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This book explores how South Africa is negotiating its past in and through various modes of performance in contemporary theatre, public events and memorial spaces. It analyses the Truth and Reconciliation Commission as a live event, as an archive, and in various theatrical engagements with it, asking throughout how the TRC has affected the definition of identity and memory in contemporary South Africa, including disavowed memories. Hutchison then considers how the SA-Mali Timbuktu Manuscript Project and the 2010 South African World Cup opening ceremony attempted to restage the nation in their own ways. She investigates how the Voortrekker Monument and Freedom Park embody issues related to memory in contemporary South Africa. She also analyses current renegotiations of popular repertoires, particularly songs and dances related to the Struggle, revivals of classic European and South African protest plays, new history plays and specific racial and ethnic histories and identities. "This book argues that memory functions as a key element in contemporary South African re-imagining of historical events and in constructing new definitions of national and personal identity. It compares two ways in which memory is embodied: in repertoires of practices, songs, dance, rituals, and in material archives, texts, documents, buildings. The particular contribution of this study is its focus on the role of performance in South Africa's renegotiation of memory and historical understanding, as exemplified in public events such as the Truth and Reconciliation Commission, the South Africa-Mali Timbuktu Manuscript Project and the 2010 World Cup opening ceremony, and in memorial sites such as the Voortrekker Monument and Freedom Park. The book explores the implications of translating diverse embodied memories into a coherent, official national narrative that is usually defined and made coherent that is, over-simplified - by the state, which defines South Africa as a unitary 'rainbow nation'. The book compares official narratives that have tended to define how the 'new' South Africa is remembering the past to various theatrical engagements with memory that highlight specific disavowed themes which recur in post-apartheid South African theatre, which include exile, ghosts and hauntings, masculinity, and the tension between justice and reconciliation. The analyses extend beyond thematic accounts to include exploring the reasons for and effects of juxtaposing 'realist' and 'verbatim' aesthetics to more exaggerated, hyper-theatricalised forms. Ultimately this book argues for keeping archives and repertoires open to reinvestigation and reinterpretation, and in dialogue with one another." -- Back cover.

South African drama --- Collective memory --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Collective remembrance --- Common memory --- Cultural memory --- Emblematic memory --- Historical memory --- National memory --- Public memory --- Social memory --- Memory --- Social psychology --- Group identity --- National characteristics --- South African literature --- History and criticism. --- Political aspects --- Theatre Studies --- Republic Of South Africa --- PERFORMING ARTS / Theater / General --- Literary studies: plays & playwrights --- Mbeki. --- South Africa-Mali project. --- South African performance. --- Truth and Reconciliation Commission archive. --- cultural identities. --- cultural practitioners. --- memory. --- national identities. --- political crisis. --- post-apartheid South Africa. --- social structure. --- state sanctioned-performances. --- theatrical engagements. --- verbatim narratives.

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African dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence.

Dance --- Modern dance --- Interpretive dancing --- Modern dancing --- Aesthetics. --- African Dance. --- African Interculturalism. --- African Literature. --- African Theatre & Performance. --- African Theatre 17: Contemporary Dance. --- African Theatre. --- African culture. --- African dance. --- African interculturalism. --- African performance. --- African society. --- African writing. --- Chukwuma Okoye. --- Contemporary Dance. --- Development. --- Disavowed Issues. --- F.O.D. Gang. --- Featured Articles. --- Gender Perspectives. --- Gender. --- Indigenous Dance Forms. --- Interculturalism. --- Jane Plastow. --- Lunatic!. --- Playscript. --- Postcolonial. --- Sexuality. --- Site-specific Street Performance. --- Socio-political Impact. --- Thoko Zulu. --- Yvette Hutchison. --- Zimbabwean Playwright. --- artistic expressions. --- contemporary African cinema. --- cultural exchange. --- cultural impact. --- gender diversity. --- gender identities. --- gender perspectives. --- global context. --- interculturalism. --- literary analysis. --- queer studies. --- representation.

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Theatrical science

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Drawing on expertise from across the African continent this collection reflects the realities for women working and making theatre: how Egyptian director Dalia Basiouny has documented the "Tahrir Stories" of the Egyptian Revolution; how in Uganda women have used various theatrical devices, such as oral poetry, to seek common ground in a rural-urban inter-generational theatre project; and the use of physical theatre to examine disavowed memory in South Africa. The contributors also look at how practitioners are re-thinking performance space and modes of performance for gendered advocacy in Botswanan theatre, and how women are addressing gender-based violence and rape culture, comparing performance and street-based activism in South Africa and India. A particular strength of the volume is its interviews: with Jalila Baccar of Tunisia, by Marvin Carlson; six Ethiopian actresses are interviewed and introduced by Jane Plastow and Mahlet Solomon; and Ariane Zaytzeff explores "Making art to reinvent culture" with Odile Gakire Katese of Rwanda. The new play to be published is The Sentence by Sefi Atta, introduced and contextualized by Christine Matzke.

Volume Editors: JANE PLASTOW & YVETTE HUTCHISON Guest Editor: CHRISTINE MATZKE Series Editors: Martin Banham, Emeritus Professor of Drama & Theatre Studies, University of Leeds; James Gibbs, Senior Visiting ResearchFellow, University of the West of England; Femi Osofisan, Professor of Drama at the University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds; Yvette Hutchison, Associate Professor, Department of Theatre & Performance Studies, University of Warwick

Theater --- Women in the theater --- Women in the performing arts --- Women dramatists --- Performing arts --- African drama --- African drama (English) --- History --- History and criticism. --- Black drama (African) --- African literature --- Show business --- Arts --- Performance art --- English drama --- African literature (English) --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Dramatists --- Women authors --- African authors --- 2000-2099 --- Africa. --- Eastern Hemisphere --- Advocacy. --- African Literature. --- African Theatre. --- Contemporary Women. --- Gender. --- Performance Space. --- Performance. --- Theatre. --- Women's Contributions.

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Theatrical science --- African languages