In searching for a definitive concept of black theatre, Euba delves deeply into the Yoruba culture and gods, specifically the attributes and ritual of Esu-Elegbara. The resulting vision goes beyond the standard interpretations to place Esu, the fate god, squarely at the center of Yoruba ritual and drama, and by extension, at the center of the black writer's concept of character, actor, and audience as victims of fate and satire. The first section of the book explores the essence of man in the black world of survival. The second, and main section, seeks to develop a concept of drama in black theatre (in African and the New World experience) from the point of view of Esu-Elegbara. The text is highlighted by various illustrations. Three tables outline the Agents of Satire: Imprecator; Imprecator/Satirist; and Satirist/Agent. A bibliography, notes, and an index will help the scholar who wishes to further explore this rich and complex subject. The book is a sophisticated study that will be of great interest to students seeking to understand African influences on black culture today. Potential markets for the book include university-level black history, literature, or culture studies. A broader market might be found among theatre practitioners and students of modern drama.

Based on the author's teaching methods and experience, the book presents an examination and analysis of the creative process of playwriting through the insight of the very foundations of drama and theatre-the ritual process. Using the playwright as a ritual quester, it attempts to concretize the playwright's creative experience from the gestation of a dramatic idea, through the development of that idea, to its expression as a scripted and theatrical expression. To give the concept a wider scope, parallels and/or contrasts are often made with similar creative experiences, especially performative. The first part of the book visually crystallizes the ritual-creative concept in the psychical emanations of the questing playwright; the second part locates the concept in the dramatic structure, a result of the physical engagement, struggle and expression of the playwright. Various established dramatic works, classical and contemporary, are used to illustrate this creative concept.

Based on the author's teaching methods and experience, the book presents an examination and analysis of the creative process of playwriting through the insight of the very foundations of drama and theatre-the ritual process. Using the playwright as a ritual quester, it attempts to concretize the playwright's creative experience from the gestation of a dramatic idea, through the development of that idea, to its expression as a scripted and theatrical expression. To give the concept a wider scope, parallels and/or contrasts are often made with similar creative experiences, especially performative. The first part of the book visually crystallizes the ritual-creative concept in the psychical emanations of the questing playwright; the second part locates the concept in the dramatic structure, a result of the physical engagement, struggle and expression of the playwright. Various established dramatic works, classical and contemporary, are used to illustrate this creative concept.