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"'The Missing Face' is Beholding...In this meticulously paced play, Ida...a true optimist about love, family and her culture, takes a great leap in rearing her son, Amaechi...until she decides to leave the masculine formation of her young man-child to his father, who is domiciled in Africa...'The Missing Face' offers a rich illustration of music...ritual and tradition that is noble in looking back and seizing the moment.- ?Laura Andrews, Amsterdam News, New York?? ??""The Missing Face has many interesting characters and proactive ideas...The conflict between Ida and Odozi is refreshing and funny; it's fascinating to see and hear an African-American lecture an African about...[his] own culture, and then to hear his bemused response...Odozi's colorful language, full of jokes and elaborate metaphors, is intriguing...There are many fine moments in the play concerning African culture and the relationship that modern African-Americans and Africans have with it.""?- Nrooke Pierce, Theater Mania, New York Show ""In all her work, Onwueme has shown daring in her exploration of ideas, even when they lead to subjects and themes which may seem taboo. She has a way of using images to express very crucial ideas. For example, in Legacies [or The Missing Face] where lkenga is split into two halves-she explores important pan-African themes and sums up the historical tragedy of the first major division of Africa into continental and diasporan entities. Wholeness will come when the two halves come together.""- ?Ngugi wa Thiong'o, foreword to Onwueme's Tell It To Women"
Radio Drama as Development Theatre in Sub-Saharan Africa
This book draws on years of rich empirical research on radio drama production in Cameroon to offer a strikingly new perspective in Development Theatre discourse in Africa. Chronicling the history and evolution of Development Theatre practice in Anglophone Africa and arguing for literary forms that address the basic everyday realities of ordinary people in a medium they understand, the book revisits the crucial question of utilitarian literature in a continent that continues to brandish a begging bowl even as it celebrates fifty years of independence. Radio Theatreís inherent latitude to reach the masses in a manner and matter that they identify with makes of it an invaluable albeit often neglected sub-genre in the universe of Development Theatre. Reaching an enlarged audience through radio drama productions ñ plays that address the rustic, ascetic and practical realities of the people ñ is liberating. Through radio plays and their capacity to provide for an enormous degree of authenticity, ordinary people are able to enhance their self-esteem. Like main stream Development Theatre, Radio Drama sets out to address the concerns of all in an all-embracing approach that explores interactive learning characterized by continuous questioning of and adaptation to reality. It disparages the omniscience of the superstructure meant to be perceived as indispensable and all-knowing. As a medium of development communication with unique aesthetic qualities found in and not limited to sound and silence, Radio Drama creates events and condenses reality into dramatic constellations with a high sense of authenticity that invites its audience to participate in the creation process with a strong sense of direction in a story, a plot and a moral. This people-oriented culture re-animation process is the fertile ground for grassroots empowerment. It is the point of departure for feasible development initiatives that this book explores.
W. B. Yeats to Marina Carr, Second Edition
Modern Irish Drama: W. B. Yeats to Marina Carr presents a thorough introduction to the recent history of one of the greatest dramatic and theatrical traditions in Western culture. Originally published in 1988, this updated edition provides extensive new material, charting the path of modern and contemporary Irish drama from its roots in the Celtic Revival to its flowering in world theater. The lives and careers of more than fifty modern Irish playwrights are discussed along with summaries of their major plays and recommendations for further reading.
An Anthology Of New Theater From Downtown New York
At a time when most serious drama being written and produced for the American stage aspires only to mainstream acceptance and high-toned mediocrity, an innovative new generation of playwrights based in New York City has emerged, crafting works that challenge and undermine the conventional structure, language, and characterization of commercial theater while rejecting outdated notions of the avant-garde. New Downtown Now brings together ten new works that exemplify the playfulness, excitement, and possibilities of the theater. Characterized by fragmenting structure, hypnotic rhythms, kaleido-scopic imagery, unpredictable characters, and lyrical language, these plays resemble puzzles from which the writers are teasing revelations. Though disparate in subject matter and style, with characters ranging from a sushi chef to a soldier and settings from a taxicab to a live television broadcast, these highly original plays share a commitment to formal experimentation that places them beyond the psychological clichés of the majority and the cold condescension of postmodernism. The anthology includes Interim by Barbara Cassidy; Tragedy: a tragedy by Will Eno; Nine Come by Elana Greenfield; Shufu-Sachiko and Enoshima Island by Madelyn Kent; The Appeal by Young Jean Lee; The Vomit Talk of Ghosts by Kevin Oakes; Ajax (por nobody) by Alice Tuan; Apparition, an uneasy play of the underknown by Anne Washburn; Demon Baby by Erin Courtney.Mac Wellman is the author of numerous plays and the recipient of three Obie awards, most recently in 2003 for lifetime achievement. He is professor of playwriting at Brooklyn College. Young Jean Lee is a playwright and director, and member of the Obie award-winning company 13P. Jeffrey M. Jones is a playwright and curator of the Obie award-winning Little Theater at Tonic in New York.
How do classical, highly codified theatre arts retain the interest of today's audiences and how do they grow and respond to their changing circumstances? The eight essays presented here examine the contemporary relevance and significance of the "classic" No and Kyogen theatre to Japan and the West. They explore the theatrical experience from many perspectives--those of theatre, music, dance, art, literature, linguistics, philosophy, religion, history and sociology.
Oedipus Rex is the greatest of the Greek tragedies, a profound meditation on the human condition. The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus.
Opera for the People was first published in 1951. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Everyone who enjoys opera will enjoy this book, and many who think they don't like opera will be delighted to discover how they can enjoy it. As Herbert Graf points out, opera in America today is not all it could be, and he shows how opera can be developed into something more vital—a real force in the musical life of communities.
As the long-time stage director of the Metropolitan Opera community, Dr. Graf is a foremost authority on opera production. From his wealth of practical experience, from his careful study of what others have done, and from his creative yet realistic thinking come his challenging proposals for a new kind of opera in America—opera for everyone.
The elements of opera production—the libretto, the music, the language, the sponsorship, the staging, the building—are discussed. American opera as it is performed on Broadway, in community civic companies, in school workshops, in motion pictures, and in television is surveyed. In conclusion, Dr. Graf draws his exciting blueprint for the opera of the future.
Illustrative anecdotes provide sidelights on many gamed musical personalities—Bruno Walter, Kurt Weill, Benjamin Britten, Lawrence Tibbett, Oscar Hammerstein II, and Gian Carlo Menotti, to name a few. Stories of many of the newer operas—how they came to be written and what they are about—are related.
Music lovers who yearn for a "new deal" in opera, civic leaders anxious to develop opera in their own communities, and schools and colleges offering opera training will find this book a stimulating guide.
The Premier Stage for African American Drama
Penumbra Theatre Company was founded in 1976 by Lou Bellamy as a venue for African American voices within the Twin Cities theatre scene and has stood for more than thirty-five years at the intersection of art, culture, politics, and local community engagement. It has helped launch the careers of many internationally respected theatre artists and has been repeatedly recognized for its artistic excellence as the nation’s foremost African American theatre.
Penumbra is the first-ever history of this barrier-breaking institution. Based on extensive interviews with actors, directors, playwrights, producers, funders, and critics, Macelle Mahala’s book offers a multifaceted view of the theatre and its evolution. Penumbra follows the company’s emergence from the influential Black Arts and settlement house movements; the pivotal role Penumbra played in the development of August Wilson’s career and, in turn, how Wilson became an avid supporter and advocate throughout his life; the annual production of Black Nativity as a community-building performance; and the difficult economics of African American theatre production and how Penumbra has faced these challenges for nearly four decades.
Penumbra is a testament to how a theatre can respond to and thrive within changing political and cultural realities while contributing on a national scale to the African American presence on the American stage. It is a celebration of theatre as a means of social and cultural involvement—both local and national—and ultimately, of Penumbra’s continuing legacy of theatre that is vibrant, diverse, and vital.