Comprehensive alphabetical guide to theatre in Africa and the Caribbean: national essays and entries on countries and performers.

International in scope, this book is designed to be the pre-eminent reference work on the English-speaking theatre in the twentieth century. Arranged alphabetically, it consists of some 2500 entries written by 280 contributors from 20 countries which include not only top-level experts, but, uniquely, leading professionals from the world of theatre. A fascinating resource for anyone interested in theatre, it includes: - Overviews of major concepts, topics and issues; - Surveys of theatre institutions, countries, and genres; - Biographical entries on key performers, playwrights, directors, designers, choreographers and composers; - Articles by leading professionals on crafts, skills and disciplines including acting, design, directing, lighting, sound and voice.

An authoritative reference covering primarily actors, playwrights, directors, styles and movements, companies and organizations.

The future of theatre history studies requires consideration of theatre as a global phenomenon. The Challenge of World Theatre History offers the first full-scale argument for abandoning an obsolete and parochial Eurocentric approach to theatre history in favor of a more global perspective. This book exposes the fallacies that reinforce the conventional approach and defends the global perspective against possible objections. It moves beyond the conventional nation-based geography of theatre in favor of a regional geography and develops a new way to demarcate the periods of theatre history. Finally, the book outlines a history that recognizes the often-connected developments in theatre across Eurasia and around the world. It makes the case that world theatre history is necessary not only for itself, but for the powerful comparative and contextual insights it offers to all theatre scholars and students, whatever their special areas of interest.

"A truly worthwhile resource in a growing field of research--the theater and drama of Africa--this volume collects ten essays about theater practice, publications, and productions; in-depth reviews of 17 books; and a new play." --Choice "... a 'must-have' for anybody interested in issues relating to theatre and development in Africa.... a pioneering effort... " --H-Net Reviews Art as a tool, weapon, or shield? This compelling issue and others are explored in this diverse collection of intriguing perspectives on African theatre in development. Also here: strategies in staging, propaganda, and mass education, and a discussion of the playwright Alemseged Tesfai's career in service to Eritrean liberation.

This tribute collection reflects the wide range and diversity of James Gibbs’s academic interests. The focus is on Africa, but comparative studies of other literatures also receive attention. Fiction, drama, and poetry by writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, Ireland, England, Germany, India, and the Caribbean are surveyed alongside significant missionaries, scientists, performers, and scholars. The writers discussed include Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngugi wa Thiong’o, Okot p’Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli–Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. Other essays treat the black presence in Ireland, anonymous rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller in the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary scholar and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi are also included. Also offered are poems by Jack Mapanje and Kofi Anyidoho, short stories by Charles R. Larson and Robert Fraser, plays by Femi Osofisan and Martin Banham, and an account of a dramatic reading of a script written and co-performed by James Gibbs. Contributors: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive–Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann. Geoffrey V. Davis co-edits the series Cross/Cultures and the African studies journal Matatu. Recent publications include Narrating Nomadism and African Literatures: Post¬colonial Literatures in English: Sources and Resources (both co-ed. 2013). Bernth Lindfors, founding editor of the journal Research in African Literatures, is writing a bio¬graphy of Ira Aldridge (two volumes have so far appeared: The Early Years, 1807–1833 and The Vagabond Years, 1833–1852, both 2011).

Table of contents

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.

This book provides a fascinating, up-to-date overview of the social, cultural, economic, and political landscapes of Tanzania. In Culture and Customs of Tanzania, author Kefa M. Otiso presents an approachable basic overview of the country's key characteristics, covering topics such as Tanzania's land, peoples, languages, education system, resources, occupations, economy, government, and history. This recent addition to Greenwood's Culture and Customs of Africa series also contains chapters that portray the culture and social customs of Tanzania, such as the country's religion and worldview; literature, film, and media; art, architecture, and housing; cuisine and traditional dress; gender roles, marriage, family structures, and lifestyle; and music, dance, and drama.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country's first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.