Decolonizing the Stage: Theatrical Syncretism and Post-colonial DramaClarendon Press, 1999 - 304 pages Decolonizing the Stage is a major study devoted to post-colonial drama and theater. It examines the way dramatists and directors from various countries and societies have attempted to fuse the performance idioms of their indigenous traditions with the Western dramatic form. The study provides a theoretically sophisticated, cross-cultural comparative approach to a wide number of writers, regions, and theater movements, ranging from Maori, Aboriginal, and native American theater to Township theater in South Africa. |
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Aboriginal actors aesthetic audience Black body Caribbean Caribbean theatre carnival central ceremonial characters codes colonial complex concept context conventions Cree critical cult cultural texts dance dancer death Derek Walcott Dhlomo dialogue dominant dramaturgical egungun elements Elesin English essay European example experience Festival function gestural Ibid important Indian theatre indigenous performance intercultural Jack Davis Karnad kathakali kinesic King's Horseman liminality linguistic linked Literature London Maori theatre marae masks Mbongeni Mbongeni Ngema means movement multilingualism Nanabush Native Nigeria notion Ola Rotimi oral performance Percy Mtwa performance forms performance space play political possession post-colonial production Rabindranath Tagore relexification Rez Sisters rhythm ritual Rotimi scene scenographic semiosphere semiotic shango sign language song South African spatial spectators story strategy structure symbolic syncretic theatre Tagore's theatrical syncretism theatrical texts theory tion Tomson Highway township theatre traditional translation Trinidad University Press visual voodoo Western theatre Wole Soyinka writing Yoruba Zulu