, relationships, time, and aesthetics - and textually supported by the works of playwrights like Yvette Nolan Monique Mojica, and Mary Kathryn Nagle, Theatre and Indigeneity brings Indigenous studies theories and conversations to bear on Indigenous theatre so that readers are better prepared to understand and assess encounters with Indigenous theatre and performance.

Autorentext
Bethany Hughes (Choctaw Nation of Oklahoma) is an Associate Professor at the University of Michigan in the Department of American Culture and a core faculty member in the Native American Studies Program. A performance scholar and cultural historian, her work focuses on the representation of Native Americans in theatrical performance and contemporary Indigenous theatre. Her first book, Redface: Race, Performance, and Indigeneity, published by New York University Press, articulates the aesthetic, racial, and political implications of the Indian in live theatre. Hughes teaches classes on Native American Studies, Indigenous performance, race and musical theatre, American performance, and Critical University Studies. Her writing can be found in Theatre Journal, American Periodicals, Theatre Survey, Mobilities, Theatre Topics, and HowlRound.com.

Inhalt

Introduction

Chapter 1-Being and Knowing
Chapter 2-Relationships
Chapter 3-Time
Chapter 4-Aesthetics

Further Reading