By Brian Crow
During this publication Brian Crow and Chris Banfield supply an advent to post-colonial theater via focusing on the paintings of significant dramatists from the 3rd global and subordinated cultures within the first international. Crow and Banfield examine the performs of such writers as Wole Soyinka and Athol Fugard and his collaborators, Derek Walcott, August Wilson and Jack Davis, and Badal Sircar and Girish Karnad. each one bankruptcy includes an informative checklist of basic resource fabric and additional interpreting concerning the dramatists. The booklet can be of curiosity to scholars and students of theater and cultural background.
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Additional info for An Introduction to Post-Colonial Theatre
I'll never look upon her like again. Since then I have been a mind without a country. From that day onward I have always known my place. The end. (p. 46) But a few moments later Albert does find himself looking upon her like again, or so he persuades himself, in the person of Anna Herschel, a young American drifter with a baby. She stays for a while, Albert reliving his memories of Esther and encouraging his son to leave Trinidad and go off with her. But in spite of their affection for each other she leaves alone, and Frederick resolves to stay on the island and continue painting.
The action spans the period from 1948, when Agatha arrives and first comes under the spell of this, for her, novel and exotic way of life, through Independence Day in 1962 to Carnival Day in 1970. In the course of it Victor commits suicide, his failure as a painter having driven him insane, and Agatha becomes something of a post-colonial grande dame, the friend of a cabinet minister who was once her servant, and a profound but troubled influence on the lives of Victor's now adult children, Clodia and Tony, as well as of Sydney, the servant boy who becomes a leader of the Black Power guerrillas fighting in the hills.
While much has been done to come to grips with some of these problems - not least by black communities themselves, through a range of neighbourhood-based organizations - and though there have been localized successes, it cannot be said that the picture as a whole is encouraging or progressively improving. Indeed, many knowledgeable commentators would say that, if anything, the reverse is the case. At the cultural - or perhaps one should say subcultural - POST-COLONIAL THEATRE level such an economic and political climate has encouraged the development among black youth of styles of dress and behaviour, of music and dance - rap and 'hip hop7, for example - as well as spraypaint art, the pop video and other such popular and 'street7 forms that assertively express both an aggressive resistance to what is perceived as a dominant and hostile white society and an equally forceful sense of contemporary black identity.