دانلود کتاب Public Theatre and the Enslaved People of Colonial Saint-Domingue

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Acknowledgements
Prefatory Note on Language and Translations
Contents
Abbreviations
List of Figures
1: Introduction
Chapter Summaries
2: Mitigated Spectators: Enslaved People in the Playhouse
The Theatre Audience in Saint-Domingue
The Enslaved Audience
Conclusion
3: Unsustainable Tensions: ‘Slave Ownership’ Among Theatre-Makers
Theatre Directors
Actors
Instrumentalists
Deserter Works
Conclusion
4: Mitigated Portrayals: Enslaved Figures in Creole Repertoire
Les Veuves créoles (Anonymous, 1768)
Figaro au Cap-Français (Clément, 1785) and Le Mariage par lettres de change (?Clément, 1785)
Arlequin mulâtresse protégée par Macanda (Unknown, 1786)
Jeannot et Thérèse (Clément, ?1758)
Les Amours de Mirebalais (Clément, 1786)
Les Nègres de place ou le commerce de nuit (Unknown, 1786)
Julien et Suset (Clément, 1788)
Conclusion
5: Concealed Contributors: Enslaved Participation in Theatre-Making
Orchestral Musicians
The ‘nègre créole’
Black Supernumeraries
Non-performing Contributors
Builders
Conclusion
6: New Citizens: Shifting Roles in Revolutionary-Era Theatre
‘Revolutionary’ Theatre from France
La Répétition interrompue (Mozard, 1789)
Le Triomphe du tiers état ou les ridicules de la noblesse (?Pastoret de Calian, 1789)
The Haitian Revolution Begins
La Liberté générale ou les colons à Paris (Bottu, 1796)
Le Héros africain (Unknown, 1797)
Conclusion
7: Conclusion
Exodus
Bibliography
Archives Nationales d’Outre-Mer (ANOM)
Service Historique de la Défense
Newspapers
Print and Online Sources
Index