When Animals Speak: Staging Representations of Africa
2009; Volume: 28; Issue: 2 Linguagem: Inglês
ISSN
2327-9648
Autores Tópico(s)Animal Law and Welfare
ResumoThe perception of for many in the industrialized West is, of course, inextricably linked to colonialism. A cultural hierarchy placing Europe in a position of superiority in relation to colonized territories largely survived the aftermath of independence movements and, to a considerable degree, continues to inform perceptions and representations of today. To compound such misperceptions, little attention is given to current African realities, and generalizations and stereotypes regarding the continent have not been dismantled. Even in the twenty-first century, the essential dynamics characterized by a hierarchical structure of domination remain in place, and is defined - as seen in the media's focus - by disease and poverty, corruption and violence, among other mostly negative images. Moreover, representations of often blur the distinctions between the animal and human realms where images of wildlife coexist along with depictions of human violence and savagery. It is within this context that Hegel pronounces that Africa has no historical interest of its own (174), a good example of the type of assessment that diminishes the possibility of discussing in all its complexity. At the same time, it would be incorrect to state categorically that all approaches to are simplistic variations of an imperialist discourse. In some instances, and African things appear as signs that question reductionist readings of the West's relationship with Africa. This is the case in the work of Juan Mayorga, where the presence of Latin American and African subjects raises questions on ethical and social matters relevant to contemporary European life. La tortuga de Darwin and Ultimas pahbras de Copto de Nieve, two recent plays from 2008 and 2004 respectively, enact the challenges of the hierarchical relationship between Self and Other in Western societies through the use of non-Western, animal protagonists. Although Mayorga's choice of animals as leading characters is not common in the theatrical tradition and perhaps runs the risk of appearing frivolous, his dramatic works have received widespread critical acclaim. In 2009 Juan Mayorga was honored with the Premio Valle-Inclan de Teatro for his play La paz perpetua, which also features animals in key roles. He had previously won the Premio Nacional de Teatro (2007) for his work in the theater, and in Spring 2009, Juan Mayorga (as playwright) and Carmen Machi (as actress in a leading role) were honored with the MAX de las Artes Escenicas awards (Spain's most prestigious theatrical award), for La tortuga de Darwin, solidifying his status as one of Spain's most celebrated contemporary playwrights. Ultimas pahbras de Copito de Nieve was first staged in 2004 and La tortuga de Darwin was first produced in 2008. The plays were performed throughout Spain and both have been published. In all of the aforementioned works, Mayorga combines animal protagonists with philosophical reflections upon modernity and controversial topics of contemporary society. Mayorga's use of animals as principle characters illustrates his innovative fusion of the genres of fable and theater. The fable evidences a didactic intention, beginning with the renowned examples of Aesop in antiquity and later revisited by La Fontaine and Samaniego as central contributions to European Neoclassicism. In African societies, fables abound in the oral traditions as local fauna enact society's foibles and vices. Moreover, the African Diaspora transported the mythology, many with animal protagonists, to the Americas and Caribbean Islands. Lydia Cabrera, for example, offers stories tracing back to the Yoruba and other West African societies, where animals play key roles in the legends and folklore. However, in the abovementioned texts, we are not dealing with dramatic representations. Yet, theater is similar to the fable in that it plays the role of social critic. Hence, Mayorga is able to question our assumptions, propose new ways of seeing, as new metaphors are created with the help of the fable. …
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