Plays, playscripts, drama

Book SynopsisThe Samarites by Petrus Papeus offers an effective blending of gospel narrative and ancient Roman comedy, combining manner of Plautus and Terence with the didacticism of medieval allegory and morality plays and the poetic diction of Renaissance humanism. In the Samarites they are the ingredients that present both moral and doctrinal teachings related to the gospel parables of the Prodigal Son and Good Samaritan. Papeus’ work is an excellent example not only of the early modern school play, but also of the shifting conceptions of drama in Europe at that time. Daniel Nodes presents a critical edition and translation of the play together with a humanist commentary produced in Toledo by Alexius Vanegas three years after the play’s first printing in Antwerp.Trade Review“Nodes has produced a fine text that materially adds to our knowledge of Neo-Latin drama and a relatively unknown Neo-Latin dramatist, and through the inclusion of Vanegas' commentary, gives us insight into traditional methods of commenting and interpreting.” Mark Riley, California State University, Sacramento. In: Bryn Mawr Classical Review, 2017.12.32.Table of ContentsAbbreviations Introduction: Plautine Piety and Monastic Wit in the Samarites comedia of Petrus Papeus (1539) Petrus Papeus The Argumentum or Plot of Samarites comoedia The Samaritan Story and its Exegetical Tradition The Patristic basis The Medieval Legacy Literary Hybrids The Fusion of Parables Medieval Compendiums Applying Elements from the Roman Comedies to the Bible under the New Humanism Assessment of the Resulting Compositions Predecessors of Papeus Contemporaries of Papeus and the Exegetical Tradition Papeus’s Samarites Comoedia: The Characters Papeus’s Special Handling of the Subject Matter The Commentary by Alejo Vanegas The Early Printings Modern Edition Petri Papei Samarites comoedia de Samaritano Euangelico Epistola nuncupatoria Dramatis Personae Argumentum Prologus Actus primi scaena prima Actus primi scaena secunda Actus primi scaena tertia Actus primi scaena quarta Actus secundi scaena prima Actus secundi scaena secunda Actus secundi scaena tertia Actus secundi scaena quarta Actus tertii scaena prima Actus tertii scaena secunda Actus tertii scaena tertia Actus tertii scaena quarta Actus tertii scaena quinta Actus quarti scaena prima Actus quarti scaena secunda Actus quarti scaena tertia Actus quarti scaena quarta Actus quinti scaena prima Actus quinti scaena secunda Actus quinti scaena tertia Actus quinti scaena quarta Actus quinti scaena quinta Actus quinti scaena sexta Actus quinti scaena septima Morio Peroratio Appendix: Alexii Vanegas Commentarius Cardinalis Ioannis Tauera ut Excuderetur Indulsit Petri Papei Samarites comoedia de Samaritano Euangelico Fernandus Lunar a Secretis Capituli Sanctae Ecclesiae Toletanae Lectori Salutem Alexius Vanegas Toletanus studiosissimo uiro Fernando de Lunar a secretis Capituli Sanctae ecclesiae Toletanae salutat Emendationes Alexii Vanegas Toletani in Samaritem Comoediam nuper editam, scholia tumultuaria humanissimo simul et studiosissimo uiro musarum Herculi suoque Mecoenati Fernando Lunar a secretis capituli Toletani nuncupata foeliciter comoediae fores aperiunt Dramatis personarum interpretatio Metrorum dramatis ratio Argumentum Prologus Actus Primi Scaena Prima Actus Primi Scaena Secunda Actus Primus Scaena Tertia Actus Primi Scena Quarta Actus Secundi Scaena Prima Actus Secundi Scaena Secunda Actus Secundi Scaena Tertia Actus Secundi Scaena Quarta Actus Tertii Scaena Prima Actus Tertii Scaena Secunda Actus Tertii Scaena Tertia Actus Tertii Scaena Quarta Actus Tertii Scaena Quinta Actus Quarti Scaena Prima Actus Quarti Scaena Secunda Actus Quarti Scaena tertia Actus Quarti Scaena Quarta Actus Quinti Scena Prima Actus Quinti Scaena Secunda Actus Quinti Scaena Tertia Actus Quinti Scaena Quarta Actus Quinti Scaena Quinta Actus Quinti Scaena Sexta Actus Quinti Scaena Septima Morio Peroratio Bibliography Primary Sources Secondary Sources Index

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Book SynopsisEdward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre. Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine VasakTable of ContentsNotes on Contributors Editors’ Introduction  David A. Crespy and Lincoln Konkle Designing Edward/Edward Designing: A Brief History of Edward Albee’s Role in Theatrical Design  David A. Crespy Theatrical Thanatology: Direct Address, Gestural Storytelling, and the Triple Goddess in Three Plays about Dying by Edward Albee  Milbre Burch The Glee of Vulnerability: Becoming Kin with Edward Albee’s Goat  Parisa Shams A Queer Reading of Love in Edward Albee’s Counting the Ways  Ashley Raven Albee Stages Secular Epiphany  Nathan Hedman Art Is a Hammer: Aura, Textual Awareness, and Comedy in Albee  David Marcia Affecting the Lives of “Others”: The Journey of Albee’s Plays in the Soviet Union  Julia Listengarten The (Mis)Representation of Edward Albee in Spain, 1963–2010  Ramón Espejo Romero Inside the Black Box: Albee’s Visual Aesthetics of Obscurity  Valentine Vasak “I Trap People”: An Interview with Edward Albee  Jackson R. Bryer Bibliography Index

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Book SynopsisThis is the first edition since its original publication of Daniel Heinsius’ Latin tragedy Auriacus, sive Libertas saucia (Orange, or Liberty Wounded, 1602), with an introduction, a parallel English translation, and a commentary. Centering on the assassination of William of Orange, one of the leaders of the Dutch Revolt against King Philip II of Spain, Auriacus was Heinsius’ history drama, with which he aimed to raise Dutch drama to the level of classical drama. Highly influential, the tragedy contributed to the construction of a national identity in the Low Countries and launched Heinsius’ long career as an internationally celebrated poet and professor at Leiden University.Trade Review“The present edition is not merely a monumental study of one hitherto overlooked crucial play by a major figure in European letters. Its aesthetic vitality and political acuity open the door to a full-scale reconsideration of early modern European drama in Latin and in the vernacular languages, and further reassessment of seventeenth-century neo-Latin verse.” Nigel Smith, Princeton UniversityTable of ContentsAcknowledgments Abbreviations Introduction  1 Life and Work of Daniel Heinsius till 1602  2 Genesis and Printing of Auriacus and Its Performance  3 The Political-Historical Context  4 The Literary Context  5 Summary and Structure  6 Characters  7 Style  8 Metres  9 Reception of Auriacus  10 This Edition Text and Translation  Conspectus Siglorum  Daniel Heinsius, Auriacus Commentary Appendix I: Paratexts to Auriacus and Texts from the Iambi Added to the Play, and From Heinsius’ Seneca Edition (1601) Relevant for Auriacus Appendix II: Texts Regarding the Reception of Auriacus Index

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Book SynopsisThe Transformations of Tragedy: Christian Influences from Early Modern to Modern explores the influence of Christian theology and culture upon the development of post-classical Western tragedy. The volume is divided into three parts: early modern, modern, and contemporary. This series of essays by established and emergent scholars offers a sustained study of Christianity’s creative influence upon experimental forms of Western tragic drama. Both early modern and modern tragedy emerged within periods of remarkable upheaval in Church history, yet Christianity’s diverse influence upon tragedy has too often been either ignored or denounced by major tragic theorists. This book contends instead that the history of tragedy cannot be sufficiently theorised without fully registering the impact of Christianity in transition towards modernity.Trade Review"Through rich, powerfully argued case studies this collection provides proof positive of the radically informing relationship between Christianity and understandings of the tragic experience in the sixteenth century and the modern era. The essays take a variety of approaches from the historical materialist to the philosophical and theological, but the twin images of humanity at bay, self-alienated, subject to savage violence; and humanity struggling to understand and represent its collective suffering, victimhood, and capacity for transcendence punctuate the volume, giving it a satisfying, challenging coherence." - Greg Walker, Regius Professor of Rhetoric and English Literature, University of Edinburgh

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Book SynopsisPerformative literary culture emerged as a set of practices that shaped production and distribution of learning in late medieval and early modern Western Europe, both in Latin and the vernacular. Performative literary culture encompasses the plays, songs, and poetry performed for live audiences in (semi-)public spaces and the organizations championing performative literature through meetings and events. These organizations included chambers of rhetoric, confraternities of the Puy, joyous companies, guilds of Meistersingers, the Consistory of Joyful Knowledge, academies, companies of the Basoche and Inns of Court, and the institutions or people organizing the Spanish justas. Written by a team of experts, the contributions in this book explore how performative literary cultures shaped the exchange of public learning, knowledge, and ideas between the oral, theatrical, and literary spheres. Contributors include: Francisco J. Álvarez, Adrian Armstrong, Gabriele Ball , Anita Boele, Cynthia J. Brown, Susanna de Beer, Hilde de Ridder-Symoens, Ignacio García Aguilar, Laura Kendrick, Samuel Mareel, Inmaculada Osuna, Bart Ramakers, Dylan Reid, Catrien Santing, Susie Speakman Sutch, and Arjan van Dixhoorn.Table of ContentsPreface List of Illustrations Notes on Contributors 1 Introduction  Arjan van Dixhoorn Part 1: Institutions of Performative Literary Culture 2 Formal Inscriptions of Performance  Adrian Armstrong, Cynthia J. Brown, Samuel Mareel and Bart Ramakers 3 ‘To Speak Well and Prudently’: Literary Associations and Civic Corporate Culture  Dylan Reid 4 Benefits of Joyfulness: Ideas into Practice  Susanna de Beer, Catrien Santing and Arjan van Dixhoorn 5 Careers: The Role of Literary Exercise  Arjan van Dixhoorn with the collaboration of Ignacio García Aguilar, Francisco J. Álvarez and Inmaculada Osuna 6 Transformations: The Rise of New Institutions  Arjan van Dixhoorn and Gabriele Ball Part 2: Individual Careers 7 Performative Practices in Eustache Deschamps’ Occasional Verse  Laura Kendrick 8 Pervasive Performance in the Work of Jean Molinet  Adrian Armstrong 9 Luis de Milán: Performativity at Court  Francisco J. Álvarez 10 Jan de Baertmakere Alias Smeken and Urban Festive Culture  Samuel Mareel and Susie Speakman Sutch 11 The Jovial Mode of Konrad Celtis  Catrien Santing 12 Pierre Gringore: Interpreter of Sixteenth-Century French Performative Literary Culture  Cynthia J. Brown 13 Jacques Sireulde: The Handsome Usher  Dylan Reid 14 Louris Jansz: Sixteenth-Century Rhetorician  Anita Boele 15 Be Who Thou Art: The Vernacular Learning of Johan Fruytiers  Arjan van Dixhoorn 16 Literary Activities and Theatricality at Leuven University: The Case of Erycius Puteanus  Hilde de Ridder-Symoens 17 Lope de Vega: Performativity and Professionalization  Ignacio García Aguilar and Inmaculada Osuna 18 Countess Anna Sophia of Schwarzburg-Rudolstadt and Her Concept of ‘Virtue’  Gabriele Ball Bibliography Index

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Book SynopsisStaging History unites essays by nine specialists in the field of late medieval and early Renaissance drama. Their focus is on English, Dutch and Humanist German drama, as well as on a modern Swiss adaptation of Shakespeare’s Henry V. Featuring prominently in this book are plays by, among others, John Bale, Jacob Schoepper, Johannes Agricola and Jacob Duym. Special attention is also paid to the Croxton Play of the Sacrament and the Dutch abele spelen. So far this topic has not received wide attention within the world of medieval and early Renaissance studies. This exploration aims at arousing more interest in this field by scholars working on European drama from the late Middle Ages and the early Renaissance.Table of ContentsNotes on Contributors Introduction   Peter Happé and Wim Hüsken 1 From Mrs Noah’s “Rok” to Absalom’s “Kultour”  The Trail of the Spinning Woman and the Great Rising of 1381   Heather Hill 2 Laying with the Past  History in the Croxton Play of the Sacrament and King Johan   Thomas Betteridge 3 Historical Elements in Bale’s Plays   Peter Happé 4 History in the Long Shadow of Allegory  Revisiting the Morality Heritag   Richard Hillman 5 Mirror, Mirror on the Wall … History in Late Medieval Drama from the Low Countries   Wim Hüsken 6 “An Easy Commerce of the Old and New”  Rhetoricians and the Use of the Past   Elsa Strietman 7 Staging Reformation as History – Three Exemplary Cases  Agricola, Hartmann, Kielmann   Cora Dietl 8 Dramatising History in Schoepper’s Ioannes Decollatus and Grimald’s Archipropheta   Mike Pincombe 9 Helvetic Henry? A Swiss Adaptation of Henry V, or Something Near Enough   Elisabeth Dutton Index

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Book SynopsisIn Modern and Contemporary Political Theater from the Levant, A Critical Anthology, Robert Myers and Nada Saab provide a sense of the variety and complexity of political theater produced in and around the Levant from the 1960s to the present within a context of wider discussions about political theater and the histories and forms of performance from the Islamic and Arab worlds. Five major playwrights are studied, ʿIsam Mahfuz, from Lebanon; Muhammad al-Maghut and Saʿd Allah Wannus, from Syria; Jawad al-Asadi, from Iraq, Syria and Lebanon; and Raʾida Taha, from Palestine. The volume includes translations of their plays The Dictator, The Jester, The Rape, Baghdadi Bath and Where Would I Find Someone Like You, ʿAli?, respectively.

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Book SynopsisThe final volume of the New Perspectives in Edward Albee Studies series expands the analyses of Edward Albee’s theatre beyond Anglophone countries. Ranging from academic essays, performance reviews, and interviews, the selected contributions examine different socio-political contexts, cultural dynamics, linguistic communities, and aesthetic traditions, from the 1960s to our contemporary days. Albee Abroad gladly brings together varied voices from Czech Republic, People’s Republic of China, Brazil, Iran, Germany, Spain, and Greece, thus enriching Albee scholarship with more plural tones.Table of ContentsNotes on Contributors Introduction  Michael Y. Bennett 1 A Constant Struggle for Freedom: Edward Albee in Czechoslovakia and the Czech Republic  Tomáš Kacer 2 I’m Not There: Toward Albee’s Reception in China  Eddie Hanchen Feng 3 A Volcanic Contribution: The Zoo Story and the 1960s Brazilian Stages  Esther Santana 4 Edward Albee on Iranian Stages: A Critical Ethnography  Mohammadali (Al) Dabiri and Deniz Khateri 5 American Absurdism as Philosophy: Edward Albee in Germany  Philipp Reisner 6 The Communication Paradigm in Recent German Albee Scholarship: A Review Essay  Philipp Reisner 7 Edward Albee’s 21st Century Spanish Canon: Bringing It Up to Speed or Honoring the Tradition?  Ramón Espejo Romero 8 Albee’s Greek Legacy in The Goat or, Who Is Sylvia?  Antonia Tsamouris 9 Interview: Philip Arnoult on Albee’s International Leadership  Natka Bianchini Index

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Book SynopsisWhen Dorothy Hewett joked about needing a face-lift and sex-change to improve her standing, she drew attention to forces that shaped the production and reception of her drama. Drawing on production of her plays over four decades, and interviews with Hewett’s collaborators, this book reveals how cultural memories in theatre solidify and dissolve. Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.Table of ContentsForeword Preface: Notes on Sources Acknowledgements List of Illustrations Introduction: Dorothy Hewett and Her Drama 1 The Hewett Legend and Cultural Memory in Australian Theatre 2 Revisiting Redfern—This Old Man Comes Rolling Home 3 Controversy and The Chapel Perilous 4 The Tatty Hollow Story and the Irreconcilable in Remembering Dorothy Hewett 5 Visions of The Man from Mukinupin 6 The Jarrabin Trilogy—An End to Hewett’s New Writing? 7 Hewett’s Reprise—Nowhere Conclusion: Remembering Dorothy Hewett and Her Drama by Narrating the Lives of Plays Appendix: 1920–2019 Timeline, Including Hewett’s Life and Works Bibliography Index

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Book SynopsisJacobean tragedy is typically seen as translating a general dissatisfaction with the first Stuart monarch and his court into acts of calculated recklessness and cynical brutality. Drawing on theoretical influences from social history, psychoanalysis and the study of discourses, this innovative book proposes an alternative perspective: Jacobean tragedy should be seen in the light of the institutional and social concerns of the early modern stage and the ambiguities which they engendered. Although the stage’s professionalization opened up hitherto unknown possibilities of economic success and social advancement for its middle-class practitioners, the imaginative, linguistic and material conditions of their work undermined the very ambitions they generated and furthered. The close reading of play texts and other, non-dramatic sources suggests that playwrights knew that they were dealing with hazardous materials prone to turn against them: whether the language they used or the audiences for whom they wrote and upon whose money and benevolence their success depended. The notorious features of the tragedies under discussion – their bloody murders, intricately planned revenges and psychologically refined terror – testify not only to the anxiety resulting from this multifaceted professional uncertainty but also to theatre practitioners’ attempts to civilize the excesses they were staging.Table of ContentsAcknowledgements Introduction 1. Relocating the Stage: Reflections on Early Modern Theatre Culture 2. “All the Ill Man Can Invent”: John Webster and His Duchess 3. Look Who’s Talking (Plainly): Dangerous Eloquence in The Atheist’s Tragedy 4. Memory, Mimesis and the Material: Chapman’s Scene of Writing (The Law) 5. Theatrical Excess, Critical Practice: Women Beware Women and the Shaping of a Bourgeois Aesthetic Bibliography Index

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Book SynopsisDas Theater als körperbezogene Kunst eignet sich in besonderem Maße für Geschlechterexperimente. Es stellt einen ästhetischen Raum bereit, in dem weitgehend gezielte und reflektierte (Körper-)Aktionen stattfinden, während sich alltägliche Geschlechterperformanzen eher unbewusst vollziehen. Das Theater übersetzt diese ‘natürlichen Prozesse’ in ästhetische Spiele und eröffnet damit sowohl in seiner illusionistisch-mimetischen wie postdramatischen Variante GeschlechterSpielRäume. Der vorliegende Sammelband untersucht aus interdisziplinärer Perspektive die Gender-Konstellationen in Dramen und Theatertexten vom 17. bis zum 21. Jahrhundert in unterschiedlichen Nationalliteraturen und er nimmt das Theater als Institution in den Blick, um den Zusammenhang von Gender, Kunstsparten und Beruf zu verdeutlichen. Darüber hinaus werden sowohl die Performativität anderer Wirklichkeiten wie Medizin und Museum als auch die zeitgenössische Performance fokussiert.Table of ContentsGeschlechterSpielRäume. Einleitung Drama und Theatertext Stefan Horlacher: ‘Mothers Reign Supreme’? Weiblichkeit, Mutterschaft und die Wiederkehr des Abjekts in der elisabethanisch-jakobäischen Tragödie: John Webster Gaby Pailer: Selbstentleibung der Königin. Szenarien von Geschlecht und Herrschaft im Drama der Frühaufklärung Claudia Liebrand: Furioses Vexierspiel. Gender in Mozarts Zauberflöte Romana Weiershausen: “Wo ist die Gabe der Verstellung hin?” Systematiken des Gefühls auf der Bühne. Lessings Miß Sara Sampson, Diderots Der natürliche Sohn und Schlegels Düval und Charmille Ortrud Gutjahr: Das unkalkulierbare Andere. Geschlechter-Szenen auf dem Schauplatz des Krieges in Heinrich von Kleists Penthesilea Helga Kraft: Das Theater als moralische Anstalt? Deutsche Identität und die Migrantenfrage auf der Bühne Birte Giesler: Zur Performativität des Materials. Biomedizin und Identität in aktuellen Theaterstücken Ljubinka Petrovic´-Ziemer: Alles braucht (s)ein ‘Geschlecht’ – wie im Krieg, so im Frieden. Geschlechter-Szenarien in der bosnisch-herzegowinischen Gegenwartsdramatik Irina Gradinari: Theater des kollektiven Unbewussten. Pelmeni von Vladimir Sorokin Eva Kormann: Rastlose Medienspiele. Kathrin Rögglas Theaterstück wir schlafen nicht Schauspiel und Institution Annette Bühler-Dietrich: Heldische Männer, Weibpersönlichkeiten, Androgynität und das Ereignis des Schauspielers. Die Schauspielkunst der zweiten Hälfte des 19. Jahrhunderts in der Kritik Ina Schabert: Ceci est une ‘femme’. Wie das bürgerliche Illusionstheater die Illusion essentieller Weiblichkeit zerstört Christine Künzel: “Die Kunst der Schauspielerin ist sublimierte Geschlechtlichkeit”. Anmerkungen zum Geschlecht der Schauspielkunst Franziska Schößler und Axel Haunschild: Genderspezifische Arbeitsbedingungen am deutschen Repertoiretheater. Eine empirische Studie Christian Janecke: Wie Performance Art ‘Frauensache’ wurde – ein Erklärungsversuch Performativität und Performance Nikola Roßbach: Der Frau, die Mann. Geschlechterverrückungen in den Malus Mulier-Texten des 17. und 18. Jahrhunderts Susanne Kord: Etikette oder Theater? Kindsmörderinnen auf dem Schafott Peter M. McIsaac: Die medizinische Venus. Zur performativen Basis von anatomischen Zurschaustellungen vor und um 1900 Katharina Pewny: Der Penis als Dildo oder: Das letzte Spektakel der Männlichkeit (in der Performancekunst) Gerald Siegmund: Double Acts. House/Lights von The Wooster Group und die Spektralisierung der Geschlechteridentität Miriam Dreysse: Heterosexualität und Repräsentation. Markierungen der Geschlechterverhältnisse bei René Pollesch Beiträger und Beiträgerinnen

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Book SynopsisTrends 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.Table of ContentsAcknowledgements Temple Hauptfleisch: Foreword Kene Igweonu: Striding Out: Emergent Trends in Twenty-First Century African Theatre and Performance General Trends in Theatre and Performance Studies Samuel Ravengai: The Dilemma of the African Body as a Site of Performance in the Context of Western Training Kene Igweonu: Interculturalism Revisited: Identity Construction in African and African-Caribbean Performance Johann van Heerden: Beyond the Miracle: Trends in South African Theatre and Performance after 1994 Patrick Ebewo: Transformation and the Drama Studies Curriculum in South Africa: A Survey of Selected Universities Petrus du Preez: The Tall Tale of Tall Horse: The Illusion (or Manifestation) of African Cultural and Traditional Aesthetics in Hybrid Performances Temple Hauptfleisch: From Trance Dance to PaR: Theatre and Performance Studies in South Africa Applied/Community Theatre and Performance Vicensia Shule: Theatre in/for Development in Tanzania: A Neoliberal Nightmare Praise Zenenga: A Voice in the Teeth of Power: Popular Theatre under the Censorship Radar in Zimbabwe (1998-2008) Vibeke Glørstad: Citizens’ Stories – or Theatre as Performing Citizenship in Zimbabwe Ola Johansson: Towards a Politically Efficacious Community-Based Theatre Gladys Ijeoma Akunna: Dance Movement Analysis as Psycho-Diagnostic Tool in Modern Nigerian Medical Practice: An Introduction Playwrights and Performance Osita Ezenwanebe: Treading Subtly on Volatile Ground: Ahmed Yerima’s Hard Ground and the Dramatization of the Niger Delta Crisis in Nigeria Adebisi Ademakinwa: Drama as an Analytical Tool of Contemporary Society: Ahmed Yerima’s Hard Ground and the Politics of the Niger Delta Ngozi Udengwu: Theatre-on-Demand: Stella Oyedepo – Theatrical Megastar of the Twenty-First Century Awo Mana Asiedu: Abibigoro: Mohamed Ben Abdallah’s Search for an African Aesthetic in the Theatre Jeleel O. Ojuade: African Dance in Diaspora: The Examples of Nigerian Yoruba bàtá and dùndún Chris Ugolo: Celebration as Aesthetic Device in Contemporary Nigerian Dance Productions: Hubert Ogunde’s Destiny as Example Alude Mahali: ‘Piecing Together a Girlhood’: Using the ‘Girlfriend Aesthetic’ as a Practical Methodology in the Making and Performance of Katuntu (…and you too) Abstracts A Selected Bibliography of African Theatre (1990-2011) Notes on Contributors

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Book Synopsis

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