- Author:Martin Banham,James Gibbs,Femi Osofisan
- Publisher:James Currey (September 19, 2002)
- Pages:192 pages
- Subcategory:Performing Arts
- FB2 format1854 kb
- ePUB format1471 kb
- DJVU format1182 kb
- Formats:txt doc doc txt
Martin Banham is Emeritus Professor of Drama and Theatre Studies at the University of Leeds
African Theatre: Women. ISBN-13: 978-0253215390. Martin Banham is Emeritus Professor of Drama and Theatre Studies at the University of Leeds. James Gibbs teaches at the University of the West of England in Bristol. Femi Osofisan is a playwright who also teaches in the Department of Theatre Arts, University of Ibadan, Nigeria. Jane Plastow, Drama Lecturer at the University of Leeds, is author of African Theatre and Politics. Series: African Theatre.
The contributors are both Shakespeare and African theatre scholars .
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 featuring some of its directors and actors. The playscript in this volume of African Theatre is Femi Osofisan's Wesoo, Hamlet or the Resurrection of Hamlet.
Femi Osofisan page at African Books Collective. Don Rubin, "A Brief Introduction to Femi Osofisan", Critical Stages/Scènes Critiques, December 2016: Issue No 14. ^ a b "PAWA Congratulates Prof Osofisan", Modern Ghana, 1 April 2016. Olasope, Olakunbi (2002).
STUDIES IN THEATRE AND PERFORMANCE The book shoulders the responsibility of bringing to light the theatre-making efforts of African artists within their local contexts. London school of economics blog.
This third volume in the annual African Theatre series focuses on women in theatre and performance in Africa. Topics include the role of female goddesses in Egyptian theatre, early urban women performers in Asmara, Eritrea, an interview with Ghanaian concert party actress Adeline Ama Buabeng, and women's theatre and performance in Algeria, Kenya, Uganda, and Nigeria.
Online ISBN: 9781782046370
Online ISBN: 9781782046370. Your name Please enter your name. 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.
African Theatre 12 book. Goodreads helps you keep track of books you want to read. Start by marking African Theatre 12 as Want to Read
African Theatre 12 book. Start by marking African Theatre 12 as Want to Read: Want to Read savin. ant to Read.
Find nearly any book by James Gibbs. Get the best deal by comparing prices from over 100,000 booksellers. African Theatre 11: Festivals. by Martin Banham, James Gibbs, Femi Osofisan. ISBN 9781847010575 (978-1-84701-057-5) Softcover, James Currey, 2012. Find signed collectible books: 'African Theatre 11: Festivals'. African Theatre 8: Diasporas. ISBN 9781847015013 (978-1-84701-501-3) Softcover, James Currey, 2009.
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 lay with 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.
African theatre, effectively, the theatre of Africa south of the Sahara that emerged in the postcolonial era-that is to. .Ghana produced two of Africa’s most-accomplished women playwrights, Efua Sutherland and Ama Ata Aidoo. Sutherland’s plays were written in Akan and in English.
African theatre, effectively, the theatre of Africa south of the Sahara that emerged in the postcolonial era-that is to say, from the mid-20th century onward. It is not possible to talk of much African theatre as if it fell into discrete historical or national patterns. Colonial boundaries ignored. Foriwa (first performed 1962) and Edufa (first performed 1962) dealt with political issues relevant to the challenges of independence.