Overview

A rigorous ethnography of three international theatre festivals spanning the Portuguese-speaking world, this book examines the potential for African theatre artists to generate meaningful cultural and postcolonial dialogues in festival venues despite the challenges posed by a global arts market.

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9781137006806

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Reviews

CHRISTINA MCMAHON IS an Assistant Professor in the Theatre and Dance Department at the University of California at Santa Barbara, USA

Recasting Transnationalism through Performance is a smart, nuanced, and compelling exploration of nation and transnation in African and Lusophone contexts. Christina McMahon's deep understanding of transnational alliances and frictions works in tandem with rich ethnographic detail; the result is a book that transcends disciplinary boundaries in its theoretical appeal. - Laura Edmondson, Darthmouth College, USA 'In the field of Lusophone cultural studies there is nothing comparable to McMahon's study. It stands alone as a most unique and necessary contribution.' - Fernando Arenas, University of Michigan, USA

""Recasting Transnationalism through Performance is a smart, nuanced, and compelling exploration of nation and transnation in African and Lusophone contexts. Christina McMahon's deep understanding of transnational alliances and frictions works in tandem with rich ethnographic detail; the result is a book that transcends disciplinary boundaries in its theoretical appeal."" - Laura Edmondson, Darthmouth College, USA 'In the field of Lusophone cultural studies there is nothing comparable to McMahon's study. It stands alone as a most unique and necessary contribution.' - Fernando Arenas, University of Michigan, USA

Author Information

Christina S. McMahon is Assistant Professor in the Theatre and Dance Department at the University of California, Santa Barbara, USA. She is a recipient of the IFTR New Scholars Prize and a Fulbright–Hays grant. Her articles have appeared in Theatre Survey, Theatre Research International, Theatre History Studies, and The Latin American Theatre Review.

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