Contemporary Francophone African Plays: An Anthology presents performable English translations of eleven West African plays, dating from 1970 to 2021. Works by Dadié, Labou Tansi, Zinsou, Liking, Pliya, Alem, Kwahulé, Éfoui, Akakpo, Mukagasana, and Diouf skewer colonization, grapple with identity, and retell history and myth from African perspectives.

This is the first study to be entirely devoted to African literary drama in French, a major component of African theater. Beginning with a detailed analysis of its relationship to a variety of precolonial, but sometimes still contemporary, traditions of performance that constitute part of its roots, the author examines this drama in both its literary and theatrical dimensions. He discusses its development, themes and techniques up to and including contemporary theater. The book is divided into two sections: Part One offers a theoretical and historical background; Part Two analyzes key individual plays central to the repertoire, including two from the Caribbean. All quotations are translated into English.

Bringing together in English translation eleven Francophone African plays dating from 1970 to 2021, this essential collection includes satirical portraits of colonizers and their collaborators (Bernard Dadié’s Béatrice du Congo; Sony Labou Tansi’s I, Undersigned, Cardiac Case; Sénouvo Agbota Zinsou’s We’re Just Playing) alongside contemporary works questioning diasporic identity and cultural connections (Koffi Kwahulé’s SAMO: A Tribute to Basquiat and Penda Diouf’s Tracks, Trails, and Traces...). The anthology memorializes the Rwandan genocide (Yolande Mukagasana’s testimony from Rwanda 94), questions the status of women in entrenched patriarchy (Werewere Liking’s Singuè Mura: Given That a Woman...), and follows the life of Elizabeth Nietzsche, who perverted her brother’s thought to colonize Paraguay (José Pliya’s The Sister of Zarathustra). Gustave Akakpo’s The True Story of Little Red Riding Hood and Kossi Éfoui’s The Conference of the Dogs offer parables about what makes life livable, while Kangni Alem’s The Landing shows the dangers of believing in a better life, through migration, outside of Africa.

Scholars examining literature from former French colonies sometimes view it wrongly as simply an outgrowth of colonial literature. By suggesting new ways to understand the multiple voices present, this book explores how Francophone African poetry and theatre in particular, since the 1960s, constitute both an organic cultural product and a reflection of the diverse African cultures in which they originate. Themes explored in five chapters include the many kinds of African identity formation, the resistance to former notions of literary composition as art, a remapping of social responsibility, and the impact of globalization on Francophone Africa's participation in world economics, politics and culture. This study highlights the inner workings of Francophone African literature and suggests a canonization of modern Francophone works from a world perspective.

John Conteh-Morgan explores the multiple ways in which African and Caribbean theatres have combined aesthetic, ceremonial, experimental, and avant-garde practices in order to achieve sharp critiques of the nationalist and postnationalist state and to elucidate the concerns of the francophone world. More recent changes have introduced a transnational dimension, replacing concerns with national and ethnic solidarity in favor of irony and self-reflexivity. New Francophone African and Caribbean Theatres places these theatres at the heart of contemporary debates on global cultural and political practices and offers a more finely tuned understanding of performance in diverse diasporic networks.

This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.

This volume is mainly a collection of papers presented at the 1995 Mandelieu conference in France which brought together artists and critics. The theme was that of contemporary African theatre in the former British and French empires. The contributions are of interest to those working in theatre generally and to those specialising in African performance, development studies and comparative literature. The varied topics include: popular theatre, Soyinka and France, syncretic theatre, comparisons between Anglophone and Francophone theatre in the Cameroon, censorship, development theatre and Sony Labou Tansi. There are also interview with Southern African writers and pieces of creative writing.