Produktdetaljer
Biografisk notat
John Conteh-Morgan is Associate Professor of French and African American and African Studies at The Ohio State University. He is author of Theatre and Drama in Francophone Africa and editor of Research in African Literatures.
Tejumola Olaniyan is Professor of English and African Languages and
Literatures at the University of Wisconsin, Madison. He is author of Scars of Conquest/Masks of Resistance.
African Drama and Performance is a collection of innovative and wide-ranging essays that bring conceptually fresh perspectives, from both renowned and emerging voices, to the study of drama, theatre, and performance in Africa. Topics range from studies of major dramatic authors and formal literary dramas to improvisational theatre and popular video films. South Africa's Truth and Reconciliation Commissions are analyzed as a kind of social performance, and aspects of African performance in the diaspora are also considered. This dynamic volume underscores theatre's role in postcolonial society and politics and reexamines performance as a form of high art and everyday social ritual.
Contributors are Akin Adesokan, Daniel Avorgbedor, Karin Barber, Nicholas Brown, Catherine Cole, John Conteh-Morgan, Johannes Fabian, Joachim Fiebach, Marie-José Hourantier, Loren Kruger, Pius Ngandu Nkashama, Isidore Okpewho, Tejumola Olaniyan, Ato Quayson, Sandra L. Richards, Wole Soyinka, Dominic Thomas, and Bob W. White.
Acknowledgments
Introduction: Tejumola Olaniyan and John Conteh-Morgan
Part 1. General Contexts
1. TBA
Wole Soyinka
2. Dimensions of Theatricality in Africa
Joachim Fiebach
3. Theater and Anthropology, Theatricality and Culture
Johannes Fabian
4. Pre-Texts and Intermedia: African Theater and the Question of History
Ato Quayson
Part 2. Intercultural Negotiations
5. Soyinka, Euripides, and the Anxiety of Empire
Isidore Okpewho
6. Antigone in the "Land of the Incorruptible": Sylvain Bemba's Noces posthumes pour Santigone (Black Wedding Candles for Blessed- Antigone)
John Conteh-Morgan
7. Gestural Interpretation of the Occult in the Bin Kadi-So Adaptation of Macbeth
Marie-José Hourantier
8. Yoruba Gods on the American Stage: August Wilson's Joe Turner's Come and Gone
Sandra L. Richards
Part 3. Radical Politics and Aesthetics
9. Femi Osofisan: The Form of Uncommon Sense
Tejumola Olaniyan
10. Revolution and Recidivism: The Problem of Kenyan History in the Plays of Ngugi wa Thiong'o
Nicholas Brown
11. The Politics and Theater of Sony Labou Tansi
Dominic Thomas
Part 4. Popular Expressive Genres and the Performance of Culture
12. Theater for Development and TV Nation: Notes on Educational Soap Opera in South Africa
Loren Kruger
13. Literacy, Improvisation, and the Virtual Script in Yoruba Popular Theater
Karin Barber
14. Modernity's Trickster: "Dipping" and "Throwing" in Congolese Popular Dance Music
Bob W. White
15. How They See It: The Politics and Aesthetics of Nigeria Video Films
Akin Adesokan
Part 5. The Social as Drama
16. The Turner-Schechner Model of Performance as Social Drama: A Re-examination in Light of Anlo-Ewe Haló
Daniel Avorgbedor
17. Theaters of Truth, Acts of Reconciliation: The TRC in South Africa
Catherine Cole
18. Theatricality and Social Mimodrama
Pius Ngandu Nkashama
Bibliography
Contributors
Index
Produktdetaljer
Biografisk notat
John Conteh-Morgan is Associate Professor of French and African American and African Studies at The Ohio State University. He is author of Theatre and Drama in Francophone Africa and editor of Research in African Literatures.
Tejumola Olaniyan is Professor of English and African Languages and
Literatures at the University of Wisconsin, Madison. He is author of Scars of Conquest/Masks of Resistance.