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Refugee Boy (Paperback)
Benjamin Zephaniah; Adapted by Lemn Sissay; Edited by Lynette Goddard
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R323
Discovery Miles 3 230
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Ships in 9 - 15 working days
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An eye for an eye. It's very simple. You choose your homeland like
a hyena picking and choosing where he steals his next meal from.
Scavenger. Yes you grovel to the feet of Mengistu and when his
people spit at you and kick you from the bowl you scuttle across
the border. Scavenger. As a violent civil war rages back home in
Ethiopia, teenager Alem and his father are in a bed and breakfast
in Berkshire. It's his best holiday ever. The next morning his
father is gone and has left a note explaining that he and his
mother want to protect Alem from the war. This strange grey country
of England is now his home. On his own, and in the hands of the
social services and the Refugee Council, Alem lives from letter to
letter, waiting to hear something from his father. Then he meets
car-obsessed Mustapha, the lovely 'out-of-your-league' Ruth and
dangerous Sweeney - three unexpected allies who spur him on in his
fight to be seen as more than just the Refugee Boy. Lemn Sissay's
remarkable stage adaptation of Benjamin Zephaniah's bestselling
novel is published here in the Methuen Drama Student Edition
series, featuring commentary & notes by Professor Lynette
Goddard (Royal Holloway, University of London, UK) that help the
student unpack the play's themes, language, structure and
production history to date.
Errol John wrote Moon on a Rainbow Shawl (1958) after becoming
disillusioned about the lack of good roles for black actors on the
British theatre scene. While this situation has only slightly
improved since, his response has become the most revived black play
in Britain, from its original production at the Royal Court in
1958, to the National Theatre in 2012. It depicts the lives of a
black community living in poverty in a shared tenement yard in Port
of Spain, Trinidad, in the mid-1940s, showing how each of the
characters carries dreams of escaping to create better lives for
themselves and their families. Lynette Goddard focuses on how the
play articulates the narratives of migration that prompted many
Caribbean people to uproot from their homes on the islands and move
to the England in the post-war era. For some of them, these dreams
of a new life became a reality, but they were experienced
differently across genders and generations.
Errol John wrote Moon on a Rainbow Shawl (1958) after becoming
disillusioned about the lack of good roles for black actors on the
British theatre scene. While this situation has only slightly
improved since, his response has become the most revived black play
in Britain, from its original production at the Royal Court in
1958, to the National Theatre in 2012. It depicts the lives of a
black community living in poverty in a shared tenement yard in Port
of Spain, Trinidad, in the mid-1940s, showing how each of the
characters carries dreams of escaping to create better lives for
themselves and their families. Lynette Goddard focuses on how the
play articulates the narratives of migration that prompted many
Caribbean people to uproot from their homes on the islands and move
to the England in the post-war era. For some of them, these dreams
of a new life became a reality, but they were experienced
differently across genders and generations.
Staging Black Feminisms explores the development and principles of
black British women's plays and performance since the late
Twentieth century. Using contemporary performance theory to explore
key themes (such as migration, motherhood, sexuality, and mixed
race identity), it offers close textual readings and production
analysis of a range of plays, performance poetry and live art works
by practitioners, including Patience Agbabi, Jackie Kay, Valerie
Mason John, Winsome Pinnock, Jacqueline Rudet, Debbie Tucker Green,
Dorothea Smartt, Su Andi, and Susan Lewis.
Staging Black Feminisms explores the development and principles of
black British women's plays and performance since the late
Twentieth century. Using contemporary performance theory to explore
key themes, it offers close textual readings and production
analysis of a range of plays, performance poetry and live art works
by practitioners.
A bold play collection representing Lesbian, Gay, Bisexual, Trans,
Intersex and Queer (LGBTIQ+) experiences, from Black British
perspectives, this anthology contains seven radical plays by Black
writers that change the face of theatre in Britain. With an
international reach connecting Africa, the Caribbean and the
Diaspora, these plays address themes including same-sex love, sex,
homophobia, apartheid, migration and space travel. The collection
captures the historical scope and range of Black British LGBTIQ+
theatre, from the 1980s to 2021. Including a range of forms, from
monologue to musicals, realist drama to club-performance, readers
will journey through the development of Black Queer theatre in
Britain. Through a helpful critical introduction, this book
provides important socio-political and historical context,
highlighting and illuminating key themes in the plays. Each play is
preceded by an intergenerational 'in-conversation' piece between
two Black British LGBTIQ+ artists and writers who will talk about
their own work in relation to the play, looking back at the history
and on into the future. Through these rare conversations with
highly acclaimed award-winning practitioners, readers will also
gain an insight into the theatre industry, funding, producing,
venues as well as the politics of identity, the diversity of
LGBTIQ+ lives and the richness of Black British cultures.
Essential for students of theatre studies, Methuen Drama's Decades
of Modern British Playwriting series provides a comprehensive
survey and study of the theatre produced in each decade from the
1950s to 2009 in six volumes. Each volume features a critical
analysis and reevaluation of the work of four/five key playwrights
from that decade authored by a team of experts, together with an
extensive commentary on the period . Edited by Dan Rebellato,
Modern British Playwriting: 2000-2009 provides an authoritative and
stimulating reassessment of the theatre of the decade, together
with a detailed study of the work of David Greig (Nadine
Holdsworth), Simon Stephens (Jacqueline Bolton), Tim Crouch (Dan
Rebellato), Roy Williams (Michael Pearce) and Debbie Tucker Green
(Lynette Goddard). The volume sets the context by providing a
chronological survey of the decade, one marked by the War on
Terror, the excesses of economic globalization and the digital
revolution. In surveying the theatrical activity and climate,
Andrew Haydon explores the response to the political events, the
rise of verbatim theatre, the increasing experimentation and the
effect of both the Boyden Report and changes in the Arts Council's
priorities. Five scholars provide detailed examinations of the
playwrights' work during the decade, combining an analysis of their
plays with a study of other material such as early play drafts and
the critical receptions of the time. Interviews with each
playwright further illuminate this stimulating final volume in the
Decades of Modern British Playwriting series.
Essential for students of theatre studies, Methuen Drama's "Decades
of Modern British Playwriting" series provides a comprehensive
survey and study of the theatre produced in each decade from the
1950s to 2009 in six volumes. Each volume features a critical
analysis and reevaluation of the work of four/five key playwrights
from that decade authored by a team of experts, together with an
extensive commentary on the period .Edited by Dan Rebellato,
"Modern British Playwriting: 2000-2009" provides an authoritative
and stimulating reassessment of the theatre of the decade, together
with a detailed study of the work of David Greig (Nadine
Holdsworth), Simon Stephens (Jacqueline Bolton), Tim Crouch (Dan
Rebellato), Roy Williams (Michael Pearce) and Debbie Tucker Green
(Lynette Goddard). The volume sets the context by providing a
chronological survey of the decade, one marked by the War on
Terror, the excesses of economic globalization and the digital
revolution. In surveying the theatrical activity and climate,
Andrew Haydon explores the response to the political events, the
rise of verbatim theatre, the increasing experimentation and the
effect of both the Boyden Report and changes in the Arts Council's
priorities. Five scholars provide detailed examinations of the
playwrights' work during the decade, combining an analysis of their
plays with a study of other material such as early play drafts and
the critical receptions of the time. Interviews with each
playwright further illuminate this stimulating final volume in the
"Decades of Modern British Playwriting" series.
The Methuen Drama Book of Plays by Black British Writers provides
an essential anthology of six of the key plays that have shaped the
trajectory of British black theatre from the late-1970s to the
present day. In doing so it charts the journey from specialist
black theatre companies to the mainstream, including West End
success, while providing a cultural and racial barometer for
Britain during the last forty years. It opens with Mustapha
Matura's 1979 play Welcome Home Jacko which in its depiction of a
group of young unemployed West Indians was one of the first to
explore issues of youth culture, identity and racial and cultural
identification. Jackie Kay's Chiaroscuro examines debates about the
politics of black, mixed race and lesbian identities in 1980s
Britain, and from the 1990s Winsome Pinnock's Talking in Tongues
engages with the politics of feminism to explore issues of black
women's identity in Britian and Jamaica. From the first decade of
the twenty-first century the three plays include Roy Williams'
seminal pub-drama Sing Yer Hearts Out for the Lads, exploring
racism and identity against the backdrop of the World Cup; Kwame
Kwei-Armah's National Theatre play of 2004, Fix Up, about black
cultural history and progress in modern Britain, and finally Bola
Agbage's terrific 2007 debut, Gone Too Far!, which examines
questions of identity and tensions between Africans and Caribbeans
living in Britain. Edited by Lynnette Goddard, this important
anthology provides an essential introduction to the last forty
years of British black theatre.
A bold play collection representing Lesbian, Gay, Bisexual, Trans,
Intersex and Queer (LGBTIQ+) experiences, from Black British
perspectives, this anthology contains seven radical plays by Black
writers that change the face of theatre in Britain. With an
international reach connecting Africa, the Caribbean and the
Diaspora, these plays address themes including same-sex love, sex,
homophobia, apartheid, migration and space travel. The collection
captures the historical scope and range of Black British LGBTIQ+
theatre, from the 1980s to 2021. Including a range of forms, from
monologue to musicals, realist drama to club-performance, readers
will journey through the development of Black Queer theatre in
Britain. Through a helpful critical introduction, this book
provides important socio-political and historical context,
highlighting and illuminating key themes in the plays. Each play is
preceded by an intergenerational 'in-conversation' piece between
two Black British LGBTIQ+ artists and writers who will talk about
their own work in relation to the play, looking back at the history
and on into the future. Through these rare conversations with
highly acclaimed award-winning practitioners, readers will also
gain an insight into the theatre industry, funding, producing,
venues as well as the politics of identity, the diversity of
LGBTIQ+ lives and the richness of Black British cultures.
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