Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama by Christopher B. BalmeDecolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama by Christopher B. Balme

Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama

byChristopher B. Balme

Hardcover | March 1, 1999

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Decolonizing the Stage is a major study devoted to post-colonial drama and theatre. It examines the way dramatists and directors from various countries and societies have attempted to fuse the performance idioms of their indigenous traditions with the Western dramatic form. These experimentsare termed 'syncretic theatre'. The study provides a theoretically sophisticated, cross-cultural comparative approach to a wide number of writers, regions, and theatre movements, ranging from Maori, Aboriginal, and native American theatre to Township theatre in South Africa. Writers studied includeNobel Prize-winning authors such as Wole Soyinka, Derek Walcott, and Rabindranath Tagore, along with others such as Ngugi wa Thiong'o, Jack Davis, Girish Karnad, and Tomson Highway. Decolonizing the Stage demonstrates how the dynamics of syncretic theatrical texts function in performance. Itcombines cultural semiotics with performance analysis to provide an important contribution to the growing field of post-colonial drama and intercultural performance.
Christopher B. Balme is a Professor of Theatre Studies at University of Munich.
Title:Decolonizing the Stage: Theatrical Syncretism and Post-Colonial DramaFormat:HardcoverPublished:March 1, 1999Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0198184441

ISBN - 13:9780198184447


Table of Contents

List of IllustrationsIntroduction1. Indigenous theories of syncretic theatre2. Ritual frames and liminal dramaturgy3. Language and the post-colonial stage4. Orality as performance5. Visualizing the body6. Dance and body language7. Spaces and spectatorsConclusionBibliographyIndex

Editorial Reviews

`Balme's book makes a major contribution to the emerging body of criticism dealing with post-colonial drama... the real merit of this book is the extraordinarily wide range of dramatists it covers, many of whom will be unfamiliar even to scholars supposedly well-versed in the field. Balme doesa good job of finding common elements in this extremely diverse mass of material, while at the same time doing justice to the genuine differences among the authors he analyzes... presented in admirably clear and straightforward prose.'Virginia Quarterly Review, Vol.76 No.1