Download Free Drama And Theatre In Nigeria Book in PDF and EPUB Free Download. You can read online Drama And Theatre In Nigeria and write the review.

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.
"A critical look at the Nigerian Theatre from its inception to the present, while correcting omissions and erroneous impressions made in past studies. In short, it gives a perspective to Nigerian Drama and foreign ones alike including those actually involved in Nigerian Drama and Theatre. The study, therefore, presents a description and criticism of the major aspects of Nigerian Drama and Theatre, bringing forward new data and fresh insights concerning the subject."--Page xi.
Trends in Twenty-First Century African Theatre and Performance is a collection of regionally focused articles on African theatre and performance. The volume provides a broad exploration of the current state of African theatre and performance and considers the directions they are taking in the 21st Century. It contains sections on current trends in theatre and performance studies, on applied/community theatre and on playwrights. The chapters have evolved out of a working group process, in which papers were submitted to peer-group scrutiny over a period of four years, at four international conferences. The book will be particularly useful as a key text for undergraduate and postgraduate courses in non-western theatre and performance (where this includes African theatre and performance), and would be a very useful resource for theatre scholars and anyone interested in African performance forms and cultures.
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.
This book provides an overview of the full range of the teaching and practice of Committed Theatre and theatre of commitment in Nigeria for scholars in the arts and cultural studies. It is divided into four sections; Chapter 1: Theatre in Development Discourse, which is comprised of four papers that explore the theories of practice of theatre of commitment. Chapter 2 : Nigerian Theatre in Perspective discusses the trends, ethos of revolution, theatrical elements and communalistic/individualistic tendencies and the taboos theatre, drama and traditional theatre in Nigeria. In Chapter 3, the social, cultural and historical implications of Nigeria theatre, is examined in papers that focus on politics, theatre, and echoes of separatism in Nigeria and including an analysis of Aesthetagement of the Calabar Carnival in Nigeria. Chapter 4 performs a critical analysis of committed theatre practices from a global perspective. Interviews were conducted with committed artistes from Nigeria, Canada, Ethiopia, and Indonesia. Committed Theatre Perspectives in Teaching and Practice in Nigeria has the potential to impact the philosophy, teaching, and practice of theatre. The ideas contained in the book provide an excellent framework for understanding the importance and more importantly, the impact of theatre on society.
Originally published in 1982, this book explores concepts such as ‘traditional performance’ and African theatre’. It analyses the links between drama and ritual, and drama and music and diagnoses the confusions in our thought. The reader is reminded that drama is never merely the printed word, but that its existence as literature and in performance is necessarily different. The analysis shows that literature tends to replace performance; and drama, removed from the popular domain, becomes elitist. The book’s richness lies in the constantly stimulating analysis of ‘art’ theatre, as exemplified in protest plays, in African adaptations and transpositions of such classical subjects as the Bacchae and Everyman, in plays on African history, on colonialism and neo-colonialism. The final chapters argue that the form of African drama needs to evolve as the content does.
This book is an extensive and captivating study of the work of Femi Osofisan, one of Nigeria’s most important dramatists and postcolonial playwrights. It explores a variety of his plays to gather together insights on the role of art in social change, and discusses the relationship between literature and politics.
In this lively and varied tribute to Martin Banham, Layiwola has assembled critical commentaries and two plays which focus primarily on Nigerian theatre - both traditional and contemporary. Dele Layiwola, Dapo Adelugba and Sonny Oti trace the beginnings of the School of Drama in 1960, at the University of Ibadan, Nigeria, where Martin Banham played a key and influential role in the growth of thriving Nigerian theatre repetoire and simulaneously encouraging the creation of a new theatre based on traditional Nigerian theatre forms. This comparative approach is taken up in Dele Layiwola's study of ritual and drama in the context of various traditions worldwide, while Oyin Ogunba presents a lucid picture of the complex use of theatre space in Yoruba ritual dramadar drama. Harsh everyday realitites, both physical and political, are graphically demonstrated by Robert McClaren (Zimbabwe) and Oga Steve Abah (Nigeria) who both show surprising and alarming links between extreme actual experiences and theatre creation and performance. The texts of the two plays - When Criminals Turn Judges by Ola Rotimi, The Hand that Feeds the King by Wale Ogunyemi, are followed by Austin O. Asagba's study of oral tradition and text in plays by Osofisan and Agbeyegbe, and Frances Harding's study on power, language, and imagery in Wole Soyinka's plays.