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This superb author index of poetry, prose and drama explores the writing landscape of Saint Lucia. Everyone - from the internationally acclaimed Derek Walcott to self-published unknowns - are there. But this bibliography is not just about literature, it also features the social, political and cultural dimensions of Saint Lucia, from scholarly essays to the ephemera of funeral pamphlets and recipe books. Foreword by Antonia MacDonald.
Bibliography of St. Lucian Creative Writing: Poetry, Prose, Drama by St. Lucian writers is an invaluable reference tool for those researching St. Lucian literature, including the work of internationally recognised St. Lucian-born Nobel laureate Derek Walcott. It lists published and unpublished literature by St. Lucians writing poetry, prose, and drama. Reviews and articles on St. Lucian literature are also cited in a substantial section. Also included are a listing of background readings that throw light on the literature. While the book was several years in the making, its completion was commissioned by the Cultural Development Foundation of St. Lucia.
On a Caribbean island, the morning after a full moon, Felix Hobain tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Hobain, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people. Dream on Monkey Mountain was awarded the 1971 Obie Award for a Distinguished Foreign Play when it was first presented in New York, and Edith Oliver, writing in The New Yorker, called it "a masterpiece." Three of Derek's Walcott's most popular short plays are also included in this volume: Ti-Jean and His Brothers; Malcochon, or The Six in the Rain; and The Sea at Dauphin. In an expansive introductory essay, "What the Twilight Says," the playwright explains his founding of the seminal dramatic company where these works were first performed, the Trinidad Theatre Workshop. First published in 1970, Dream on Monkey Mountain and Other Plays is an essential part of Walcott's vast and important body of work.
" ... Documents the history and development of [Post-colonial literatures in English, together with English and American literature] and includes original research relating to the literatures of some 50 countries and territories. In more than 1,600 entries written by more than 600 internationally recognized scholars, it explores the effect of the colonial and post-colonial experience on literatures in English worldwide.
Ti-Jean and his Brothers was Derek Walcott's first venture into musical plays and is still his most popular work. A lilting St Lucian folk-tale, it tells the story of a poor family who dwell on the edge of a magical forest haunted by the devil's spirits. The brilliance of Walcott's writing draws us into the realms of fantasy where the actual and the miraculous collide. Dennis Scott's An Echo in the Bone is set during a traditional Nine-Night Ceremony held to honour the spirit of the dead. Shattering sequential time in a series of dreamlike episodes the play takes us back to the time of plantations and slavery - and the savage murder of the white estate owner. Who killed Mr. Charles? The answers lie deep in the racial memory, they 'echo in the bone'. The giddy atmosphere of carnival is the setting for Errol Hill's Man Better Man, a rumbustious, colourful comedy musical about stickfighters. With dance and song the battling troubadours and the calypsonian weave a tale of braver, superstition and fraudulence. When first performed the Times described it as 'a blazing electrifying feast of rhythm and colour'.
The Encyclopedia of Twentieth-Century Latin American and Caribbean Literature, 1900-2003 draws together entries on all aspects of literature including authors, critics, major works, magazines, genres, schools and movements in these regions from the beginning of the twentieth century to the present day. With more than 200 entries written by a team of international contributors, this Encyclopedia successfully covers the popular to the esoteric. The Encyclopedia is an invaluable reference resource for those studying Latin American and/or Caribbean literature as well as being of huge interest to those folowing Spanish or Portuguese language courses.
Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions.
Since 1959, Derek Walcott has directed and written for the Trinidad Theatre Workshop. The Joker of Seville, a comedy based on Tirso de Molina's El Burlador de Sevilla, was commissioned by England's Royal Shakespeare Company. Walcott's sensitivity to the pacing, meter, and lyricism of the original makes his first attempt at adaptation an extraordinary accomplishment. O Babylon! brings life ro the Rastafarian sect in Jamaica, which grew during Marcus Garvey's exile to that country and has recently been popularized through the lyrics of reggae music.