By John Conteh-Morgan, Tejumola Olaniyan
African Drama and function is a set of cutting edge and wide-ranging essays that convey conceptually clean views, from either well known and rising voices, to the examine of drama, theatre, and function in Africa. subject matters diversity from experiences of significant dramatic authors and formal literary dramas to improvisational theatre and well known video motion pictures. South Africa's fact and Reconciliation Commissions are analyzed as one of those social functionality, and points of African functionality within the diaspora also are thought of. This dynamic quantity underscores theatre's position in postcolonial society and politics and reexamines functionality as a kind of excessive artwork and daily social ritual.Contributors are Akin Adesokan, Daniel Avorgbedor, Karin Barber, Nicholas Brown, Catherine Cole, John Conteh-Morgan, Johannes Fabian, Joachim Fiebach, Marie-Jos? Hourantier, Loren Kruger, Pius Ngandu Nkashama, Isidore Okpewho, Tejumola Olaniyan, Ato Quayson, Sandra L. Richards, Wole Soyinka, Dominic Thomas, and Bob W. White.
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Additional resources for African Drama and Performance (Research in African Literatures; African Expressive Cultures)
This has changed in the twentieth century. Scholars and artists themselves have come to conceive of social realities as more or less made up by the very components, structural relations, and “techniques” that constitute the phenomenon of theatre art. In the 1920s, the German anthropologist Helmuth Plessner took an actor’s activity on stage as the paradigm for human attitudes and interaction with others in real life and in the sociopolitical world. Humans, Plessner argued, act and interact in “real life” the same way as a performer does in theatre arts (1982a, 109–129; 1982b, 399–418).
Anderson 1990, 3–6). This chapter’s general interest is to provide an outline demonstrating that African cultures do bear out what Western anthropologists, sociologists, and artists such as Brecht have advanced about theatricality and performance. Its goals are twofold. First, it attempts to contribute to further research into the vast range of African “theatrical phenomena” that may exist beside the already widely discussed performance formats. It seeks to indicate that theatricality has been a major dimension for upholding and contesting power structures and social (general) difference.
The costume, makeup, shape, gestures, and movements of the gonde-mask are the very opposite of the solemnity, the gracious and idealized behavior, the re¤ned costume, and facial mask of j(s)owei. According to Ruth B. ” Her costume is a pastiche of rags and tatters, and she is hung about with all sorts of junk— rusty tin cans, shells, and other discarded fragments. . Gonde is also shameless in going right up to people and asking for money despite her utter unworthiness, rather than waiting in a digni¤ed manner for people to present whatever gifts they might want to give her.
African Drama and Performance (Research in African Literatures; African Expressive Cultures) by John Conteh-Morgan, Tejumola Olaniyan