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Set on a marae on the East Coast in 1919 when a war weary soldier, Taneatua, returns from Europe a hero. A powerfully dramatic play of family secret, confrontation and revenge.
"This ... volume comprises a wide range of chapters focusing on key figures in the development of New Zealand theatre and drama, such as, among others, Robert Lord, Ken Duncum, Gary Henderson, Stephen Sinclair, Hone Kouka, Briar-Grace Smith, Jacob Rajan, Lynda Chanwai-Earle, Nathaniel Lees, and Victor Rodger."--Publisher description.
The first comprehensive publication on the subject, this book investigates interactions between racial thinking and the stage in the modern and contemporary world, with 25 essays on case studies that will shed light on areas previously neglected by criticism while providing fresh perspectives on already-investigated contexts. Examining performances from Europe, the Americas, the Middle East, Africa, China, Australia, New Zealand, and the South Pacifi c islands, this collection ultimately frames the history of racial narratives on stage in a global context, resetting understandings of race in public discourse.
Vols. for 1892-1941 contain the transactions and proceedings of the society.
Published 1887-90, this six-volume compilation of Maori oral literature, with English translations, contains traditions about deities, origins and warfare.
The fast-growing body of postcolonial drama is progressively gaining its just recognition in the twentieth-century canon of English-language plays. From the vantage point of various samplings along the Trans-Pacific axis linking English Canada, Australia and New Zealand, this monograph seeks to document the significance of this emerging postcolonial theater. More specifically, it examines the myriad ways in which, over the last two decades, representative mainstream, ethnic and First Nations playwrights have dramatized Europe's «Other» in its multiple guises. In their efforts to match new content with innovative form, these artists have followed transgressive itineraries, redrawing the boundaries of conventional Western stage realism. Their new aesthetics often relies on techniques akin to Homi Bhabha's notions of hybridity and mimicry. The present study offers detailed analyses of the modes of hybridization through which Judith Thompson, Louis Nowra, Tomson Highway, Jack Davis, Hone Kouka, and other prominent writers have articulated subtle forms of psychic, grotesque, and mythic magic realism. Their legacy will undoubtedly affect the postcolonial dramaturgies of the twenty-first century.
" ... An official collection of Māori historical traditions"--BIM.
Anuta is a small Polynesian community in the eastern Solomon Islands that has had minimal contact with outside cultural forces. Even at the end of the twentieth century, it remains one of the most traditional and isolated islands in the insular Pacific. In Oral Traditions of Anuta, Richard Feinberg offers a telling collection of Anutan historical narratives, including indigenous texts and English translations. This rich, thorough assemblage is the result of a collaborative project between Feinberg and a large cross-section of the Anutan community that developed over a period of twenty-five years. The volume's emphasis is ethnographic, consisting of a number of texts as related by the island's most respected experts in matters of traditional history. Feinberg's annotations, which arm the reader with essential ethnographic and historical contexts, clarify important linguistic and cultural issues that arise from the stories. The texts themselves have important implications for the relationship of oral tradition to history and symbolic structures, and afford new evidence pertinent to Polynesian language sub-grouping. Further, they provide insight into a number of Anutan customs and preoccupations, while also suggesting certain widespread Polynesian practices dating back to the pre-contact and early contact periods.
World Theatre: The Basics presents a well-rounded introduction to non-Western theatre, exploring the history and current practice of theatrical traditions in Asia, Africa, the Middle East, Oceania, the Caribbean, and the non-English-speaking cultures of the Americas. Featuring a selection of case studies and examples from each region, it helps the reader to understand the key issues surrounding world theatre scholarship and global, postcolonial, and transnational performance practices. An essential read for anyone seeking to learn more about world theatre, World Theatre: The Basics provides a clear, accessible roadmap for approaching non-Western theatre.