Plays One Adaugo Giddy Festival The Dawn Of Full Moon Daring Destiny And Withered Thrust

The book, Plays One: Adaugo, Daring Destiny, Giddy Festival, The Dawn of Full Moon and Withered Thrust, is a compilation of plays by an African female Playwright, Osita Catherine Ezenwanebe Ph. D, an Associate Professor of dramatic Arts, University of Lagos Nigeria, a Visiting Professor and Fulbright Scholar-in-Residence, Winston-Salem State University, North Carolina, USA. It is aimed at making the plays available to her foreign audience who learnt of the plays during her scholarly activities as a Senior Fulbright Visiting Professor in United States of America. The plays are African Total Theatre, a functional and multidimensional view of theatre employing mime, songs, dances, chants, rituals, dialogue, etc. to drive home the message. The plays cover her though about the symbiotic relationship between drama and society and capture the social upheavals in Africa and modern world in general. Her perspective is humanist with a special concern for women and youth. Withered Thrust (2007) captures the pervasiveness of corruption; a social epidemic in which the oppressed employ anarchic ways of survival and social crusaders are infested with the same contagion as those they avowedly oppose, making the future look very bleak. Giddy Festival (2009) extends the theme of social rot and moral decay by focusing on the moral bankruptcy of the ruling class and its consequent atrophy of spirit: the politicians are giddy in merriment, full of empty rhetoric, egotistic, morally perverse, ideologically bankrupt and administratively incompetent; the suffering masses adopt anarchic indifference as a shield, and the law is made to look as an ass, resulting in a high disregard of the dignity of the human person. The drum beats, heralding the joyous moment of the power bloc; simultaneously, disjointed bones are fall-offs from the drum beat of their merriment. What a giddy festival! The Dawn of Full Moon (2009) brings a light of hope in the state of woman in many societies of the world where they still labor under the yoke of oppression. The play celebrates the sanctity of womanhood by dramatizing the dark days of a helpless, less privileged teenage girl and her victorious triumph when she blossoms like the dazzling brightness of full moon; strong, forceful and irresistible. It is a play deliberately meant to instill hope and confidence in women and youths. The Dawn of Full Moon also recreates the revolutionary love necessary for sustaining communal ties and gender complementarity. 2. In Adaugo (2011) the playwright deconstructs the suppressive oppression of women embedded in the rigidity of traditional social roles of male breadwinning and female home keeping in modern world and presents it as a major source of crisis in gender relation. By making the female protagonist, Adaugo, excel in both roles at a time her husband could not perform his due to circumstances beyond his control, the playwright celebrates the strength of women and calls for a change in the conception of masculinity in the face of modern experiences. In all, the play upholds the complementarity of the sexes which the playwright sees as imperative for traditional family and communal life. 3. Daring Destiny is a play that advocates Spartan courage and tenacity of purpose as the surest means of achieving a desirable destiny. It dramatizes the fate of the youth in a state where years of misrule has given way to anarchy. Mindless politicians and vicious capitalists cripple the people to penury and turn the youth into expendable cannon folders thereby setting up frightening destiny as their future. The youth are urged to dare such destiny and never give in to despair.

The Routledge Handbook of African Theatre and Performance brings together the very latest international research on the performing arts across the continent and the diaspora into one expansive and wide-ranging collection. The book offers readers a compelling journey through the different ideas, people and practices that have shaped African theatre and performance, from pre-colonial and colonial times, right through to the 20th and early 21st centuries. Resolutely Pan-African and inter- national in its coverage, the book draws on the expertise of a wide range of Africanist scholars, and also showcases the voices of performers and theatre practitioners working on the cutting-edge of African theatre and performance practice. Contributors aim to answer some of the big questions about the content (nature, form) and context (processes, practice) of theatre, whilst also painting a pluralistic and complex picture of the diversity of cultural, political and artistic exigencies across the continent. Covering a broad range of themes including postcolonialism, transnationalism, interculturalism, Afropolitanism, development and the diaspora, the handbook concludes by projecting possible future directions for African theatre and performance as we continue to advance into the 21st century and beyond. This ground-breaking new handbook will be essential reading for students and researchers studying theatre and performance practices across Africa and the diaspora. Kene Igweonu is Professor of Creative Education at University of the Arts London, where he is also Pro Vice-Chancellor and Head of London College of Communication. An interdisciplinary researcher, Professor Igweonu has extensive experience of senior academic leadership in immersive and interactive practices and performance practice. His practice research and publication interests are in storytelling, theatre, and performance in Africa and its Diaspora, as well as the Feldenkrais Method in health, wellbeing, and performance training. A champion for arts and creative industries, Professor Igweonu is Chair of DramaHE, Council Member for Creative UK, and until August 2023, President of the African Theatre Association.

The text of this edition is transcribed from that of George Nettleton, with additions or deletions set off in brackets. Also included are the dedicatory 'Portrait Addressed to Mrs Crewe', Garrick's 'Prologue', and G Colman's 'Epilogue'. Edited by John Loftis, this edition of The School for Scandal for performance and study also includes an introduction, a list of principal dates in the life of Richard Brinsley Sheridan, and a selected bibliography.

Renowned playwright Osonye Tess Onwueme's powerful new drama illuminates the effect of national and global oil politics on the lives of impoverished rural Nigerians. What Mama Said is set in the metaphorical state of Sufferland, whose people are starving and routinely exploited and terrorized by corrupt government officials and multinational oil companies-that is, until a voice erupts and moves the wounded women and youths to rise up and demand justice. Onwueme's powerful characters and vibrant, emotionally charged scenes bring to life a turbulent movement for change and challenge to tradition. Aggrieved youths and militant women-whose husbands and sons work in the refineries or have been slaughtered in the violent struggle-take center stage to "drum" their pain in this drama about revolution. Determined to finally confront the multinational forces that have long humiliated them, Sufferland villagers burn down pipelines and kidnap an oil company director. Tensions peak, and activist leaders are put on trial before a global jury that can no longer ignore the situation. What Mama Said is a moving portrayal of the battle for human rights, dignity, compensation, and the right of a nation's people to control the resources of their own land.