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A history of East African theatre.. ...

Plastow, Jane.

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A history of East African theatre.. Volume 2,. Central East Africa

Record Type:	Electronic resources : Monograph/item
Title/Author:	A history of East African theatre./ by Jane Plastow.
remainder title:	Central East Africa
Author:	Plastow, Jane.
Published:	Cham :Springer International Publishing : : 2021.,
Description:	xviii, 319 p. :ill., digital ;24 cm.
[NT 15003449]:	1. Chapter 1: Francophone Theatre: Burundi, Djibouti and Rwanda -- 2. Chapter 2: Colonial Theatre in British East Africa: Kenya, Uganda and Tanganyika -- 3. Chapter 3: The Post-Independence Theatres of Kenya, Uganda and Tanzania -- 4. Chapter 4: Theatre for Development in East Africa -- 5. Conclusion.
Contained By:	Springer Nature eBook
Subject:	Theater - History. - Africa, East -
Online resource:	https://doi.org/10.1007/978-3-030-87731-6
ISBN:	9783030877316

A history of East African theatre.. Volume 2,. Central East Africa
Plastow, Jane.

A history of East African theatre.Volume 2,Central East Africa[electronic resource] /Central East Africaby Jane Plastow. - Cham :Springer International Publishing :2021. - xviii, 319 p. :ill., digital ;24 cm. - Transnational theatre histories. - Transnational theatre histories..

1. Chapter 1: Francophone Theatre: Burundi, Djibouti and Rwanda -- 2. Chapter 2: Colonial Theatre in British East Africa: Kenya, Uganda and Tanganyika -- 3. Chapter 3: The Post-Independence Theatres of Kenya, Uganda and Tanzania -- 4. Chapter 4: Theatre for Development in East Africa -- 5. Conclusion.

This second volume of A History of East African Theatre focuses on central East Africa; on Burundi, Kenya, Rwanda, Tanzania and Uganda. The first chapter is concerned with francophone theatres, comparatively studying work coming out of Burundi and Rwanda alongside a focus on French language theatre in Djibouti. The chapter is particularly concerned to explore how French and Belgian cultural policies impacted theatre during the colonial period and how the French ideas of Francafrique and promotion of elite, French language art have continued to resonate in the post-colonial present. Chapters Two and Three look comparatively at the rich theatre histories of Kenya, Tanzania and Uganda, and are divided between a study of British East African colonial impact and an analysis of the post-colonial period illustrating how divergent political thought and societal make-up led to exponential differentiation in national theatres. The final chapter, on Theatre for Development and related social action theatre, covers the whole East African region, offering the first ever historicised analysis of this mode of theatre making which, since the 1980s, has come to dominate funding and opportunity in performance arts.

ISBN: 9783030877316

Standard No.: 10.1007/978-3-030-87731-6doiSubjects--Topical Terms:

3522277
Theater
--History.--Africa, East

LC Class. No.: PN2979 / .P53 2021

Dewey Class. No.: 792.09676

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520 $a This second volume of A History of East African Theatre focuses on central East Africa; on Burundi, Kenya, Rwanda, Tanzania and Uganda. The first chapter is concerned with francophone theatres, comparatively studying work coming out of Burundi and Rwanda alongside a focus on French language theatre in Djibouti. The chapter is particularly concerned to explore how French and Belgian cultural policies impacted theatre during the colonial period and how the French ideas of Francafrique and promotion of elite, French language art have continued to resonate in the post-colonial present. Chapters Two and Three look comparatively at the rich theatre histories of Kenya, Tanzania and Uganda, and are divided between a study of British East African colonial impact and an analysis of the post-colonial period illustrating how divergent political thought and societal make-up led to exponential differentiation in national theatres. The final chapter, on Theatre for Development and related social action theatre, covers the whole East African region, offering the first ever historicised analysis of this mode of theatre making which, since the 1980s, has come to dominate funding and opportunity in performance arts.
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