Search results for ""author james gibbs""

This volume features the play Babalawo, Mystery-Master by Agbo Sikuade. First title in the African Theatre series with accounts of Theatre for Development workshops and critical discussions of the theme which continues to be a major area of endeavour in African theatre. Series editors: Martin Banham, James Gibbs, Femi Osofisan North America: Indiana University Press

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Includes the playscript of Glass House by Fatima Dike with a brief introduction by Marcia Blumberg. Women have struggled to be heard in the world of modern African theatre. Traditionally they had secure roles as dancers, singers and storytellers, but as theatre became professionalised and commercialised, control increasingly laywith the literate elites. This volume is testimony to the scope of their work as playwrights, musicians and actors from the Algerian diaspora to the new South Africa. Guest edited by JANE PLASTOW North America: Indiana U Press; South Africa: Wits U Press

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PAPERBACK FOR SALE IN AFRICA ONLY Extends the study of China's "soft power" into theatre studies and looks more widely at syncretic traditions evolving in other long-term historic exchanges between Asia and Africa. China is the main focus of this volume, and articles consider the way it is using "soft power" in its extensive engagement with South Africa, and, through its support for theatre festivals, with Lusophone countries in Africa. China's involvement with the construction of theatres, opera houses and cultural facilities as part of its foreign aid programmes in such countries as Algeria, Cameroon, Mauritius, Ghana and Senegal, provides the background to the playscript included in this volume, Blickakte (Acts of Viewing) by Daniel Schauf, Philipp Scholtysik & Jonas Alsleben, that explores Chinese impact in Somalia. Issues also emerge around what China is "importing" culturally from Africa. In 2012, Soyinka's The Lion & the Jewel was produced there, and a season of Fugard's work was enjoyed in Beijing during 2014. During 2016 Brett Bailey's Macbeth Opera will be performed in Macao. In recent years courses in African theatre have been started in Beijing by Biodun Jeyifo, and also taught on occasions by Femi Osofisan, joint-editor of this volume. His well-known Esu and the Vagabond Minstrels as wellas Once Upon Four Robbers have been translated into Mandarin, along with Soyinka's The Lion & the Jewel. The volume also includes contributions on exchanges between other Asian countries and Africa such as articles on the production of African plays in Bangladesh and on the persistence of African performance traditions among African migrants in India. Attention is paid to the syncretic theatre traditions that have evolved wherever African andAsian populations have been in close and extended contact, as in Mauritius and Durban. Unusual exchanges and globalized theatre surfaces in the course of the volume. For example, while the Guangdong Provincial Puppet Art Theatre Group performed at the 41st Grahamstown Festival (2015), Chinese puppeteers are being trained to manipulate the War Horse for a Beijing production. Volume Editors: JAMES GIBBS & FEMI OSOFISAN Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama, University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick.

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This volume in the African Theatre series celebrates the African theatrical diaspora from Brazil to Tasmania, and Canada to Cuba, and also includes the playscript Messing with the Mind by Egyptian writer and director Khaled El-Sawy. Diasporas', as used in the title of this volume, refers to a multitude of groups and communities with widely differing histories, identities and current locations. This book brings together essays on theatre by people of Africandescent in North America, Cuba, Italy, the UK, Israel and Tasmania. Several chapters present overviews of particular national contexts, others offer insights into play texts or specific performances. Offering a mix of academic andpractitioner's points of views, Volume 8 in the African Theatre series analyses and celebrates various aspects of African diasporic theatre worldwide. Guest Editors: CHRISTINE MATZKE, Lecturer in African Literatures and Cultures, Humboldt-University, Berlin; and OSITA OKAGBUE, Senior Lecturer in the Department of Drama, Goldsmiths, University of London. Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies,University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds;Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

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A key volume for Shakespeare, African theatre and postcolonial cultural scholars, promoting debate on the role of Western cultural icons in contemporary postcolonial cultures. This volume takes as its starting point an interrogation of the African contributions to the Globe to Globe festival staged in London in 2012, where 37 Shakespeare productions were offered, each from a different nation. Five African companies were invited to perform and there are articles on four of these productions, examining issues of interculturalism, postcolonialism, language, interpretation and reception. The contributors are both Shakespeare and African theatre scholars, promoting discourse from a range of geographical and cultural perspectives. A critical debate about the process of the Globe to Globe festival is initiated in the form of a discussion article featuringsome of its directors and actors. Two further articles look at Shakespeare productions made purely for Africa, from Mauritius and Cape Verde, and leading Nigerian playwright and cultural commentator Femi Osofisan provides an overview article examining Shakespeare in Africa in the 21st century. The playscript in this volume of African Theatre is Femi Osofisan's Wesoo, Hamlet! or the Resurrection of Hamlet. Volume Editor: JANE PLASTOW Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

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Examines the impact of new media (such as video and YouTube) and the use of multi-media on live and recorded performance in Africa. Focuses on the ways African theatre and performance relate to various kinds of media. Includes contributions on dance; popular video, with an emphasis on video drama and soaps from Eastern and Southern Africa, and the Nigerian 'Nollywood' phenomenon; the interface between live performance and video (or still photography), and links between on-line social networks and new performance identities. As a group the articles raise, from original angles, the issues of racism, gender, identity, advocacy and sponsorship. Volume Editor: DAVID KERR is Professor of English in the University of Botswana, and is the author of African Popular Theatre Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

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Competition or cooperation, which do you prefer? Discover how competition and cooperation happens all around us - in the animal kingdom, in the sporting world, and even inside your own body! Reflect is a series of emotionally powerful fiction and non-fiction with realistic settings, carefully crafted to promote thoughtful discussions and develop higher-level reading comprehension. Written by top authors and developed with Literacy expert Nikki Gamble, these are books you can trust to engage, entertain and support children's personal development and wellbeing. The books are finely levelled, making it easy to match every child to books with the right depth and complexity, and helping them to progress. Each book contains inside cover notes to help children deepen their understanding and support their reading comprehension. Teaching notes on Oxford Owl offer cross-curricular links to Relationships Education and support literacy skills.

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Contributors examine how international theatre festivals have been organised and how they have affected the evolution of sustainable theatre. During the last fifty years, large sums of money, huge resources of labour and vast amounts of creative energy have been invested in international theatre festivals in Africa. Under banners such as 'Reclaiming the African Past' and 'African Renaissance', the festival participants have used the performing arts to address a variety of topical issues and to confront images embedded by a century of patronising colonial expositions. The themes indicate the desire to take history by the forelock, challenge perceptions and transform communities. Volume Editor: JAMES GIBBS Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

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Extends the study of China's "soft power" into theatre studies and looks more widely at syncretic traditions evolving in other long-term historic exchanges between Asia and Africa. China is the main focus of this volume, and articles consider the way it is using "soft power" in its extensive engagement with South Africa, and, through its support for theatre festivals, with Lusophone countries in Africa. China's involvement with the construction of theatres, opera houses and cultural facilities as part of its foreign aid programmes in such countries as Algeria, Cameroon, Mauritius, Ghana and Senegal, provides the background to the playscript from this volume, Blickakte (Acts of Viewing) by Daniel Schauf, Philipp Scholtysik & Jonas Alsleben, that explores Chinese impact in Somalia. Issues also emerge around what China is "importing" culturally fromAfrica. In 2012, Soyinka's The Lion & the Jewel was produced there, and a season of Fugard's work was enjoyed in Beijing during 2014. During 2016 Brett Bailey's Macbeth Opera will be performed in Macao. In recent years courses in African theatre have been started in Beijing by Biodun Jeyifo, and also taught by Femi Osofisan whose well-known Esu and the Vagabond Minstrels and Once Upon Four Robbers have been translatedinto Mandarin, along with Soyinka's The Lion & the Jewel. The volume also includes contributions on exchanges between other Asian countries and Africa such as articles on the production of African plays in Bangladesh and onthe persistence of African performance traditions among African migrants in India. Attention is paid to the syncretic theatre traditions that have evolved wherever African and Asian populations have been in close and extended contact, as in Mauritius and Durban. Unusual exchanges and globalized theatre surfaces in the course of the volume. For example, while the Guangdong Provincial Puppet Art Theatre Group performed at the 41st Grahamstown Festival (2015), Chinese puppeteers are being trained to manipulate the War Horse for a Beijing production. Volume Editors: JAMES GIBBS & FEMI OSOFISAN FEMI OSOFISAN Thalia Laureate of the International Association of TheatreCritics 2016 Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor ofDrama, University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick.

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Profiles theatre companies in Africa working creatively in the context of financial and political constraints. A close scrutiny of how theatre companies operate is an often neglected aspect of theatre life in Africa, yet, as companies profiled here grapple with the issues of 'creativity and collaboration' much is revealed about the way theatre companies across the continent face the challenges of financial constraints, the political complications of sponsorship and funding, the need for creative or intellectual freedoms, the intricacies of contracts and the crucial decisions about venues and audiences. Volume Editor: JAMES GIBBS, University of the West of England. Series editors: Martin Banham, James Gibbs, Femi Osofisan The contributors include: DEXTER LYNDERSAY, FOLUKE OUGUNLEYE, SIRI LANGE, ALLY MKUMBILA, BRACCO CHITOSA, MANFRED LOIMEIR, LUCY RICHARDSON, CHRISTINE MATZKE, VICTOR S. DUGGA, PATRICK-JUDE OTEH, BASIL JONES, MICHAEL WALLING, BRITISH COUNCIL, JOS REPERTORY THEATRE.

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Looks at the lives, challenges and contributions of African women from across the continent to making and participating in theatre in the 21st century. Drawing on expertise from across the African continent this collection reflects the realities for women working and making theatre: how Egyptian director Dalia Basiouny has documented the "Tahrir Stories" of the Egyptian Revolution; how in Uganda women have used various theatrical devices, such as oral poetry, to seek common ground in a rural-urban inter-generational theatre project; and the use of physical theatre to examine disavowed memory in South Africa. The contributors also look at how practitioners are re-thinking performance space and modes of performance for gendered advocacy in Botswanan theatre, and how women are addressing gender-based violence and rape culture, comparing performance and street-based activism in South Africa and India. A particular strength of the volume is its interviews: with Jalila Baccar of Tunisia, by Marvin Carlson; six Ethiopian actresses are interviewed and introduced by Jane Plastow and Mahlet Solomon; and Ariane Zaytzeff explores "Making art to reinvent culture" with Odile Gakire Katese of Rwanda. The new play to be published is The Sentence by Sefi Atta, introduced and contextualized by Christine Matzke. Volume Editors: JANE PLASTOW & YVETTE HUTCHISON Guest Editor: CHRISTINE MATZKE Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting Research Fellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

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