FROM ADAPTATION TO TRANSFORMATION: SHAKESPEARE CREOLIZED ON CAPE VERDE'S FESTIVAL STAGE

Abstract

This is a tale of two directors. The setting is the Republic of Cape Verde, a former Portuguese colony and a tiny archipelago nestled off the coast of Senegal in West Africa. Framing the story is Cape Verde's annual Mindelact International Theatre Festival, which since 1997 has invited Lusophone theatre artists from three continents to perform a wide array of theatre genres on a mainstage program alongside Cape Verdean troupes. João Branco, a Portuguese director who moved to the islands in the early 1990s, is the artistic director of both the Mindelact Festival and the veteran Cape Verdean theatre troupe GTCCPM (Grupo de Teatro do Centro Cultural Português do Mindelo/Theatre Group of the Mindelo Portuguese Cultural Center). For Mindelact 2003, GTCCPM performed an abridged version of King Lear rendered in Cape Verdean Crioulo, a mix of Portuguese and several West African languages. Beyond bolstering Branco's cherished goal of creolizing Shakespeare's plays by transporting them to Cape Verde's Afro-European cultural milieu, Rei Lear worked in concert with the festival's media blitz to extol local spectators in Mindelact's host city, Mindelo, for their good taste. Two years later, Herlandson Duarte, a young Cape Verdean director and Branco's former theatre student, staged a Crioulo-language Midsummer Night's Dream at Mindelact with his new theatre company, Solaris. Duarte's production transformed Bottom's play-within-a-play into a searing critique of Mindelense audiences and the structures of authority that prop up the festival itself.