Dear colleagues,
Please see below.
All the best,
Pat
Dr Patricia Noxolo,
School of Geography, Earth and Environmental Sciences,
University of Birmingham,
Edgbaston,
Birmingham
B15 2TT
UK
________________________________
From: Faisal Hamadah [[log in to unmask]]
Sent: 12 October 2016 18:42
To: Patricia Noxolo
Subject: Re: Regarding Philip Crispin's talk at Queen Mary's Quorum on Aimé Césaire and the politics of translation
Pardon me Professor,
The talk will be on at 6:00 Pm on the 19th of October at Queen Mary, Mile End Campus, Rehearsal Room 2.
On Wed, Oct 12, 2016 at 5:15 PM, Faisal Hamadah <[log in to unmask]<mailto:[log in to unmask]>> wrote:
Dear Professor Noxolo,
I hope this email finds you well. We at Queen Mary's Quorum lecture series will be hosting Philip Crispin and a presentation on the translation of Aimé Césaire A Tempest, and he helpfully mentioned that the Caribbean Studies network that you oversee might be interested in hearing the talk. Please find the relevant info below:
Quorum is a series of research seminars in the drama department at Queen Mary. All events are free and open to everyone. Drinks and snacks provided. RR2, Arts One building.
This year we are tackling the themes of capital and imperialism.
For our second event we welcome Philip Crispin from the University of Hull.
queenmarydrama.wordpress.com/<https://queenmarydrama.wordpress.com/>
twitter.com/QUORUM_QM<https://twitter.com/QUORUM_QM>
A tempestuous translation: Aimé Césaire’s Une tempête
In my talk, I will contend that the Martinican Aimé Césaire’s Une tempête, an anti-colonialist adaptation of The Tempest, epitomises translation as interpretation and creative revision. With striking fidelity to Shakespeare’s play, Césaire engages with the racial and class conflicts intrinsic to The Tempest and gives voice to the occluded colonized and oppressed. Une tempête also stands out as a translation through time (the era of Black civil rights and African liberation movements) and space (creatively and playfully refashioning Shakespearean references into a francophone Caribbean location).
With satire, eloquence and panache, the play charts an ongoing demystification and unravelling of a monoglot, colonialist Prospero – and of a canonized, colonial Bard. The resurrection and resistance of Caliban is founded upon African cultural resonances, not imposed western ideologies. Likening himself to Malcolm X, Caliban identifies his dispossession, the fate of the enslaved African diaspora, and casts off the slough of abjection as he reclaims and re-invents his cultural identity. It is he who is the supreme verbal artificer.
I will chart Une tempête’s impact upon the francophone world before recalling the challenge of translating the translator: my translation of the play was a British première at the Gate Theatre, Notting Hill in 1998. Its staging marked both the 150th anniversary of the abolition of slavery in the French colonies and the 50th anniversary of the arrival of West Indian immigrants to Britain.
I will happily broaden subsequent discussion to include consideration of La Tragédie du Roi Christophe and Une Saison au Congo, the other two plays in Césaire’s ‘triptych’ of anti-colonial dramas.
Dr Philip Crispin is a lecturer in Drama at the University of Hull. In 2013, he organised and hosted a Césaire centenary celebration at the French Institute in London. Formerly literary manager of the Gate Theatre, Notting Hill, his translation of Aimé Césaire’s Une tempête is published by Oberon Books. Previous articles on Césaire include: ‘A Tempestuous Translation: Aimé Césaire’s Une tempête’, in Modernités Shakespeariennes (Harmattan, 2010); ‘Aimé Césaire’s Caribbean Crucible: La Tragédie du Roi Christophe’, in Césaire: Parole due (Présence Africaine, 2014). His reviews of research into francophone African and Caribbean Theatres have appeared in the New West Indian Guide, edited by Professors Richard and Sally Price. In consultation with Professor Charles Forsdick, AHRC Theme Leadership Fellow for Translating Cultures, Philip is currently planning a monograph on Césaire’s theatre along with further annotated translations of Césaire’s ‘triptych’ of anti-colonial plays.
His translation of Un Homme debout (A Man Standing) an autobiographical play about human rights abuses and redemption in the Belgian prison system, was staged at this summer’s Edinburgh Fringe. He is currently working as translator, dramaturg and literary advisor on an Arts Council-sponsored collaboration entitled Shakespeare Versus Molière: The Tragicomedy of Power. This puppet play explores the current refugee crisis, racism and scapegoating through English and French early modern theatre and is to tour internationally. Currently completing a monograph on fools, Philip also works on medieval, early modern, and modern theatres, both francophone and anglophone, and enjoys performing and directing.
--
Faisal Adel Hamadah ÝíÕá ÚÇÏá ÍãÇÏå
PhD candidate ØÇáÈ ÏßÊæÑÇå
Literary Translator ãÊÑÌã
Queen Mary, University of London ßæíä ãÇÑí¡ ÌÇãÚÉ áäÏä
Department of Drama ÞÓã ÇáÏÑÇãÇ
Mile End Road E1 4NS
--
Faisal Adel Hamadah ÝíÕá ÚÇÏá ÍãÇÏå
PhD candidate ØÇáÈ ÏßÊæÑÇå
Literary Translator ãÊÑÌã
Queen Mary, University of London ßæíä ãÇÑí¡ ÌÇãÚÉ áäÏä
Department of Drama ÞÓã ÇáÏÑÇãÇ
Mile End Road E1 4NS
|
