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A collection of playscripts and texts that give an English-reading
audience access to key plays as well as less well-known and
previously untranslated works - a superb resource for scholars and
theatre practitioners. This volume makes available some of the most
influential, imaginative and exciting plays to come out of East and
West Africa from the 1970s to the present day. Deliberately
excluding playscripts by the regions' two best known playwrights,
Wole Soyinka and Ngugi wa Thiong'o, whose work was profiled in
African Theatre 13 the editors have selected plays, some well-known
and some less widely available, that represent the diversity and
richness of thesetwo very different African regions. The
playscripts include a new translation from Amharic, as well as the
English version of a play originally written in French, making more
theatre from some of Africa's multitude of languages accessible to
an English-reading audience. Each script is accompanied by an essay
from an expert on the work, the playwright, and the context in
which the play was produced, so that the volume will be of maximum
use to both researchers and students of African theatre. Volume
Editors: MARTIN BANHAM & JANE PLASTOW Series Editors: Martin
Banham, Emeritus Professor of Drama & Theatre Studies,
University of Leeds; James Gibbs, Senior Visiting Research Fellow,
University of the West of England; Femi Osofisan, Professor of
Drama, University of Ibadan; Jane Plastow, Professor of African
Theatre, University of Leeds; Yvette Hutchison, Associate
Professor, Department of Theatre & Performance Studies,
University of Warwick
Looks at the lives, challenges and contributions of African women
from across the continent to making and participating in theatre in
the 21st century. Drawing on expertise from across the African
continent this collection reflects the realities for women working
and making theatre: how Egyptian director Dalia Basiouny has
documented the "Tahrir Stories" of the Egyptian Revolution; how in
Uganda women have used various theatrical devices, such as oral
poetry, to seek common ground in a rural-urban inter-generational
theatre project; and the use of physical theatre to examine
disavowed memory in South Africa. The contributors also look at how
practitioners are re-thinking performance space and modes of
performance for gendered advocacy in Botswanan theatre, and how
women are addressing gender-based violence and rape culture,
comparing performance and street-based activism in South Africa and
India. A particular strength of the volume is its interviews: with
Jalila Baccar of Tunisia, by Marvin Carlson; six Ethiopian
actresses are interviewed and introduced by Jane Plastow and Mahlet
Solomon; and Ariane Zaytzeff explores "Making art to reinvent
culture" with Odile Gakire Katese of Rwanda. The new play to be
published is The Sentence by Sefi Atta, introduced and
contextualized by Christine Matzke. Volume Editors: JANE PLASTOW
& YVETTE HUTCHISON Guest Editor: CHRISTINE MATZKE Series
Editors: Martin Banham, Emeritus Professor of Drama & Theatre
Studies, University of Leeds; James Gibbs, Senior Visiting Research
Fellow, University of the West of England; Femi Osofisan, Professor
of Drama at the University of Ibadan; Jane Plastow, Professor of
African Theatre, University of Leeds; Yvette Hutchison, Associate
Professor, Department of Theatre & Performance Studies,
University of Warwick
This book is the first ever transnational theatre study of an
African region. Covering nine nations in two volumes, the project
covers a hundred years of theatre making across Burundi, Djibouti,
Eritrea, Ethiopia, Kenya, Rwanda, Somalia, Tanzania, and Uganda.
This volume focuses on the theatre of the Horn of Africa. The book
shows how the theatres of Djibouti, Eritrea, Ethiopia, and Somalia,
little known in the outside world, have been among the continent's
most politically important, commercially successful, and widely
popular; making work almost exclusively in local languages and
utilizing hybrid forms that have privileged local cultural modes of
production. A History of African Theatre is relevant to all who
have interests in African cultures and their relationship to the
history and politics of the East African region.
This second volume of A History of East African Theatre focuses on
central East Africa; on Burundi, Kenya, Rwanda, Tanzania and
Uganda. The first chapter is concerned with francophone theatres,
comparatively studying work coming out of Burundi and Rwanda
alongside a focus on French language theatre in Djibouti. The
chapter is particularly concerned to explore how French and Belgian
cultural policies impacted theatre during the colonial period and
how the French ideas of Francafrique and promotion of elite, French
language art have continued to resonate in the post-colonial
present. Chapters Two and Three look comparatively at the rich
theatre histories of Kenya, Tanzania and Uganda, and are divided
between a study of British East African colonial impact and an
analysis of the post-colonial period illustrating how divergent
political thought and societal make-up led to exponential
differentiation in national theatres. The final chapter, on Theatre
for Development and related social action theatre, covers the whole
East African region, offering the first ever historicised analysis
of this mode of theatre making which, since the 1980s, has come to
dominate funding and opportunity in performance arts.
This second volume of A History of East African Theatre focuses on
central East Africa; on Burundi, Kenya, Rwanda, Tanzania and
Uganda. The first chapter is concerned with francophone theatres,
comparatively studying work coming out of Burundi and Rwanda
alongside a focus on French language theatre in Djibouti. The
chapter is particularly concerned to explore how French and Belgian
cultural policies impacted theatre during the colonial period and
how the French ideas of Francafrique and promotion of elite, French
language art have continued to resonate in the post-colonial
present. Chapters Two and Three look comparatively at the rich
theatre histories of Kenya, Tanzania and Uganda, and are divided
between a study of British East African colonial impact and an
analysis of the post-colonial period illustrating how divergent
political thought and societal make-up led to exponential
differentiation in national theatres. The final chapter, on Theatre
for Development and related social action theatre, covers the whole
East African region, offering the first ever historicised analysis
of this mode of theatre making which, since the 1980s, has come to
dominate funding and opportunity in performance arts.
A key volume for Shakespeare, African theatre and postcolonial
cultural scholars, promoting debate on the role of Western cultural
icons in contemporary postcolonial cultures. This volume takes as
its starting point an interrogation of the African contributions to
the Globe to Globe festival staged in London in 2012, where 37
Shakespeare productions were offered, each from a different nation.
Five African companies were invited to perform and there are
articles on four of these productions, examining issues of
interculturalism, postcolonialism, language, interpretation and
reception. The contributors are both Shakespeare and African
theatre scholars, promoting discourse from a range of geographical
and cultural perspectives. A critical debate about the process of
the Globe to Globe festival is initiated in the form of a
discussion article featuringsome of its directors and actors. Two
further articles look at Shakespeare productions made purely for
Africa, from Mauritius and Cape Verde, and leading Nigerian
playwright and cultural commentator Femi Osofisan provides an
overview article examining Shakespeare in Africa in the 21st
century. The playscript in this volume of African Theatre is Femi
Osofisan's Wesoo, Hamlet! or the Resurrection of Hamlet. Volume
Editor: JANE PLASTOW Series Editors: Martin Banham, Emeritus
Professor of Drama & Theatre Studies, University of Leeds;
James Gibbs, Senior Visiting Research Fellow, University of the
West of England; Femi Osofisan, Professor of Drama at the
University of Ibadan; Jane Plastow, Professor of African Theatre,
University of Leeds; Yvette Hutchison, Associate Professor,
Department of Theatre & Performance Studies, University of
Warwick
This book is the first ever transnational theatre study of an
African region. Covering nine nations in two volumes, the project
covers a hundred years of theatre making across Burundi, Djibouti,
Eritrea, Ethiopia, Kenya, Rwanda, Somalia, Tanzania, and Uganda.
This volume focuses on the theatre of the Horn of Africa. The book
shows how the theatres of Djibouti, Eritrea, Ethiopia, and Somalia,
little known in the outside world, have been among the continent's
most politically important, commercially successful, and widely
popular; making work almost exclusively in local languages and
utilizing hybrid forms that have privileged local cultural modes of
production. A History of African Theatre is relevant to all who
have interests in African cultures and their relationship to the
history and politics of the East African region.
PAPERBACK FOR SALE IN AFRICA ONLY A collection of playscripts and
texts that give an English-reading audience access to key plays as
well as less well-known and previously untranslated works - a
superb resource for scholars and theatre practitioners. This volume
makes available some of the most influential, imaginative and
exciting plays to come out of East and West Africa from the 1970s
to the present day. Deliberately excluding playscripts by the
regions' two best known playwrights, Wole Soyinka and Ngugi wa
Thiong'o, whose work was profiled in African Theatre 13 the editors
have selected plays, some well-known and some less widely
available, that represent the diversity and richness of thesetwo
very different African regions. The playscripts include a new
translation from Amharic, as well as the English version of a play
originally written in French, making more theatre from some of
Africa's multitude of languages accessible to an English-reading
audience. Each script is accompanied by an essay from an expert on
the work, the playwright, and the context in which the play was
produced, so that the volume will be of maximum use to both
researchers and students of African theatre. Volume Editors: MARTIN
BANHAM & JANE PLASTOW Series Editors: Martin Banham, Emeritus
Professor of Drama & Theatre Studies, University of Leeds;
James Gibbs, Senior Visiting Research Fellow, University of the
West of England; Femi Osofisan, Professor of Drama, University of
Ibadan; Jane Plastow, Professor of African Theatre, University of
Leeds; Yvette Hutchison, Associate Professor, Department ofTheatre
& Performance Studies, University of Warwick
Theatre and Empowerment examines the ability of drama, theatre,
dance and performance to empower communities of very different
kinds, and it does so from a multi-cultural perspective. The
communities involved include poverty-stricken children in Ethiopia
and the Indian sub-continent, disenfranchised Native Americans in
the USA and young black men in Britain, victims of violence in
South Africa and Northern Ireland, and a threatened agricultural
town in Italy. The book asserts the value of performance as a vital
agent of necessary social change, and makes its arguments through
the close examination, from 'inside' practice, of the success - not
always complete - of specific projects in their practical and
cultural contexts. Practitioners and commentators ask how
performance in its widest sense can play a part in community
activism on a scale larger than the individual, 'one-off' project
by helping communities find their own liberating and creative
voices.
Theater, in a variety of forms and contexts, can make, and indeed has made, positive political and social interventions in a range of developing cultures around the world. In this book a distinguished team of theater historians and dramatists explore how theater has a dynamic and often difficult relationship with societies and states, arguing positively that theatrical activity can make a difference. The collection begins with a foreword by Wole Soyinka and, throughout the volume, specially chosen plays, projects and movements are examined in countries such as Brazil and Argentina, Nigeria, Eritrea and South Africa, India and the Caribbean.
Theatre and Empowerment examines the ability of drama, theatre,
dance and performance to empower communities of very different
kinds, and it does so from a multi-cultural perspective. The
communities involved include poverty-stricken children in Ethiopia
and the Indian sub-continent, disenfranchised Native Americans in
the USA and young black men in Britain, victims of violence in
South Africa and Northern Ireland, and a threatened agricultural
town in Italy. The book asserts the value of performance as a vital
agent of necessary social change, and makes its arguments through
the close examination, from 'inside' practice, of the success - not
always complete - of specific projects in their practical and
cultural contexts. Practitioners and commentators ask how
performance in its widest sense can play a part in community
activism on a scale larger than the individual, 'one-off' project
by helping communities find their own liberating and creative
voices.
Theatre, in a variety of forms and contexts, can make, and indeed
has made, positive political and social interventions in a range of
developing cultures across the world. In this book a distinguished
team of theatre historians and dramatists explores how theatre has
a dynamic and often difficult relationship with societies and
states, arguing positively that theatrical activity can make a
difference. The collection begins with a foreword by Wole Soyinka
and, through the volume, specially chosen plays, projects and
movements are examined, embracing a variety of theatrical forms
from conventional text to on-site developmental work. The
communities addressed range from the national to the local, from
middle-class elites to the economically dispossessed in countries
such as Brazil and Argentina, Nigeria, Eritrea and South Africa,
and India and the Caribbean countries.
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