Titlebook: Africa on the Contemporary London Stage; Tiziana Morosetti Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 stereotypes.Blac

合同

Nigerian Political Satire at the Soho Theatre: Class, Culture, and Theatrical Languages in Oladipo Arst situate Agboluaje within this trend and the work of Tiata Fahodzi before moving on to explore how his plays discuss contemporary Nigeria through representational tropes of satirical African political playwriting. The strategic incorporation of Yoruba on the British stage and the effectiveness of the use of satire will also be examined.

先兆

archenemy

Book 2018d, if so, to what extent — the Africa that emerges from the London scene is subject to stereotype, and/or in which ways the reception of audiences and critics have contributed to an understanding of the continent and its arts. The collection, divided into two parts, brings together well-established

嗎啡

fringe

預(yù)感

放牧

Black Masculinity and the Black Voice: Casting and Canonicity in the National Theatre Galad the appearance in archival footage of Kwame Kwei-Armah’s . (2003). Contrasting these two examples, I will investigate the continuities and dissonances between the gala’s depictions of African masculinity at a self-consciously canon-fixing moment in British theatrical history.

mendacity

Disrupting Historical Mis-representations and Constructions: Talawa Theatre, Tiata Fahodzi, and Reprs to misrepresentations and marginalisation Talawa and Tiata Fahodzi disrupt images of monolithic Africa. Both are instrumental in . Africa/Black British experience and the journey from homogenised symbolic images to polyphonic representations of Africa on contemporary London stage.

異教徒

IROKO Theatre and the African Theatre-in-Education Scene in London hard-to-reach audiences. In doing so, I will focus in particular on projects like ‘Our Shared Heritage’, ‘Simple Acts of Kindness’, ‘IROKO Family Edutainment’, ‘Forgotten Folks’, and ‘The Magic of Rhythms’.

裂口