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août 2002 | | Littérature / édition
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African theatre Women
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African Theatre Women
The official publication date for African Theatre Women, Guest Editor Jane Plastow, is 19 September 2002.
Since it first issue, Theatre in Development (1999), African Theatre, edited by Martin Banham, James Gibbs and Femi Osofisan with Jane Plastow as Reviews Editor, has been determined to reflect developments on a continental scale. Countries that had been relatively neglected by students of theatre writing in English, notably Mauritius and Eritrea, were given extended coverage in the first issue. In the second volume, African Theatre: Playwrights and Politics (2001), experiences of theatre in the Sudan and in Anglophone Cameroon were included, and the playtext selected was an English version of a Mauritian Creole play. This raised the whole issue of language in the theatre, and a series of articles on Sam Ukala’s Harvest of Ghosts took the discussion further.
The third issue, thanks to Jane Plastow, spreads the net even wider by including articles on women’s theatre in the Algerian diaspora (Laura Chakravarty Box) and on Nawal al-Sa’dawi’s work (Dina Amin). Further analysis of the Horn of Africa is provided by Christine Matzke in her contribution on ‘Suva houses and singing contests’in Asmara. East and West Africa are fairly well balanced with papers on women’s theatre in Kenya (Mike Kuria) and ‘Portraits of Women in contemporary Ugandan theatre (Mercy Mirembe Ntangaare) from the East, and three conventional papers from the West. These are by Esi Dogbe (on women in theatre for development in Ghana), Chris Dunton (on Stella Oyedepo), and Omofolabo Ajayi (on the work of Tess Onwueme). In addition, Esi Sutherland-Addy has translated, transcribed and contextualized a wide-ranging interview with pioneering Ghanaian performer Adeline Ama Buabeng. South Africa is represented by Fatima Dike’s remarkable script Glass House, which is introduced by Marcia Blumberg. The Noticeboard section includes conference reports, details of arts exchange programmes, and information on radio drama. There is news from Liberia, Rwanda, Zimbabwe, and the Côte d’Ivoire. In the lively 20-page Book Reviews section, Plastow has taken up the challenge of making the volume a place for exchanges between those with scholarly passions for what is happening in African Theatre by the imagination with which she has matched titles with reviews.
The volume was printed and bound in South Africa, and, as with the previous title in the series, Witwatersrand University Press joined James Currey (Oxford) and Indiana University Press (Bloomington and Indianapolis) as a joint publisher.
Since it first issue, Theatre in Development (1999), African Theatre, edited by Martin Banham, James Gibbs and Femi Osofisan with Jane Plastow as Reviews Editor, has been determined to reflect developments on a continental scale. Countries that had been relatively neglected by students of theatre writing in English, notably Mauritius and Eritrea, were given extended coverage in the first issue. In the second volume, African Theatre: Playwrights and Politics (2001), experiences of theatre in the Sudan and in Anglophone Cameroon were included, and the playtext selected was an English version of a Mauritian Creole play. This raised the whole issue of language in the theatre, and a series of articles on Sam Ukala’s Harvest of Ghosts took the discussion further.
The third issue, thanks to Jane Plastow, spreads the net even wider by including articles on women’s theatre in the Algerian diaspora (Laura Chakravarty Box) and on Nawal al-Sa’dawi’s work (Dina Amin). Further analysis of the Horn of Africa is provided by Christine Matzke in her contribution on ‘Suva houses and singing contests’in Asmara. East and West Africa are fairly well balanced with papers on women’s theatre in Kenya (Mike Kuria) and ‘Portraits of Women in contemporary Ugandan theatre (Mercy Mirembe Ntangaare) from the East, and three conventional papers from the West. These are by Esi Dogbe (on women in theatre for development in Ghana), Chris Dunton (on Stella Oyedepo), and Omofolabo Ajayi (on the work of Tess Onwueme). In addition, Esi Sutherland-Addy has translated, transcribed and contextualized a wide-ranging interview with pioneering Ghanaian performer Adeline Ama Buabeng. South Africa is represented by Fatima Dike’s remarkable script Glass House, which is introduced by Marcia Blumberg. The Noticeboard section includes conference reports, details of arts exchange programmes, and information on radio drama. There is news from Liberia, Rwanda, Zimbabwe, and the Côte d’Ivoire. In the lively 20-page Book Reviews section, Plastow has taken up the challenge of making the volume a place for exchanges between those with scholarly passions for what is happening in African Theatre by the imagination with which she has matched titles with reviews.
The volume was printed and bound in South Africa, and, as with the previous title in the series, Witwatersrand University Press joined James Currey (Oxford) and Indiana University Press (Bloomington and Indianapolis) as a joint publisher.
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