Le Theatre du Soleil traces the company's history from a group of young, barely trained actors, directors, and designers struggling to match their political commitment to a creative strategy, to their grappling with the concerns of migration, separation and exile in the early decades of the twenty-first century. Beatrice Picon-Vallin recounts how, in the 55 years since its founding, the Theatre du Soleil has established itself as one of the foremost names in modern theatre. Ariane Mnouchkine and her collaborators have developed a unique and ever-evolving style that combines a piercing richness of shape, color, and texture with precision choreography, innovative musical accompaniment, and multi-layered, metaphorical dreamscapes. This rich, storied history is illustrated by a wealth of spectacular rehearsal and production photos from the company's own archive and interviews with dozens of past and present members, including Mnouchkine herself. Judith G. Miller's timely translation of the first comprehensive history and analysis of a remarkable, award-winning company is a compelling read for both students and teachers of Drama and Theatre Studies.

Le Theatre du Soleil traces the company's history from a group of young, barely trained actors, directors, and designers struggling to match their political commitment to a creative strategy, to their grappling with the concerns of migration, separation and exile in the early decades of the twenty-first century. Beatrice Picon-Vallin recounts how, in the 55 years since its founding, the Theatre du Soleil has established itself as one of the foremost names in modern theatre. Ariane Mnouchkine and her collaborators have developed a unique and ever-evolving style that combines a piercing richness of shape, color, and texture with precision choreography, innovative musical accompaniment, and multi-layered, metaphorical dreamscapes. This rich, storied history is illustrated by a wealth of spectacular rehearsal and production photos from the company's own archive and interviews with dozens of past and present members, including Mnouchkine herself. Judith G. Miller's timely translation of the first comprehensive history and analysis of a remarkable, award-winning company is a compelling read for both students and teachers of Drama and Theatre Studies.

If your mentally ill patient dies, are you to blame? For Dr. Francoise Davoine, a Parisian psychoanalyst, this question becomes disturbingly real as one of her patients commits suicide on the eve of All Saints' Day. She herself has a crisis, as she reflects on her thirty-year career and questions whether she should ever return to the hospital. But return she does, and thus commences a strange voyage across several centuries and countries, in which patients, fools, and the actors of medieval farces rise up from the past along with great thinkers who represent the author's own philosophical and literary sources: the humanist Erasmus, mathematician Rene Thom, writer Antonin Artaud, philosopher Ludwig Wittgenstein, and physicist Edwin Schrodinger, to name a few. Imaginary dialogues ensue as the analyst conjures up an interconnected world, where apiculture, wondrous rituals, theater, and language games illuminate her therapeutic practice as well as her personal history. Deeply affected by her voyage of discovery, the author becomes capable of implementing the teachings of psychotherapist Gaetano Benedetti, a mentor she visits at carnival time on a final fictional stopover in Switzerland. His advice, that the analyst become the equal of her patients and immerse herself in their madness so as to open up a space for treatment, is premised on the belief that individual illness is a reflection and result of severe historical trauma. "Mother Folly," which ends on a positive note, is an important intervention in the debate about how to treat the mentally ill, particularly those with psychosis. A practicing analyst and a skilled reader of literary and philosophical texts, Davoine provides a humane antidote to our increasingly mechanized and drug-reliant system of dealing with "fools and madmen."

If your mentally ill patient dies, are you to blame? For Dr. Francoise Davoine, a Parisian psychoanalyst, this question becomes disturbingly real as one of her patients commits suicide on the eve of All Saints' Day. She herself has a crisis, as she reflects on her thirty-year career and questions whether she should ever return to the hospital. But return she does, and thus commences a strange voyage across several centuries and countries, in which patients, fools, and the actors of medieval farces rise up from the past along with great thinkers who represent the author's own philosophical and literary sources: the humanist Erasmus, mathematician Rene Thom, writer Antonin Artaud, philosopher Ludwig Wittgenstein, and physicist Edwin Schrodinger, to name a few. Imaginary dialogues ensue as the analyst conjures up an interconnected world, where apiculture, wondrous rituals, theater, and language games illuminate her therapeutic practice as well as her personal history. Deeply affected by her voyage of discovery, the author becomes capable of implementing the teachings of psychotherapist Gaetano Benedetti, a mentor she visits at carnival time on a final fictional stopover in Switzerland. His advice, that the analyst become the equal of her patients and immerse herself in their madness so as to open up a space for treatment, is premised on the belief that individual illness is a reflection and result of severe historical trauma. "Mother Folly," which ends on a positive note, is an important intervention in the debate about how to treat the mentally ill, particularly those with psychosis. A practicing analyst and a skilled reader of literary and philosophical texts, Davoine provides a humane antidote to our increasingly mechanized and drug-reliant system of dealing with "fools and madmen."

The work of renowned Ivoirian playwright Koffi Kwahule has been translated into some 15 languages and is performed regularly throughout Europe, Africa, and the Americas. For the first time, Seven Plays of Koffi Kwahule: In and Out of Africa makes available to an Anglophone audience some of his best and most representative plays. Kwahule's theater delves into both the horror of civil war in Africa and the diasporic experience of peoples of African origin living in Europe and the "New World." From the split consciousness of the protagonist and rape victim in Jaz to the careless buffoonery of mercenaries in Brewery, Kwahule's characters speak in riffs and refrains that resonate with the improvisational pulse of jazz music. He confronts us with a violent world that represents the damage done to Africa and asks us, through exaggeration and surreal touches, to examine the reality of an ever-expanding network of global migrants. His plays speak to the contemporary state of humanity, suffering from exile, poverty, capitalist greed, collusion, and fear of "the other"-however that "other" gets defined. Judith G. Miller's introductory essay situates Kwahule among his post-colonial contemporaries. Short introductory essays to each play, accompanied by production photos, contextualize possible approaches to Kwahule's often enigmatic work. This collection will be of interest to Anglophone theater scholars and professionals eager to engage with contemporary theater beyond their borders, particularly in terms of what so-called minority theater artists from other countries are creating. Students and scholars of African studies and of global French studies will also find this work intriguing and challenging.

A rich collection of plays by French and francophone women writers in English translation.