Overview
- Provides a multi-voiced critical account of the country’s long and multi-faceted theatre history-
- Adopts a variety of lenses, including decoloniality, critical theory, cultural theory, neo-Marxism and several other resistance theories-
- Brings together a corpus of eminent writers and researchers on Zimbabwean theatre in one volume
Part of the book series: Contemporary Performance InterActions (CPI)
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Table of contents (12 chapters)
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Front Matter
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From Colonial to De-colonial Theatre: Contested Forms
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Front Matter
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The Politics of Representation
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Front Matter
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Back Matter
Keywords
About this book
The voices that are represented in this collection come from various parts of the world and express the views of practitioners and scholars who have all had first-hand experience working in Zimbabwean theatre from the last days of Rhodesia to Zimbabwe. The collection views the long continuum of developments in local theatre history as a case of the intrusive hegemonies that came with colonial Rhodesia as a conquest society, and localised identities in the form of the persistence of indigenous and syncretic popular forms. With time, all these came together to constitute the makings of a contested post-colony in contemporary theatre practice in Zimbabwe. The primary interest of scholars who are represented here is located at the intersection of political, cultural and performative discourses and the flow of Zimbabwean history. The focus, moreover, is not only on the history of performance cultures in postcolonial Zimbabwe - it extends its critical gaze to include the history of political ideas that gave rise to cultural contestation in the field of theatre and performance.
Editors and Affiliations
About the editors
Samuel Ravengai is Associate Professor of Theatre and Performance at the University of the Witwatersrand, in Johannesburg, South Africa. He holds a PhD and MA in Theatre and Performance, from the University of Cape Town. He is interested in the interconnection of race, nation, empire, migration and ethnicity with cultural production. He is currently involved in a research project called Afroscenology which seeks to decolonise theatre and propound a theory on African and Diasporic aesthetics based on their practice across several years.
Owen Seda is Associate Professor and acting section head (Theatre Arts & Design: Performer) at Tshwane University of Technology, in Pretoria, South Africa. He has taught at the University of Zimbabwe, Africa University, the University of Botswana and the University of Pretoria, and has been a Commonwealth Scholar and a Fulbright Scholar-in-Residence in the Department of Theatre and New Dance, California State Polytechnic University,Pomona.
Bibliographic Information
Book Title: Theatre from Rhodesia to Zimbabwe
Book Subtitle: Hegemony, Identity and a Contested Postcolony
Editors: Samuel Ravengai, Owen Seda
Series Title: Contemporary Performance InterActions
DOI: https://doi.org/10.1007/978-3-030-74594-3
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021
Hardcover ISBN: 978-3-030-74593-6Published: 07 July 2021
Softcover ISBN: 978-3-030-74596-7Published: 08 July 2022
eBook ISBN: 978-3-030-74594-3Published: 06 July 2021
Series ISSN: 2634-5870
Series E-ISSN: 2634-5889
Edition Number: 1
Number of Pages: XVII, 273
Number of Illustrations: 1 b/w illustrations, 8 illustrations in colour
Topics: Contemporary Theatre, Global/International Theatre and Performance, African Culture, Theatre History, Performers and Practitioners