This is the first study to be entirely devoted to African literary drama in French, a major component of African theater. Beginning with a detailed analysis of its relationship to a variety of precolonial, but sometimes still contemporary, traditions of performance that constitute part of its roots, the author examines this drama in both its literary and theatrical dimensions. He discusses its development, themes and techniques up to and including contemporary theater. The book is divided into two sections: Part One offers a theoretical and historical background; Part Two analyzes key individual plays central to the repertoire, including two from the Caribbean. All quotations are translated into English.
The new fourth edition of The Critical Survey of Drama contains over 650 new and updated essays--over 550 discuss individual dramatists and nearly 100 cover important overview topics that are critical to the study of drama as a whole. This new edition is newly arranged by World Region and essay type to further enhance its ability to help students and researchers expand their study of dramatists around the globe. This edition includes new coverage of contemporary playwrights who have recently come to be regarded as established figures in the theater--Jez Butterworth, Martin McDonough, Patrick Marber, Marshall Napier, Mark Ravenhill and N.F. Simpson--to name a few. In addition to the entirely new author profiles, many have been updated and revised to include the authors' new works and achievements, new productions, publications, honors and awards, as well as personal developments. Bibliographies have also been updated and annotated. In addition, these updated essays provide analyses of significant new works. Each dramatist essay provides such ready-reference material as birth and death dates, and a list of the author's major dramatic works (with dates of first production and publication). Each essay opens with a brief survey of the author's publications in literary forms other than drama, a summary of the writer's professional achievements and awards, an extended biographical sketch that centers on the writer's development as a dramatist, and an extensive critical analysis of the writer's major dramatic works. Following this discussion is an annotated bibliography of critical works about the author. Overview essays, which are arranged under broad subject headings in Volume 8, cover dramatic traditions in the United States, the British Isles, Europe, Africa, Asia, and other parts of the world, as well as various genres and techniques. The nearly 100 Overview Essays provide thoughtful insight into the study of African American Drama, American Regional Theater, Asian Drama, Australian Drama, Chinese Drama, Deaf Theater, Experimental Theater, Feminist Theater, French Drama Since the 1600's, Irish Drama, LGBTQ Theater, Melodrama, Musical Drama, Native American Drama, Political Theater, Southeast Asian Drama and much more. The set also contains a listing of major dramatic awards, a time line of drama history, a glossary, and bibliography. Five helpful features can be found at the end of each volume: a Glossary; a Category List that groups authors by genre, country, gender, and ethnic identity; an Author Index that lists all authors covered in the set along with their works; a Title Index of all works covered in the set; and a Geographical List which groups the authors by country.
Combines, updates, and expands two earlier Salem Press reference sets: Critical survey of drama, Rev. ed., English language series, published in 1994, and Critical survey of drama, Foreign language series, published in 1986. This new 8 vol. set contains 602 essays, of which 538 discuss individual dramatists and 64 cover broad overview topics. The dramatist profiles contain more than 310 photographs and drawings.
Now available in paperback for the first time this edition of the World Encyclopedia of Contemporary Theatre series examines theatrical developments in Africa since 1945. Entries on thirty-two African countries are featured in this volume, preceded by specialist introductory essays on Anglophone Africa, Francophone Africa, History and Culture, Cosmology, Music, Dance, Theatre for Young Audiences and Puppetry. There are also special introductory general essays on African theatre written by Nobel Prize Laureate Wole Soyinka and the outstanding Congolese playwright, Sony Labou Tansi, before his untimely death in 1995. More up-to-date and more wide-ranging than any other publication, this is undoubtedly a major ground-breaking survey of contemporary African theatre.
Combines, updates, and expands two earlier Salem Press reference sets: Critical survey of drama, Rev. ed., English language series, published in 1994, and Critical survey of drama, Foreign language series, published in 1986. This new 8 vol. set contains 602 essays, of which 538 discuss individual dramatists and 64 cover broad overview topics. The dramatist profiles contain more than 310 photographs and drawings.
“Theatre is not part of our vocabulary”: Sipho Sepamla's provocation in 1981, the year of famous anti-apartheid play Woza Albert!, prompts the response, yes indeed, it is. A Century of South African Theatre demonstrates the impact of theatre and other performances-pageants, concerts, sketches, workshops, and performance art-over the last hundred years. Its coverage includes African responses to pro-British pageants celebrating white Union in 1910, such as the Emancipation Centenary of the abolition of British colonial slavery in 1934 organized by Griffiths Motsieloa and HIE Dhlomo, through anti-apartheid testimonial theatre by Athol Fugard, Maishe Maponya, Gcina Mhlophe, and many others, right up to the present dramatization of state capture, inequality and state violence in today's unevenly democratic society, where government has promised much but delivered little. Building on Loren Kruger's personal observations of forty years as well as her published research, A Century of South African Theatre provides theoretical coordinates from institution to public sphere to syncretism in performance in order to highlight South Africa's changing engagement with the world from the days of Empire, through the apartheid era to the multi-lateral and multi-lingual networks of the 21st century. The final chapters use the Constitution's injunction to improve wellbeing as a prompt to examine the dramaturgy of new problems, especially AIDS and domestic violence, as well as the better known performances in and around the Truth and Reconciliation Commission. Kruger critically evaluates internationally known theatre makers, including the signature collaborations between animator/designer William Kentridge, and Handspring Puppet Company, and highlights the local and transnational impact of major post-apartheid companies such as Magnet Theatre.
An annotated world theatre bibliography documenting significant theatre materials published world wide since 1945, plus an index to key names throughout the six volumes of the series.
Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930 demonstrates that popular lynching plays were mechanisms through which African American communities survived actual and photographic mob violence. Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. Koritha Mitchell shows that African Americans performed and read the scripts in community settings to certify to each other that lynching victims were not the isolated brutes that dominant discourses made them out to be. Instead, the play scripts often described victims as honorable heads of households being torn from model domestic units by white violence. In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens. The Left of Black interview with author Koritha Mitchell begins at 14:00. An interview with Koritha Mitchell at The Ohio Channel.
