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Journal articles on the topic 'African theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Wetmore Jr., Kevin J. "A History of Theatre in Africa. Edited by Martin Banham. Cambridge: Cambridge University Press, 2004, pp. xvii + 478; $140 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 313–15. http://dx.doi.org/10.1017/s0040557405220203.

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One of the greatest challenges to teaching world theatre history in the United States is that the vast majority of survey history books spend two dozen chapters on the theatre of the West, giving the theatres of Africa, Asia, and the Middle East a single chapter each at best. In addition, there have to date been no comprehensive histories of African theatre covering the entire continent, Africa north of the Sahara being linked for cultural reasons with the Middle East instead of geographically with the rest of the continent. A History of Theatre in Africa, edited by the pioneer of African-theatre scholarship, Martin Banham, is an excellent, if uneven, redressing of those imbalances.

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2

Krasner, David, Lisa M. Anderson, Nadine George-Graves, John Rogers Harris, Barbara Lewis, Henry Miller, and Harvey Young. "African American Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth century—has flown below the radar is indicative of how much work still needs to be accomplished.

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3

Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).

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4

Gillespie, Marie. "African Theatre." Wasafiri 26, no. 4 (December 2011): 32–33. http://dx.doi.org/10.1080/02690055.2011.607630.

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5

Ismaila, Margaret, and Samuel Bewiadzi Akakpo. "Adding the Dots and crossing the Ts: A historiographical overview of African theatre history." Research Journal in Advanced Humanities 1, no. 3 (July 1, 2020): 43–57. http://dx.doi.org/10.58256/rjah.v1i3.208.

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The historiography of Africa has often needed an update or review because it is no news how African history was constructed; a product of colonial and anthropological records. Due to this, attention was not paid to occurrences, especially the arts which were of no interest to either the colonial administration or the Anthropology researcher. It took combined efforts of the then Organization of African Unity (O.A.U.) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) to deconstruct the misconceptions created through an eight-volume of a General History of Africa between 1964 and 1999. These attempts by African historians to correct the damage exclusion and distortion of facts about Africa and Africans is laudable, however, a gap still remains. The historiography of African theatre which has its foundation in Africa’s oral traditions is minimal. A continent of such diverse artistic performances needs a huge representation of both indigenous and external theatrical traditions in Theatre History. Using the desk review approach, ideological criticism and content analysis, this paper argues that the lack of expertise in decoding indigenous language and expressions and fear of misrepresentation are the sources of the minimal presence of African Theatre Historiography.

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6

Alessandro Cima, Gibson. "Loren Kruger, A Century of South African Theatre." Modern Drama 64, no. 1 (March 2021): 117–19. http://dx.doi.org/10.3138/md.64.1.br3.

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abstract: A Century of South African Theatre revises and updates Loren Kruger’s seminal book, The Drama of South Africa. Kruger rejects essentializing categories such as African or European, arguing that South African theatre mixes local and transnational forms. The book provides a useful survey of South Africa’s past century of theatre.

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7

ROKEM, FREDDIE. "Editorial: Wherein the articles of this issue and some new developments for TRI are introduced." Theatre Research International 33, no. 1 (March 2008): 1–3. http://dx.doi.org/10.1017/s0307883307003355.

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In the summer of 2007 the annual conference of the International Federation of Theatre Research (IFTR/FIRT) met for the first time in Africa. Hosted by Stellenbosch University in South Africa, it was probably the first international theatre conference of its kind on the continent, enabling scholars and practitioners from all over the world as well as from many African countries to present their work on the conference theme: ‘Theatre in Africa – Africa in the Theatre’. This issue of TRI opens with two articles which reflect the deep interest among non-African scholars in the latest developments on African stages as well as the challenge of depicting its complex state of affairs from within. Both contributions examine strategies of subversion mobilized by theatre to create continuity and identity through different readings of the historical past.

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8

Kruger, Loren. "African Theatre in Development, and: African Theatre Women (review)." Theatre Journal 55, no. 4 (2003): 738–40. http://dx.doi.org/10.1353/tj.2003.0174.

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9

Burns, Hilary. "The Long Road Home: Athol Fugard and His Collaborators." New Theatre Quarterly 18, no. 3 (August 2002): 234–42. http://dx.doi.org/10.1017/s0266464x02000325.

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Fugard's identity as a playwright was firmly rooted in the struggle against apartheid. What happened to this identity when the post-apartheid ‘New’ South Africa emerged? Black South Africans have followed Nelson Mandela's lead in accomplishing their ‘Long Walk to Freedom’. Why is it so difficult for Fugard to find a role in this new country and put an end to his inner exile? Hilary Burns explores this question in the light of the development of Fugard's whole opus, and the relationship between form and content in plays where the content has tended to overshadow the form. Burns is a professional actor with a career-long commitment to theatre that seeks to challenge or develop issues relevant to today's society. She has worked extensively in small-scale touring theatre, the London fringe, and regional theatre, and has also made appearances in TV and film. In November 2000, she spent a month with the Market Theatre of Johannesburg which inspired her book, The Cultural Precinct, about South African theatre, in particular how the theatres born in the protest era have responded to the challenges of the new society. Her study of the Market Theatre yesterday and today will follow in NTQ72.

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10

Angove, Coleen. "Alternative Theatre: Reflecting a Multi-racial South African Society?" Theatre Research International 17, no. 1 (1992): 39–45. http://dx.doi.org/10.1017/s0307883300015595.

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When Barney Simon's play Cincinatti was presented at the Market Theatre in 1979, it epitomized a watershed event in the development of theatre in South Africa, anticipating a new tend towards a tradition of a multi-racial theatre. In 1965 legislation had forced racial segregation in the theatre. Pleas for the official desegregation of races in the theatre had finally been successful in 1977 and Cincinatti, sporting one of the first multi-racial casts, was symbolic of a reaching-out amongst different racial, cultural and lingual groups in a highly polarized South African society. Cincinatti was chosen by Hauptfleisch and Steadman to represent Alternative theatre in their anthology (South African Theatre, Four Plays and an Introduction, 1984), thereby acknowledging a new theatrical tradition on the South African theatre scene.

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11

Kerr, David. "African Theories of African Theatre." South African Theatre Journal 10, no. 1 (January 1996): 3–23. http://dx.doi.org/10.1080/10137548.1996.9687644.

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12

Irobi, Esiaba. "A Theatre for Cannibals: Images of Europe in Indigenous African Theatre of the Colonial Period." New Theatre Quarterly 22, no. 3 (July 11, 2006): 268–82. http://dx.doi.org/10.1017/s0266464x06000479.

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Europe’s colonial presence on the African continent from 1885 to the 1960s produced complex discourses about race and its representation. Whereas the Europeans constructed their putative images of Africans as inferior beings through radio, television, film, and print, for a predominantly literate sector, Africans deployed a more complex and mixed set of literacies. As well as conventional forms of literature, Africans used iconographic, kinaesthetic, proxemic, sonic, linguistic, tactile, calligraphic and sartorial literacies in their indigenous festivals and ritual theatres to resist, historicize, and domesticate colonial whiteness from the nineteenth century to the present day. In this article, Esiaba Irobi offers a detailed response to Bell Hooks’s observation (in Black Looks: Race and Representation, 1992) that in the work of postcolonial critics ‘there is a continued fascination with the way white minds, particularly the colonial imperialist traveller, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination’. Esiaba Irobi is an Associate Professor of International Theatre at Ohio University, Athens. Born in the Republic of Biafra, he has lived in exile in Nigeria, Britain, and the USA. His African Festival and Ritual Theatre: Resisting Globalization on the Continent and Diaspora since 1492 is due for publication by Palgrave Macmillan in 2007.

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13

King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.

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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in

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14

Lorins, Rebecca, and Jane Plastow. "African Theatre: Women." International Journal of African Historical Studies 37, no. 3 (2004): 553. http://dx.doi.org/10.2307/4129050.

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15

Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.

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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.

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16

Zabus, Chantal, Karin Barber, John Collins, and Alain Ricard. "West African Popular Theatre." African Studies Review 41, no. 1 (April 1998): 200. http://dx.doi.org/10.2307/524710.

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17

Arnoldi, Mary Jo, Karin Barber, John Collins, and Alain Ricard. "West African Popular Theatre." African Arts 32, no. 2 (1999): 14. http://dx.doi.org/10.2307/3337597.

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18

FURNISS, G. "West African Popular Theatre." African Affairs 98, no. 391 (April 1, 1999): 257–58. http://dx.doi.org/10.1093/oxfordjournals.afraf.a008015.

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19

Elam, Harry. "A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth." Theatre Survey 46, no. 1 (May 2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.

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Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.

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20

Hauptfleisch, Temple. "The Company You Keep: Subversive Thoughts on the Impact of the Playwright and the Performer." New Theatre Quarterly 11, no. 44 (November 1995): 322–32. http://dx.doi.org/10.1017/s0266464x00009301.

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This article explores the much-debated question of the political impact or potential of theatre from a new angle. Accepting frankly the limitations of a medium which seldom reaches more than four per cent of the population, Temple Hauptfleisch looks instead at the contingent ways in which influence works – creating ‘images’ of authors, performers, venues, companies, and even of specific occasions which work upon audiences and non-audiences alike. The ideas explored in this article were first proposed in a paper read at a colloquium on ‘The Semiotics of Political Transition’, held at the Port Elizabeth Campus of Vista University in August, 1992: although most of the author's examples are thus from the theatre world of South Africa, the major thrust of his argument holds equally well for any contemporary westernized, media-dominated society. Temple Hauptfleisch is Associate Professor of Drama and Head of Theatre Research at the University of Stellenbosch, South Africa. He is co-editor of the South African Theatre Journal and has published widely on the history and theory of South African theatre.

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21

Graver, David, and Loren Kruger. "South Africa's National Theatre: the Market or the Street?" New Theatre Quarterly 5, no. 19 (August 1989): 272–81. http://dx.doi.org/10.1017/s0266464x00003341.

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The original Theatre Quarterly devoted a large portion of one issue-TQ28 (1977—78) to the theatre of South Africa. It is, of course, important to relate new developments in the theatre of that troubled nation to the context of its changing political situation – considering, for example, how far a reflection of the realities of the urban black experience is now more typical than the ‘acceptable’ face represented by the once-popular ‘tribal musicals’. Here. David Graver and Loren Kruger contrast two approaches to the theatre of anti-apartheid. The internationally known (and now relatively stable) Market Theatre of Johannesburg, they argue, today largely reaches an educated, liberal, and elite audience, and sustains what is essentially a European literary tradition: but other plays written and directed by blacks — notably since the Soweto uprising of 1976 — have developed a more appropriately African style. Often, these, have emerged from the theatre companies within the black townships, such as the Bachaki Theatre Company - whose Top Down is here the focus of analysis. David Graver is currently Mellon Fellow in Drama at Stanford University: his articles have appeared in Theatre Journal and in NTQ, and he is now completing a book on the theory and practice of the avant-garde. Loren Kruger teaches in the University of Chicago, has published in Theatre Journal and the Brecht Yearbook, and is working on a study of theatres with national aspirations in Europe and the USA.

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22

HAUPTFLEISCH, TEMPLE. "Tipping Points in the History of Academic Theatre and Performance Studies in South Africa." Theatre Research International 35, no. 3 (October 2010): 275–87. http://dx.doi.org/10.1017/s0307883310000581.

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This article considers five tipping points or phases in the development of modern theatre studies in South Africa. It begins with the period from 1925 to 1935, a time when the first major theatre history appeared, a fully fledged (Western) theatre system was established and the African theatre tradition was recognized. It details 1945 to 1962 for the establishment of a coherent professional theatre system, the first state-funded theatre company and the first drama departments. Thereafter, 1970 to 1985 is identified as the most significant period in relation to the political struggle for liberation in South Africa, while the last two phases (1988–94 and 1997–9) under consideration are characterized by an increase in research output and by the need for practitioners and commentators to seek reconciliation and healing through theatre and performance.

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23

Walker, Ethel Pitts. "Incorporating African-American Theatre into the Basic Theatre Course." Theatre Topics 2, no. 2 (1992): 99–104. http://dx.doi.org/10.1353/tt.2010.0062.

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24

Olaogun, Modupe, Martin Banham, James Gibbs, Femi Osofisan, and David Graver. "A Rebirth in African Theatre?" Canadian Journal of African Studies / Revue Canadienne des Études Africaines 35, no. 1 (2001): 147. http://dx.doi.org/10.2307/486350.

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25

Denyer, Heather J. "Transcending Reality in African Theatre." PAJ: A Journal of Performance and Art 41, no. 3 (September 2019): 98–102. http://dx.doi.org/10.1162/pajj_a_00493.

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26

Lihamba, Amandina. "Health and the African theatre." Review of African Political Economy 13, no. 36 (September 1986): 35–40. http://dx.doi.org/10.1080/03056248608703682.

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27

Etherton, Michael. "African theatre and political action." Wasafiri 3, no. 6-7 (March 1987): 3–6. http://dx.doi.org/10.1080/02690058708574142.

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28

Cole, Catherine M. "West African Popular Theatre (review)." Research in African Literatures 30, no. 4 (1999): 215–18. http://dx.doi.org/10.1353/ral.2005.0030.

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29

Gray, Stephen. "WOMEN IN SOUTH AFRICAN THEATRE." South African Theatre Journal 4, no. 1 (January 1990): 75–87. http://dx.doi.org/10.1080/10137548.1990.9687996.

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30

Beswick, Katie. "African theatre 14: contemporary women." Studies in Theatre and Performance 38, no. 2 (November 10, 2016): 207–8. http://dx.doi.org/10.1080/14682761.2016.1256111.

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31

Pearce, Michael. "African theatre 12: Shakespeare in and out of Africa." Studies in Theatre and Performance 35, no. 3 (April 17, 2015): 269–71. http://dx.doi.org/10.1080/14682761.2015.1032533.

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32

Moody, David. "Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre." New Theatre Quarterly 11, no. 41 (February 1995): 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.

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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

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33

Mbwangi, Julien Mbwangi. "Qu’est-ce que le théâtre africain?" Afrika Focus 28, no. 2 (February 26, 2015): 132–45. http://dx.doi.org/10.1163/2031356x-02802009.

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This article gives the broad outlines of our thesis entitled: The African theatre and its characteristics. Analysis of some defining criteria through the urban kikongophone theatre”. We will give more information about the problem statement and the methodology used to write this thesis. This thesis is a contribution to the theorization and conceptualization of African aesthetics, more in particular African theatre.”

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34

Cowhig, Ruth M. "Ira Aldridge in Manchester." Theatre Research International 11, no. 3 (1986): 239–46. http://dx.doi.org/10.1017/s0307883300012372.

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On Saturday, 10 February, 1827, the Manchester Guardian announced the coming appearance of ‘the African Roscius’ at the Theatre Royal, Manchester. After referring to ‘his success in New York and in all the principal theatres in the United States’ and to his performances ‘in the Theatres Royal, Bath, Bristol, Brighton, Plymouth, Exeter, and upwards of fifty nights at the Royal Coburg Theatre, London, with universal approbation’, the notice states that he will spend one night in Manchester on his way to Edinburgh and Glasgow. A note in the Manchester Courier the following week (17.2.1827) emphasizes the adventurous nature of the theatrical event, telling the public that ‘the spirited manager of this establishment seems determined to spare no pains to render the theatre as attractive as circumstances will permit’. The attitude behind this retains a protective ambiguity towards the experiment.

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35

Balogun, Shola, and Abiodun John Macaulay. "ÒGBÓJÚ ỌDẸ NÍNÚ IGBÓ IRÚNMỌLẸ̀ (THE FOREST OF A THOUSAND DAEMONS: A HUNTER’S SAGA) AND LÁNGBÒDÓ (THE INDESCRIBABLE MOUNT): PERFORMING CULTURE IN AFRICA." Филолог – часопис за језик књижевност и културу 13, no. 25 (June 30, 2022): 279–93. http://dx.doi.org/10.21618/fil2225279b.

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The study of theatre culture in Africa provides a significant background to reassess the emphasis on orthodox ideologies and inﬂuence of European aesthetics on the development of African theatre. The tradition of locating the worldview of dramatic characters within a culture which the audience within the culture can emphathise with is universal. And in most instances it is the misinformation about what is stylistically diﬀerent across cultures that is instrumental in isolating non-Western people's experiences. Thus the contextualisation of D. O. Fágúnwà’s novel, Ògbójú Ọdẹ Nínú Igbó Irúnmọlẹ̀, translated from the Yorùbá as The Forest of a Thousand Daemons: A Hunters Saga by the Nobel Prize winner Wole Soyinka, and Lángbòdó, the stage adaption whose title, Lángbòdó (The Indescribable Mount), is based on the wild locale at the heart of the hunter's adventure in Fágúnwà's novel by Wálé Ògúnyẹmí, within the system of Aláárìnjó the indigenous Yorùbá Travelling Theatre in West Africa, asserts culture as a performance space. The approach to understanding the concept of a theatre is to understand the art form which is characteristic of the culture. In the dramatic narrative of the hunter-narrator on a mission to the distant Mount Lángbòdó, Fágúnwà and Ògúnyẹ́mí capture the functional dimensions of indigenous people's theatres distinctive from European realities. This paper is an attempt to emphasise the importance of revisiting the definitions and developments of theatre along the backgrounds of indigenous cultures and theatrical arts such as Aláárìnjó as drawn from the selected works of the two Yorùbá writers.

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36

Steadman, Ian. "Performance and Politics in Process: Practices of Representation in South African Theatre." Theatre Survey 33, no. 2 (November 1992): 188–210. http://dx.doi.org/10.1017/s0040557400002404.

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In many studies of South African theatre, critical scholarship has elucidated the ways in which playwrights have dramatized their views of oppression and struggle under apartheid. As political change in the country in the 1990s determines new developments in cultural expression, theatre in many quarters finds itself no longer thematically bound to the unambiguous morality which characterized anti-apartheid theatre in the 1970s and 1980s. The issues, and the forms and methods used to construct interpretations of the issues in the theatre, appear increasingly more complex in the 1990s. In academic commentary on South African theatre, a moral outrage shared with theatre practitioners against a repugnant social system has frequently blunted critical faculties. Gayatri Spivak warns us that in the writing of history we need to “look at [our] own subjective investment in the narrative that is being produced.“ There is, in South African theatre studies, a great deal of room for critical vigilance when considering “theatre against apartheid.”

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37

Rahner, C. "Community theatre and indigenous performance traditions: An introduction to Chicano theatre, with reference to parallel developments in South Africa." Literator 17, no. 3 (May 2, 1996): 61–76. http://dx.doi.org/10.4102/lit.v17i3.622.

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This article will focus on the theme of community and on the forms stemming from oral literature and musical tradition in Chicano theatre, while drawing comparisons with similar developments in South Africa. I will argue that the re-appropriation of traditional modes and their integration into stage performance replaced the formerly “Eurocentric definition of theatre” with a more indigenous specificity, a development that has been observed in South Africa as well (Hauptfleisch, 1988:40). We can thus speak of a certain divergence from standard contemporary Western traditions in both the Chicano and the black South African community theatre, a trend that is notable in both their themes and forms.

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38

Huff, Stephen. "The Impresarios of Beale Street: African American and Italian American Theatre Managers in Memphis, 1900–1915." Theatre Survey 55, no. 1 (December 16, 2013): 22–47. http://dx.doi.org/10.1017/s0040557413000525.

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Music scholars Lynn Abbott and Doug Seroff have researched what they call “a deep African American vaudeville theater tradition” in Memphis during the first decade of the twentieth century that helped lead the way to the commercialization of the blues. Their body of work provides a very useful and fascinating historical overview of the black vaudeville scene of the time on the national level. This article seeks to broaden that overview, using a much more focused, microhistorical perspective on the history of theatre management on one particular street in one particular, midsized southern city. It argues that in Memphis, the story of African American and Italian American theatre managers shows that realities were often much more complex than histories that portray a rigid and heavily drawn color line have suggested.

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Breitinger, Eckhard. "Popular Urban Theatre in Uganda: between Self-Help and Self-Enrichment." New Theatre Quarterly 8, no. 31 (August 1992): 270–90. http://dx.doi.org/10.1017/s0266464x00006904.

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In this article Eckhard Breitinger traces the sources of present-day popular theatre in Uganda back to the situation shortly before and after independence, when Europeans, Indians, Goans, and Ugandans each had their own separate cultural and theatrical traditions. Theatrical activity came to a virtual standstill under the repressive regimes of Obote and Amin, when many prominent theatre people were killed or exiled, but quickly began to flourish again after 1986: in downtown Kampala semi-professional groups thus produce commercial comedies, while in the suburbs amateur companies use theatre to supplement their meagre incomes. Meanwhile, government and aid organizations involve themselves mainly in theatre for education, particularly health education, and the campaign against Aids has generated new needs – met by a new style of ‘morality play’, here illustrated and analyzed in detail. Eckhard Breitinger teaches American, African, and Caribbean literature at the University of Bayreuth, and has also taught in Jamaica, Ghana, Nigeria, Uganda, and France. He is a translator of radio plays, author of monographs on the gothic novel and American radio drama, and editor of several books on African and new English literature. Presently he is editor of Bayreuth African Studies, and directing a research project on cultural communication in Africa.

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Samson, Anne. "Medical Practices in World War 1 Africa - An Overview." African Research & Documentation 129 (2016): 22–34. http://dx.doi.org/10.1017/s0305862x00021804.

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The centenary of the Great War has led to a widening of interest in aspects of the African theatre. Until 2013 the focus was mainly military. Since then, social and cultural aspects have come more to the fore with particular emphasis on the diversity of the participants. Focusing on East Africa as the main African theatre of conflict, the works by Michelle Moyd, Edmund Yorke and Jan-Bart Gewald amongst others are examples of the recent trend.More recently, working with the diaries of medical officers, such as Norman Parsons Jewell, who served in Africa, highlighted the value of medical records to understanding the conditions faced by the military authorities in fulfilling their task. References to medical services and interactions between forces in memoirs of German participants suggest that rich comparisons can be made between the various imperial powers which saw service in Africa.

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Samson, Anne. "Medical Practices in World War 1 Africa - An Overview." African Research & Documentation 129 (2016): 22–34. http://dx.doi.org/10.1017/s0305862x00021804.

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The centenary of the Great War has led to a widening of interest in aspects of the African theatre. Until 2013 the focus was mainly military. Since then, social and cultural aspects have come more to the fore with particular emphasis on the diversity of the participants. Focusing on East Africa as the main African theatre of conflict, the works by Michelle Moyd, Edmund Yorke and Jan-Bart Gewald amongst others are examples of the recent trend.More recently, working with the diaries of medical officers, such as Norman Parsons Jewell, who served in Africa, highlighted the value of medical records to understanding the conditions faced by the military authorities in fulfilling their task. References to medical services and interactions between forces in memoirs of German participants suggest that rich comparisons can be made between the various imperial powers which saw service in Africa.

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42

Kruger, Loren. "NEW AFRICANS, NEOCOLONIAL THEATRE AND “AN AFRICAN NATIONAL DRAMATIC MOVEMENT”." South African Theatre Journal 9, no. 1 (January 1995): 29–51. http://dx.doi.org/10.1080/10137548.1995.9688138.

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43

Sirayi, Mzo. "In search of pre-colonial African theatre in South Africa." South African Journal of African Languages 23, no. 1 (January 2003): 46–59. http://dx.doi.org/10.1080/02572117.2003.10587206.

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44

Keleta-Mae, Naila. "Maureen Moynagh, ed. African-Canadian Theatre." Theatre Research in Canada 33, no. 2 (June 2012): 260–62. http://dx.doi.org/10.3138/tric.33.2.260.

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Miller, Henry, Errol G. Hill, and James V. Hatch. "A History of African American Theatre." African American Review 38, no. 2 (2004): 335. http://dx.doi.org/10.2307/1512295.

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46

Ferris, Lesley. "African Theatre: Companies, ed. James Gibbs." Research in African Literatures 40, no. 4 (December 2009): 213–14. http://dx.doi.org/10.2979/ral.2009.40.4.213.

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Brown-Velez, Jessica. "African Theatre: Diasporas (review)." Theatre Journal 63, no. 4 (2011): 659–60. http://dx.doi.org/10.1353/tj.2011.0106.

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BREITINGER, ECKHARD. "Divergent Trends in Contemporary African Theatre." Matatu 20, no. 1 (April 26, 1998): 3–16. http://dx.doi.org/10.1163/18757421-90000277.

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Roux, Yolande, and Elma Young. "PUBLICATIONS ON SOUTH AFRICAN THEATRE: 1986." South African Theatre Journal 1, no. 2 (January 1987): 98–102. http://dx.doi.org/10.1080/10137548.1987.9687606.

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Sichel, Adrienne. "Grappling with South African Physical Theatre." South African Theatre Journal 24, no. 1 (January 2010): 41–50. http://dx.doi.org/10.1080/10137548.2010.9687921.

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