This article compares the theatrical careers of two performers in the French colony of Saint-Domingue (present-day Haiti): Mme Marsan, a white European who dominated the public stage in 1780s Cap-Français, and a younger Creole woman of mixed racial ancestry, known as ‘Minette’, who performed in her home town of Port-au-Prince. Its focus is on performances of Marsollier and Dalayrac’s opéra-comique, Nina (1786), in which both women performed the lead role. Although Minette is usually regarded as a singer, it is argued here that, by electing to put on and star in Nina, she was taking on one of the most demanding acting roles in the repertoire. The article considers the self-positioning — and positioning by others — of both performers in relation to the metropolitan performance model and the possibility of creating creolized forms of theatre. While Mme Marsan acknowledged that she was playing a role previously performed successfully in Paris by Mme Dugazon, Minette’s approach was more complex: drawing on unacknowledged references to a review of Dugazon’s performance, Minette also invoked a common Creole background that she claimed to share with her local audience. The metropolitan ‘model’ was thus not always imitated; it was also used as inspiration for new, subtly creolized forms of theatre.

中文翻译：

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巴黎Palimpsests和克里奥尔人的作品：Marsan和Dlle Minette女士在加勒比海舞台上扮演Nina

本文比较了法国圣多明格（今海地）殖民地的两位表演者的戏剧生涯：马尔桑夫人（Mme Marsan），白人欧洲人，她在1780年代的弗朗西斯角（Cap-Français）占据了公共舞台，还有一个年轻的混血儿克里奥尔族妇女，被称为“ Minette”，她在太子港的家乡演出。它的重点是在Marsollier和Dalayrac的歌剧《尼娜（Nina）》（1786）的表演中，两位女性都扮演了主角。尽管米内特通常被认为是歌手，但这里有人争辩说，通过选择在妮娜（Nina）上演出并出演，她正在扮演曲目中要求最高的表演角色之一。本文考虑了两个表演者相对于大都会表演模型的自我定位和其他人的定位，以及考虑创建戏剧化形式的剧院的可能性。尽管玛桑女士承认她曾扮演杜加宗女士以前在巴黎成功演出的角色，但米内特的方法更为复杂：借鉴未经认可的对杜加宗性能的评论，米内特还援引了她声称与她分享的共同克里奥尔语背景。当地观众。因此，大都会的“模型”并不总是被模仿。它也被用作新的，精巧的，形式化的剧院的灵感。