지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2021.12
- 수록면
- 117 - 142 (26page)
- DOI
- 10.29163/jmed.2021.12.34.3.117
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초록· 키워드
오류제보하기
In this performance review, I reflect on the historical significance of Cheryl West’s bio-musical Fannie as a solo performance about a female African American activist and black enfranchisement. To begin with, the one-person musical showcases an alternative form of live performance in the age of COVID-19 since it requires a small group of people for production, thereby reducing the risk of virus infection. The solo performance also bears formal similarities with voting as a social practice, which happens to be the main theme of the play, as both are democratic media through which an individual voices their own opinion and are performed by one individual temporally isolated from other people watching them from a distance—thus, the irony of “solitude in public.” Thirdly, Fannie deserves special attention in American theatre history as it is one of the few solo performances that presents a black female historical figure as a hero rather than as a victim. Born as the last and twentieth child of her sharecropper parents in Mississippi in 1917, Fannie Lou Hamer devoted her life to promoting racial equality and securing the voting rights of African Americans. Although her dream of becoming a senator was not fulfilled, she played a pivotal role in raising awareness of severe racial discrimination in the South and encouraging contemporary African Americans’ participation in politics. Comprised of Hamer’s speeches and a dozen of freedom songs that she used to sing, Fannie turns out to be a moving tribute to her legacy and black pride. As a solo performance, Fannie demonstrates the resilience and power of live performance during the darkest period for theatre in the New Millenium due to the pandemic.
목차
Ⅰ. 들어가며
Ⅱ. 투표와 1인극, 그리고 『패니』
Ⅲ. 공연소개: 패니 루 헤이머의 삶과 업적
Ⅳ. 나가며
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Abstract
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