This study is entirely devoted to African literary drama in French, a major component of African theatre. Beginning with a detailed analysis of its relationship to a variety of pre-colonial, but sometimes still contemporary traditions of performance which constitute part of its roots, Conteh-Morgan examines this drama both in its literary and theatrical dimensions. He discusses its development, themes and techniques and considers its attempts, since the 1980s, to move away from the predominantly text-based drama of first generation playwrights to a more performance-oriented one. The book is divided into two sections: part one offers a theoretical and historical background and part two analyses key individual plays central to the repertoire, including two from the Caribbean. All quotations from play texts are translated into English.
The early-Republican era (1923-1938) was a major period of musical and cultural change in Turkey. Alaturka: Style in Turkish Music is a study of the significance of style in Turkish music and, in part
Increasingly boys and men are suffering with eating disorders and related body image problems. Some have full-blown conditions such as anorexia nervosa, bulimia, binge eating, compulsive exercising or
This book examines the role of music and musicians in commemorating the Gallipoli Campaign (1915-6). It shows how music-making can be used to uncover the multiple identities and complex positionalitie
Southern Railway Gallery is the first volume in a new series of picture books, designed to be of interest to railway historians and modelers. The series subjects are themed to include an interesting m
This study is entirely devoted to African literary drama in French, a major component of African theatre. Beginning with a detailed analysis of its relationship to a variety of pre-colonial, but sometimes still contemporary traditions of performance which constitute part of its roots, Conteh-Morgan examines this drama both in its literary and theatrical dimensions. He discusses its development, themes and techniques and considers its attempts, since the 1980s, to move away from the predominantly text-based drama of first generation playwrights to a more performance-oriented one. The book is divided into two sections: part one offers a theoretical and historical background and part two analyses key individual plays central to the repertoire, including two from the Caribbean. All quotations from play texts are translated into English.
