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In the Oral Tradition? Vizenor as Dramatist
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This paper deals with the way in which Gerald Vizenor has translated his own postmodern theory of the Postindian into dramatic format. Technically and theatrically speaking, there is always that postcolonial level on which Native American and Canadian First Nations actors are either playing with, or are playing against, preconceived cinematic and theatrical images of the stage and screen “Indian”. Vizenor’s two dramatic texts—the screenplay to Harold of Orange (1983) and the play Ishi and the Wood Ducks (1995)—ironise this legacy in a series of trickster comedy images (Harold) and an academic word play (Ishi).
Title: In the Oral Tradition? Vizenor as Dramatist
Description:
This paper deals with the way in which Gerald Vizenor has translated his own postmodern theory of the Postindian into dramatic format.
Technically and theatrically speaking, there is always that postcolonial level on which Native American and Canadian First Nations actors are either playing with, or are playing against, preconceived cinematic and theatrical images of the stage and screen “Indian”.
Vizenor’s two dramatic texts—the screenplay to Harold of Orange (1983) and the play Ishi and the Wood Ducks (1995)—ironise this legacy in a series of trickster comedy images (Harold) and an academic word play (Ishi).
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