African Theatre – serie

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 PLASTOWNorth America: Indiana U Press; South Africa: Wits U Press

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 OsofisanNorth America: Africa World 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 OsofisanNorth America: Indiana University Press

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 HUTCHISONSeries 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

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 TheatreSeries 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

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 GIBBSSeries 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 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 PLASTOWSeries 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

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 NJOGUSeries 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

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.2016 Thalia Prize of the International Association of Theatre CriticsChina 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 OSOFISANFEMI OSOFISAN Thalia Laureate of the International Association of TheatreCritics 2016Series 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 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 PLASTOWSeries 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

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.

African dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence.To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of newforms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu.

African dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence.To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of newforms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu.Volume Editors: YVETTE HUTCHISON & CHUKWUMA OKOYESeries Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.

Highlighted in this volume is the detective play The Inspector and the Hero by Femi Osofisan, one of Africa's leading playwrights. The play has until now only been published in Nigeria.This open issue of African Theatre is a departure from the traditional themed format to showcase the plethora of styles, approaches and perspectives that populate the contemporary field of African theatre studies, with contributions from Ethiopia, Malawi, Nigeria, South Africa and Ghana. Focusing mainly on case studies, contributors engage a variety of performance forms, ranging from investigations into radical dramatic and popular musical performances, through "street theatre" (festivals and masquerade shows) and pop culture, to consideration of applied theatre, dance, audience, cultural performances and folktales. Articles address African American and African cultural dialogue; choreographic study; the carnivalization of indigenous African festivals; the stigmatization of disability; the performance of nationality, as well as orality and African performance aesthetics.Highlighted in this volume is the playscript of the detective play The Inspector and the Hero by Femi Osofisan, one of Africa's foremost playwrights.Volume Editor: CHUKWUMA OKOYESeries Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance, University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.

Compelling inside views of what characterises opera and music theatre in African and African diasporic contexts.Music is often cited as a central artistic mode in African theatre and performance practices. However, little attention has been paid to music theatre on the continent in general, and to opera in particular, with the exceptions ofa few noted genres, such as Concert Party or the Yorùbá "folk opera" of the 1960s, and the emerging research on opera culture in South Africa.This volume of African Theatre highlights the diversity across the continent from a variety of perspectives - including those of genre, media, and historiography. Above all, it raises questions and encourages debate: What does "opera" mean in African and African diasporic contexts? What are its practices and legacies - colonial, postcolonial and decolonial; what is its relation to the intersectionalities of race and class? How do opera and music theatre reflect, change or obscure social, political and economic realities? How are they connected to educational and cultural institutions, and non-profit organisations? And why is opera contradictorily, at various times, perceived as both "grand" and "elitist, "folk" and "quotidian", "Eurocentric" and "indigenous"?Contributors also address aesthetic transformation processes, the porousness of genre boundaries and the role of space and place, with examples ranging from Egypt to South Africa, from Uganda to West Africa and the USA.The playscript in this volume is We Take Care of Our Own by Zainabu JalloGUEST EDITORS: Christine Matzke, Lena van der Hoven, Christopher Odhiambo & Hilde RoosSeries Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.

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 OsofisanThe 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.