Chapter Four, "Talking Back in the Temple of Negritude: The Subversion Of the Postcolonial Canon in the Drama of Maryse Conde" explores the Guadeloupean playwrights' critique of Negritude through "parodic excess."

Four Caribbean Women Playwrights aims to expand Caribbean and postcolonial studies beyond fiction and poetry by bringing to the fore innovative women playwrights from the French Caribbean: Ina Césaire, Maryse Condé, Gerty Dambury, Suzanne Dracius. Focussing on the significance of these women writers to the French and French Caribbean cultural scenes, the author illustrates how their work participates in global trends within postcolonial theatre. The playwrights discussed here all address socio-political issues, gender stereotypes, and the traumatic slave and colonial pasts of the Caribbean people. Investigating a range of plays from the 1980s to the early 2010s, including some works that have not yet featured in academic studies of Caribbean theatre, and applying theories of postcolonial theatre and local Caribbean theatre criticism, Four Caribbean Women Playwrights should appeal to scholars and students in the Humanities, and to all those interested in the postcolonial, the Caribbean, and contemporary theatre.

In Luisa Capetillo's three-act play written in 1907, "Influences of Modern Ideas," Angelina, the daughter of a rich Puerto Rican businessman and landowner, educates herself by reading the works of European writers, philosophers, and anarchists. After reading Tolstoy's The Slavery of Our Times, she is convinced that "the slavery of our times is the inflexible wage law." As the workers go on strike in her home town of Arecibo, Angelina tries to convince her father to give his property--home, factories, land--to the working class. And so the stage is set for Capetillo, a militant feminist, anarchist, and labor leader, to inform the public about her passions: the fight for workers' rights; the struggle for justice and equality, for women as well as workers; and the education of all classes and sexes. The themes in this social protest play appear throughout Capetillo's writings. This volume combines long and short plays, fiction, essays, propaganda, letters, poems, philosophical reflections, and journal entries in a never-before-available English translation by Lara Walker. Also included is a facsimile of the original Spanish-language text, Influencias de las ideas modernas, which was first published in San Juan, Puerto Rico, in 1916. Most of the pieces in this collection were written between 1912 and 1916 while Capetillo was living and working as a labor leader in Tampa and Ybor City, Florida; New York City; and Havana, Cuba. Editor Lara Walker's comprehensive introduction surveys Luisa Capetillo's life and work, placing her ideologies in the appropriate social and historical context. At once a sharp critique and a celebration of the gathering fervor of world politics, Capetillo's workexamines both her native Puerto Rico and the world outside, providing a sense of the workers' movement and the condition of women at the turn of the century. Capetillo embraces the humanistic thinking of the early twentieth century and envisions a world in which economic and social structures can be broken down, allowing both the worker and the women to be free.

Inspired by Édouard Glissant’s and Marta Aponte Alsina’s critical-creative work, this book explores how Puerto Rico’s affective archive of Caribbean relations, from the nineteenth century through the twenty-first, has envisioned and embodied decolonization and sovereignty in relation to the archipelagic, the sea, and Caribbean regionalism. The book’s transdisciplinary archive includes historical figures and their legacies; political and activist thought, textuality, and action as performative interventions; and performance and live arts pieces, objects, materialities, and texts as political/activist actions. Affect, Archive, Archipelago begins by delving into the historical-political figures of Ramón Emeterio Betances, Luisa Capetillo, and Pedro Albizu Campos. It then encounters the work of the live arts collective Agua, Sol y Sereno; the political/activist work of Amigxs del MAR, Comuna Caribe, Mujeres que Abrazan la Mar, and Coalición 8M; and Teresa Hernández’s transdisciplinary artistic trajectory. Finally, stemming from the book’s argument and the immediate historical-political-affective context of Puerto Rico’s summer 2019 rebellion (Verano Boricua), the book offers some reflections and proposals for furthering decolonial, sovereign, archipelagic, and reparatory horizons for Puerto Rico

Stages of Conflict brings together an array of dramatic texts, tracing the intersection of theater and social and political life in the Americas over the past five centuries. Historical pieces from the sixteenth century to the present highlight the encounter between indigenous tradition and colonialism, while contributions from modern playwrights such as Virgilio Pinero, Jose Triana, and Denise Stolkos take on the tumultuous political and social upheavals of the past century. The editors have added critical commentary on the origins of each play, affording scholars and students of theater, performance studies, and Latin American studies the opportunity to view the history of a continent through its rich and diverse theatrical traditions.--from publisher's statement.