In this collection of essays written from different critical perspectives, African playwrights demonstrate through their art that they are not only witnesses, but also consciences, of their societies.

Mzo Sirayi has embarked on a highly impressive and daring enterprise with the unfl inching boldness of a scholar who is driven by a passionate pursuit to set the record straight. He manages to pull no punches and make no apologies by being true to his convictions, especially within the context of a new South Africa. The book adopts a largely historicized, critical and analytical perspective, which strikingly approximates that of postcolonial theory. — Owen Seda This new and authoritative book is an excellent addition to the few existing books on black South African drama and theatre. South African Drama and Th eatre from Pre-colonial Times to 1990s: An Alternative Reading takes the reader on a tour of the indigenous as well as the modern South African theatre zones. The chapters reverberate with echoes of Africanisation and rock on renaissance waves. This exciting and stimulating book is transparently readable, accessible and is of inestimable value to academics and general readers. — Patrick Ebewo

African popular theater includes conventional drama plus such nonliterary performance as dance, mime, storytelling, masquerades, vaudeville, improvization, & the theater of social action & resistance. Media such as radio, film, & television are included.

This book aims to offer a broad history of theatre in Africa. The roots of African theatre are ancient and complex and lie in areas of community festival, seasonal rhythm and religious ritual, as well as in the work of popular entertainers and storytellers. Since the 1950s, in a movement that has paralleled the political emancipation of so much of the continent, there has also grown a theatre that comments back from the colonized world to the world of the colonists and explores its own cultural, political and linguistic identity. A History of Theatre in Africa offers a comprehensive, yet accessible, account of this long and varied chronicle, written by a team of scholars in the field. Chapters include an examination of the concepts of 'history' and 'theatre'; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; and the African diaspora.

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include: * the interactions of post-colonial and performance theories * the post-colonial re-stagings of language and history * the specific enactments of ritual and carnival * the theatrical citations of the post-colonial body Post-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

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.