This study, the first book-length treatment of its subject, draws on a large base of elusive material and on extensive field research. It is the result of the author's wide experience of teaching and producing theatre in Africa, and of her fascination with the ways in which traditional performance forms have interacted with, or have resisted, non-indigenous modes of dramatic representation in the process of evolving into the vital theatres of the present day. A comparative historical study is offered of the three national cultures of Ethiopia, Tanganyika/Tanzania, and Rhodesia/Zimbabwe. Not only (scripted) drama is treated, but also theatre in the sense of the broader range of performance arts such as dance and song. The development of theatre and drama is seen against the background of centuries of cultural evolution and interaction, from pre-colonial times, through phases of African and European imperialism, to the liberation struggles and newly-won independence of the present. The seminal relationship between theatre, society and politics is thus a central focus. Topics covered include: the function in theatre of vernacular and colonial languages; performance forms under feudal, communalist and socialist régimes; cultural militancy and political critique; the relationship of theatre to social élites and to the peasant class; state control (funding and censorship); racism and separate development in the performing arts; contemporary performance structures (amateur, professional, community and university theatre). Due attention is paid to prominent dramatists, theatre groups and theatre directors, and the author offers new insight into African perceptions of the role of the artist in the theatre, as well as dealing with the important subject of gender roles (in drama, in performance ritual, and in theatre practice). The book is illustrated with contemporary photographs.

This second annual volume in the African Theatre series focuses on the intersection of politics and theatre in Africa today. Topics include the remarkable collaboration between Horse and Bamboo, a puppet theatre company based in the United Kingdom, and Nigerian playwright Sam Ukala that was inspired by the infamous execution of Nigerian playwright Ken Saro-Wiwa and other Ogoni activists; the plays of Femi Osofisan; and plays by Ghanaian playwrights Joe de Graft and Mohammed Ben-Abdallah. African Theatre features the work of Mauritian playwright Dev Virahsawmy and includes an interview with him, reviews of an English production of his play, Toufann, as well as the translated playscript. Reports of workshops and conferences, reviews, and news of the year in African theatre make this volume a valuable resource for anyone interested in current issues in African drama and performance.

Comparative historical study of the three national cultures of Ethiopia, Tanganyika/Tanzania, and Rhodesia/Zimbabwe. The development of theatre is seen against the background of centuries of cultural evolution and interaction, from pre-colonial times, through phases of African and European imperialism, to the liberation struggles and newly-won independence.

Contemporary Uganda and other East African states are connected by the experience of Idi Amin's tyranny, rapacious and murderous regime, and the latter second Uganda Peoples Congress government, that forced Ugandans to go into exile and initiate armed struggles from Kenya and Tanzania to oust his government. Because of these experiences of disappearances, torture, murder and war, issues of identity, politics and resistance are significant concerns for East African dramatists. Resistance and Politics in Contemporary East African Theatre demonstrates the significant role of theatre in resisting tyranny and forging a post-colonial national identity. In its engaging analysis of an important period of theatre, the book explores key moments while considering the specific practice of individual artists and groups that provoke differing experiences and performance practices. Selected examples range from early post-colonial plays reflecting the resistance to the rise of tyranny, torture and dictatorships, to more recent works that address situations involving struggles for social justice and the cult personality in political leaders. Resistance and Politics in Contemporary East African Theatre offers a new vision of Ugandan theatre as a performative space, a site where new aesthetics, forms, multiple voices, and identities emerge.

The contributions to this volume in the African Theatre series make clear that the role of women in the theatre across the continent has changed as control is mainly held by literate elites and women's traditional standing has been lost to men.

First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity? These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society. The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.

This volume is a collection of essays that explore aspects of popular culture in South Africa, Zimbabwe and Zambia. These writings examine such topics as the degree of state control over theatre, the interaction - or lack of it - between high and popular culture, the struggle to define meaningful cultural forms in the wake of a dominating and exclusive colonial culture and the contribution of women. What emerges is a strong sense of regional concerns shared by the Southern African cultures under discussion, the contributors also give voice to crucial differences and debates on the nature of contemporary theatre and performance and the links with popular culture, politics and nation.