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What kinds of documentation of performances exist - both of
colonial and indigenous theatre and how may this range of
documentation have affected how we read theatre history? African
performers, dramatists and directors have far out-paced
chroniclers, critics and librarians, and as a result, those
preparing accounts of theatre movements and performance on the
continent have very limited resources to work on. African Theatre 9
addresses the topic of theatre history and, more specifically,
looks at a selection of theatrical movements and events between
1850 and 1950. Drawing on such archived resources as are available,
this volume seeks to recover moments from the past by bringing
together papers that explore the complexity of the relationships
that characterised a century of contact, conflict, compromise and
creativity. The findings provide essential background to
understanding contemporary developments in African theatre, and
draw attention to the importance of documenting performances.
Volume Editor: YVETTE HUTCHISON 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
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
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African Theatre 8: Diasporas (Paperback)
Martin Banham, James Gibbs, Femi Osofisan; Edited by (ghost editors) Osita Okagbue, Christine Matzke; Contributions by …
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R592
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This volume in the African Theatre series celebrates the African
theatrical diaspora from Brazil to Tasmania, and Canada to Cuba,
and also includes the playscript Messing with the Mind by Egyptian
writer and director Khaled El-Sawy. Diasporas', as used in the
title of this volume, refers to a multitude of groups and
communities with widely differing histories, identities and current
locations. This book brings together essays on theatre by people of
Africandescent in North America, Cuba, Italy, the UK, Israel and
Tasmania. Several chapters present overviews of particular national
contexts, others offer insights into play texts or specific
performances. Offering a mix of academic andpractitioner's points
of views, Volume 8 in the African Theatre series analyses and
celebrates various aspects of African diasporic theatre worldwide.
Guest Editors: CHRISTINE MATZKE, Lecturer in African Literatures
and Cultures, Humboldt-University, Berlin; and OSITA OKAGBUE,
Senior Lecturer in the Department of Drama, Goldsmiths, University
of London. 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
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
Profiles theatre companies in Africa working creatively in the
context of financial and political constraints. A close scrutiny of
how theatre companies operate is an often neglected aspect of
theatre life in Africa, yet, as companies profiled here grapple
with the issues of 'creativity and collaboration' much is revealed
about the way theatre companies across the continent face the
challenges of financial constraints, the political complications of
sponsorship and funding, the need for creative or intellectual
freedoms, the intricacies of contracts and the crucial decisions
about venues and audiences. Volume Editor: JAMES GIBBS, University
of the West of England. Series editors: Martin Banham, James Gibbs,
Femi Osofisan The contributors include: DEXTER LYNDERSAY, FOLUKE
OUGUNLEYE, SIRI LANGE, ALLY MKUMBILA, BRACCO CHITOSA, MANFRED
LOIMEIR, LUCY RICHARDSON, CHRISTINE MATZKE, VICTOR S. DUGGA,
PATRICK-JUDE OTEH, BASIL JONES, MICHAEL WALLING, BRITISH COUNCIL,
JOS REPERTORY THEATRE.
Contributors examine how international theatre festivals have been
organised and how they have affected the evolution of sustainable
theatre. During the last fifty years, large sums of money, huge
resources of labour and vast amounts of creative energy have been
invested in international theatre festivals in Africa. Under
banners such as 'Reclaiming the African Past' and 'African
Renaissance', the festival participants have used the performing
arts to address a variety of topical issues and to confront images
embedded by a century of patronising colonial expositions. The
themes indicate the desire to take history by the forelock,
challenge perceptions and transform communities. Volume Editor:
JAMES GIBBS 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
Includes the playscript of Workshop Negative by Cont Mhlanga. This
volume in the African Theatre series includes the familiar
territory of South Africa and Zimbabwe but also countries which
have received little previous attention, such as Angola and
Namibia. The articles range from evaluations of single plays to
accounts of play-making processes, theatre for development and the
relationship between modern drama and indigenous performance. Guest
edited by DAVID KERR Series editors: Martin Banham, James Gibbs,
Femi Osofisan North America: Africa World Press
Extends the study of China's "soft power" into theatre studies and
looks more widely at syncretic traditions evolving in other
long-term historic exchanges between Asia and Africa. China is the
main focus of this volume, and articles consider the way it is
using "soft power" in its extensive engagement with South Africa,
and, through its support for theatre festivals, with Lusophone
countries in Africa. China's involvement with the construction of
theatres, opera houses and cultural facilities as part of its
foreign aid programmes in such countries as Algeria, Cameroon,
Mauritius, Ghana and Senegal, provides the background to the
playscript from this volume, Blickakte (Acts of Viewing) by Daniel
Schauf, Philipp Scholtysik & Jonas Alsleben, that explores
Chinese impact in Somalia. Issues also emerge around what China is
"importing" culturally fromAfrica. In 2012, Soyinka's The Lion
& the Jewel was produced there, and a season of Fugard's work
was enjoyed in Beijing during 2014. During 2016 Brett Bailey's
Macbeth Opera will be performed in Macao. In recent years courses
in African theatre have been started in Beijing by Biodun Jeyifo,
and also taught by Femi Osofisan whose well-known Esu and the
Vagabond Minstrels and Once Upon Four Robbers have been
translatedinto Mandarin, along with Soyinka's The Lion & the
Jewel. The volume also includes contributions on exchanges between
other Asian countries and Africa such as articles on the production
of African plays in Bangladesh and onthe persistence of African
performance traditions among African migrants in India. Attention
is paid to the syncretic theatre traditions that have evolved
wherever African and Asian populations have been in close and
extended contact, as in Mauritius and Durban. Unusual exchanges and
globalized theatre surfaces in the course of the volume. For
example, while the Guangdong Provincial Puppet Art Theatre Group
performed at the 41st Grahamstown Festival (2015), Chinese
puppeteers are being trained to manipulate the War Horse for a
Beijing production. Volume Editors: JAMES GIBBS & FEMI OSOFISAN
FEMI OSOFISAN Thalia Laureate of the International Association of
TheatreCritics 2016 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 ofDrama, University of
Ibadan; Jane Plastow, Professor of African Theatre, University of
Leeds; Yvette Hutchison, Associate Professor, Department of Theatre
& Performance Studies, University of Warwick.
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
Publishes for the first time Nobel Prize winner Wole Soyinka's
early revue sketches on which his later plays draw strongly for
characters and situations. This special issue, guest edited by
Judith Greenwood and Chuck Mike, is devoted to early revue sketches
by Wole Soyinka that had never been published outside Nigeria
before. Soyinka's most recent plays - The Beatification of Area Boy
and King Baabu, draw strongly on characters and incidents first
created in Soyinka's revues and satirical songs, such as Before the
Blackout and Unlimited Liability Company. Before the Blackout
staged in the late 1960s, was published in Nigeria by Orisun Acting
Editions, but is now a rarity. Unlimited Liability Company exists
as a long-playing record - again rare. Other material, including
the Unife Theatre Guerilla Unit's Before the Blowout exist only in
manuscript. Very few younger students of Soyinka's work are aware
of this material or have access to it. This volume brings these
brilliant satirical works of Soyinka's back into life, and offers
contextualising commentaries from Martin Banham, Femi Osofisan and
colleagues of Soyinka's associated with this early, but
fundamentally formative, work. Guest edited by MARTIN BANHAM with
JUDITH GREEENWOOD & CHUCK MIKE Series editors: Martin Banham,
James Gibbs, Femi Osofisan North America: Africa World Press
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
|
African Theatre 3: Women (Paperback)
Martin Banham; James Gibbs; Edited by James Gibbs; Osofisan, Femi,; Edited by Femi Osofisan
|
R586
Discovery Miles 5 860
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Ships in 12 - 17 working days
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Includes the playscript of Glass House by Fatima Dike with a brief
introduction by Marcia Blumberg. Women have struggled to be heard
in the world of modern African theatre. Traditionally they had
secure roles as dancers, singers and storytellers, but as theatre
became professionalised and commercialised, control increasingly
laywith the literate elites. This volume is testimony to the scope
of their work as playwrights, musicians and actors from the
Algerian diaspora to the new South Africa. Guest edited by JANE
PLASTOW North America: Indiana U Press; South Africa: Wits U Press
This volume features the play Babalawo, Mystery-Master by Agbo
Sikuade. First title in the African Theatre series with accounts of
Theatre for Development workshops and critical discussions of the
theme which continues to be a major area of endeavour in African
theatre. Series editors: Martin Banham, James Gibbs, Femi Osofisan
North America: Indiana University Press
Examines the impact of new media (such as video and YouTube) and
the use of multi-media on live and recorded performance in Africa.
Focuses on the ways African theatre and performance relate to
various kinds of media. Includes contributions on dance; popular
video, with an emphasis on video drama and soaps from Eastern and
Southern Africa, and the Nigerian 'Nollywood' phenomenon; the
interface between live performance and video (or still
photography), and links between on-line social networks and new
performance identities. As a group the articles raise, from
original angles, the issues of racism, gender, identity, advocacy
and sponsorship. Volume Editor: DAVID KERR is Professor of English
in the University of Botswana, and is the author of African Popular
Theatre 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
Dangerous, outrageous, comic and committed, the extraordinary
performers collected here have altered the history of popular
entertainment in America and Europe. Some have rarely had their
story told, others are familiar figures. The essays explore what
made these performers extraordinary: how they were trained, how
they practised their art, how they were received, celebrated,
satirised and mythologised. From the explosive acting of Richard
Burbage to the dislocating quirkiness of Peter Lorre, from the
dangerous satire of commedia dell'arte troupes in Russia to the
bittersweet collaboration of Morecambe and Wise, this volume
explores what made these actors popular. Each contributor has taken
care to set the performer and their work in cultural context, so
that the collection as a whole charts the changing relationship
between acting and popular culture over the last four hundred
years. Part One examines seventeenth and eighteenth century
performers, as they built a sense of the excitement and possibility
of theatre with audiences in Britain and Europe. The idea of
acting, its art and popular practice was being formed during this
period. Part Two explores nineteenth-century popular performers who
became cultural icons and developed popular performance that
contributed to the regeneration of national identity. Part Three
looks at twentieth-century performers whose acting continued to
reach popular audiences in remarkable ways, across national
boundaries, as the acting industry underwent transformation in the
face of technological change This is a unique collection of essays
on performers such as Richard Burbage, Sarah Siddons, Peter Lorre,
George Formby, Laurel and Hardy, and Morecombe andWise. It provides
an outstanding selection of contributors: Richard Boon, Colin
Chambers, Chris Dymkowski, Ger Fitzgibbon, Viv Gardner, Baz
Kershaw, Alexander Leggatt, Chris McCullough, Jan McDonald, Joel
Schechter, Laurence Senelick, Martin White, and Don Wilmeth.
Directors and collaborators assess and comment on the production of
plays by West Africa's Nobel Laureate Wole Soyinka and East
Africa's most influential author Ngugi wa Thiong'o. Wole Soyinka
and Ngugi wa Thiong'o are the pre-eminent playwrights of West and
East Africa respectively and their work has been hugely influential
across the continent. This volume features directors' experiences
of recent productions of their plays, the voices of actors and
collaborators who have worked with the playwrights, and also
provides a digest of their theatrical output. Contributors provide
new readings of Ngugi and Soyinka's classic texts, and astimulating
new approach for students of English, Theatre and African studies.
The playscript for this volume is a previously unpublished radio
play by Wole Soyinka entitled A Rain of Stones, first broadcast
onBBC Radio 4 in 2002. Volume Editors: MARTIN BANHAM & FEMI
OSOFISAN Guest Editor: KIMANI NJOGU 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
PAPERBACK FOR SALE IN AFRICA ONLY Extends the study of China's
"soft power" into theatre studies and looks more widely at
syncretic traditions evolving in other long-term historic exchanges
between Asia and Africa. China is the main focus of this volume,
and articles consider the way it is using "soft power" in its
extensive engagement with South Africa, and, through its support
for theatre festivals, with Lusophone countries in Africa. China's
involvement with the construction of theatres, opera houses and
cultural facilities as part of its foreign aid programmes in such
countries as Algeria, Cameroon, Mauritius, Ghana and Senegal,
provides the background to the playscript included in this volume,
Blickakte (Acts of Viewing) by Daniel Schauf, Philipp Scholtysik
& Jonas Alsleben, that explores Chinese impact in Somalia.
Issues also emerge around what China is "importing" culturally from
Africa. In 2012, Soyinka's The Lion & the Jewel was produced
there, and a season of Fugard's work was enjoyed in Beijing during
2014. During 2016 Brett Bailey's Macbeth Opera will be performed in
Macao. In recent years courses in African theatre have been started
in Beijing by Biodun Jeyifo, and also taught on occasions by Femi
Osofisan, joint-editor of this volume. His well-known Esu and the
Vagabond Minstrels as wellas Once Upon Four Robbers have been
translated into Mandarin, along with Soyinka's The Lion & the
Jewel. The volume also includes contributions on exchanges between
other Asian countries and Africa such as articles on the production
of African plays in Bangladesh and on the persistence of African
performance traditions among African migrants in India. Attention
is paid to the syncretic theatre traditions that have evolved
wherever African andAsian populations have been in close and
extended contact, as in Mauritius and Durban. Unusual exchanges and
globalized theatre surfaces in the course of the volume. For
example, while the Guangdong Provincial Puppet Art Theatre Group
performed at the 41st Grahamstown Festival (2015), Chinese
puppeteers are being trained to manipulate the War Horse for a
Beijing production. Volume Editors: JAMES GIBBS & FEMI OSOFISAN
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.
This book aims to offer a broad history of theatre in Africa. The
roots of African theatre are ancient and complex and lie in areas
of community festival, seasonal rhythm and religious ritual, as
well as in the work of popular entertainers and storytellers. Since
the 1950s, in a movement that has paralleled the political
emancipation of so much of the continent, there has also grown a
theatre that comments back from the colonized world to the world of
the colonists and explores its own cultural, political and
linguistic identity. A History of Theatre in Africa offers a
comprehensive, yet accessible, account of this long and varied
chronicle, written by a team of scholars in the field. Chapters
include an examination of the concepts of 'history' and 'theatre';
North Africa; Francophone theatre; Anglophone West Africa; East
Africa; Southern Africa; Lusophone African theatre; Mauritius and
Reunion; and the African diaspora.
The Cambridge Guide to African and Caribbean Theatre is an
exploration of the rich diversity of theatrical traditions in
sub-Saharan Africa and the Caribbean. Beautifully illustrated
throughout, the book traces the ancient and complex roots of
African theatre - still evident in community festivals and
religious rituals - through the centuries of colonial domination,
to the African diaspora and its manifestation in Caribbean theatre.
Drawing upon the parent Cambridge Guide to Theatre, material is
updated and refocused to offer a specific view of traditional and
contemporary theatre activity in over 40 countries. National essays
are followed by alphabetically arranged entries on the major
figures in the theatrical arts of that country, whilst additional
entries concentrate on specific aspects of theatre, from rituals
and festivals to theatre companies and language.
Tom Taylor was one of the most successful and popular playwrights
of the Victorian theatre. His plays are humorous and theatrically
powerful, showing a social concern that was advanced for his times
- particularly on matters such as the rehabilitation of criminals
and corruption in public life. Taylor's work at the bar, in the
civil service, and as a journalist and art critic inspired themes
which he dramatized in more than seventy plays. Four of the best
known are collected in this volume, the only edition of Taylor's
works available. They are Still Waters Run Deep (1855), The
Contested Election (1859), The Overland Route (1860) and the most
popular, revived in modern productions at the National Theatre and
the Victoria Theatre in Stoke, The Ticket-of-Leave Man (1863).
Martin Banham discusses these and others in his introduction, and
lists the original London cast at the beginning of each play. He
provides a biographical record of Taylor's life and a list of all
the principal plays. There are illustrations and a bibliography.
The only current anthology to survey the rich variety of
contemporary African drama The plays included in this volume are:
Death and the King's Horseman by Wole Soyinka; Anowa by Ama Ata
Aidoo; The Chattering and the Song by Femi Osofisan; The Rise and
Shine of Comrade Fiasco by Andrew Whaley; Woza Albert! by Percy
Mtwa, Mbongeni Ngema and Barney Simon; and The Other War by
Alemseged Tesfai.Contemporary African Drama brings together some of
the best writers writing from an African viewpoint today.
Offering a comprehensive account of a long and varied chronicle, this history of theater in Africa is comprised of essays written by scholars in the field. The coverage is geographically broad and includes an examination of the concepts of "history" and "theater" in Africa; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; as well as the African diaspora.
The Cambridge Paperback Guide to Theatre is a concise reference work with 2,826 entries on playwrights, actors, directors, critics and entertainers; on theaters, organizations and companies; on traditions, styles and genres of performance. Entries reach back to Sanskrit drama and the theater of ancient Greece and extend to contemporary practitioners. The emphasis is on performance in its broad sense, including popular entertainment as well as scripted drama, with coverage of circus, musical theater and pantomime; on male and female impersonation; gay and lesbian theater; Indian festival and Japanese puppet theater; and the classic and contemporary theater of Europe and North America. Four contextual essays provide the reader with the background to the great theater traditions of Asia, Africa, South America and the Middle East. This book reflects the diversity and authoritativeness of its parent, The Cambridge Guide to Theatre, in a compact and portable format.
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