Pre-colonial and Post-colonial Drama and Theatre in AfricaLokangaka Losambe, Devi Sarinjeive The last two decades saw an unprecedented upsurge of interest in African drama and theatre, as African playwrights bore witness to the strivings of African people as they challenged the vices that continued to plague the continent, including neo-colonialism, dictatorship, corruption, nepotism, inter-ethnic conflicts, poverty, gender inequality and HIV/AIDS. These essays emphasise the organic continuity within the African literary tradition, between the pre-colonial and post-colonial forms of drama, and is a valuable resource for general readers and students alike. |
From inside the book
Results 1-3 of 25
Page 12
... critics tend to miss Mbiti's ( 1994 : 83 ) argument that even the departed ancestors as the living dead for whom most ritual is performed are regarded as ' still people ' , the group of intermediaries between this world and God . Before ...
... critics tend to miss Mbiti's ( 1994 : 83 ) argument that even the departed ancestors as the living dead for whom most ritual is performed are regarded as ' still people ' , the group of intermediaries between this world and God . Before ...
Page 55
... critics speak of the Brechtian form utilised in this play , Soyinka refutes thus : You see , that is the trouble with people . They go to school , they learn only Brecht and ... or , at least , Brecht is the most far - out thing that ...
... critics speak of the Brechtian form utilised in this play , Soyinka refutes thus : You see , that is the trouble with people . They go to school , they learn only Brecht and ... or , at least , Brecht is the most far - out thing that ...
Page 79
... critics believe that there would be no African drama , no Osofisan , if there had been no Brecht . As this essay has set out to demonstrate , Osofisan incorporates into his plays , features and conventions of African traditional drama ...
... critics believe that there would be no African drama , no Osofisan , if there had been no Brecht . As this essay has set out to demonstrate , Osofisan incorporates into his plays , features and conventions of African traditional drama ...
Other editions - View all
Pre-colonial and Post-colonial Drama and Theatre in Africa Lokangaka Losambe,Devi Sarinjeive Limited preview - 2001 |
Common terms and phrases
action African culture African drama African indigenous doctors African languages African literature ancestors ancestral spirits apartheid artistic Athol Fugard audience become behaviour bira bride bride's family ceremony civilisation Clark-Bekederemo colonial contemporary corruption Credo Mutwa critics deceased's depicted Dhlomo drama and theatre drama in Africa dramatist English example female character Fugard gender genre girls gods groom's human Ibadan Igbo incwala indigenous African theatre indigenous languages Johannesburg king Krwebede kurova guva literary living London lusekwane male medium Mlama mudzimu mukwerera myth Ngandu Ngugi Ngugi wa Thiong'o Nigeria oonozakuzaku oral narratives Orua Orua's Osofisan Ozidi para-human actors play playwright political post-colonial pre-colonial religion role sacred sangomas satire Shona singing siSwati social society song and dance South Africa Soyinka spirit elder stage story story-teller symbolic Theatre for Development theatrical traditional African tribal Uganda umhlanga University Press uNosilimela voice wedding celebration Wole Soyinka woman women writing Yoruba Zimbabwean