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- W1978562067 abstract "From its earliest history, theatre has incorporated references to its own theatricality. This self-referentiality, which has been co-opted by other genres, is a particularly important aspect of modem and postmodern novels that often rely on dramatic terminology to explain themselves. Metafictional moments are, according to Patricia Waugh, author of Metafiction: The Practice of Self-Conscious Fiction, there for the sake of play.” But drama's self-conscious moments often have much more agency and purpose than Waugh's concept of play implies. Hamlet's mousetrap, after all, is intended to catch the conscience of the king. Richard Hornby's conclusion to Drama, Metadrama and Perception is that metadrama is estranging, presumably for the audience, but this definition is also too simplistic for post-colonial plays where metatheatre's signifieds communicate much more than estrangement. This paper considers metatheatre and plays-within-plays in Athol Fugard, John Kani and Winston Ntshona's The Island, Louis Nowra's The Golden Age, Wole Soyinka's Death and the King's Horseman, Derek Walcott's Pantomime, Monique Mojica's Princess Pocahontas and the Blue Spots, and Renee's Jeannie Once to offer possible ways to re-read metatheatrical moments as locations of deliberate dis-location of colonial power." @default.
- W1978562067 created "2016-06-24" @default.
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- W1978562067 date "1995-03-01" @default.
- W1978562067 modified "2023-09-25" @default.
- W1978562067 title "Spectacular Resistance: Metatheatre in Post-Colonial Drama" @default.
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- W1978562067 doi "https://doi.org/10.3138/md.38.1.42" @default.
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