287 p., With a focus on cultural memory, this dissertation investigates French Caribbean women's plays and their performance at Ubu Repertory Theater, a pioneering French-American theatre in New York. After a theoretical introduction and a historical chapter investigating slavery and its remembrance in the Francophone Caribbean, each chapter is divided into two sections, the first examining the play, and the second its production at Ubu. The author relies on theories of collective memory and cultural trauma to read Ina Césaire's Fire's Daughters, Maryse Condé's The Tropical Breeze Hotel, and Gerty Dambury's Crosscurrents as plays that dramatize a link between the past (the Middle Passage, slavery, and sexual relations between enslaved women and white men) and present-day behaviors, attitudes, and pain. It is argued that these plays work to revise problematic practices of remembrance in France and the Antilles. These practices dissociate slavery from its local context; make the trauma of enslaved women's rape a secret; divide Antilleans of different races, ethnicities, genders, and social classes; and associate resistance almost exclusively with Haiti. In a second section of each chapter, the production and reception of these plays at Ubu are examined.
223 p., This dissertation engages with radical Caribbean theater as a crucial literary archive that is nonetheless underexplored as an expression of political culture and thought. The theoretical grounding of the chapters emerges from the analytically generative thrust of a comment by C. L. R. James in The Black Jacobins: "to neglect the racial factor as merely incidental is an error only less grave than to make it fundamental." While the phrase asserts that race cannot be neglected, it also cautions against ensconcing race as fundamental analytical priority, suggesting a powerfully fluid conceptualization of radical political culture. Argues that radical theater projects in Jamaica and the Dominican Republic share this fluid conceptualization of radical politics with the Trinidadian James's own stage versions of the Haitian Revolution.
