| TÃtulo : |
Theatre from Rhodesia to Zimbabwe : Hegemony, Identity and a Contested Postcolony |
| Tipo de documento: |
documento electrónico |
| Autores: |
Ravengai, Samuel, ; Seda, Owen, |
| Mención de edición: |
1 ed. |
| Editorial: |
[s.l.] : Springer |
| Fecha de publicación: |
2021 |
| Número de páginas: |
XVII, 273 p. 9 ilustraciones, 8 ilustraciones en color. |
| ISBN/ISSN/DL: |
978-3-030-74594-3 |
| Nota general: |
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. |
| Idioma : |
Inglés (eng) |
| Palabras clave: |
EtnologÃa Cultura Actores Teatro y performance contemporáneos Teatro y Performance Global e Internacional Cultura africana Historia del teatro Artistas y practicantes |
| Clasificación: |
792.9 |
| Resumen: |
Las voces representadas en esta colección provienen de diversas partes del mundo y expresan las opiniones de profesionales y académicos que han tenido experiencia de primera mano trabajando en el teatro de Zimbabwe desde los últimos dÃas de Rhodesia hasta Zimbabwe. La colección considera el largo continuo de desarrollos en la historia del teatro local como un caso de las hegemonÃas intrusivas que vinieron con la Rodesia colonial como sociedad de conquista, y de identidades localizadas en la forma de la persistencia de formas populares indÃgenas y sincréticas. Con el tiempo, todo esto se unió para constituir los ingredientes de una poscolonia disputada en la práctica teatral contemporánea en Zimbabwe. El interés principal de los académicos aquà representados se ubica en la intersección de los discursos polÃticos, culturales y performativos y el flujo de la historia de Zimbabwe. Además, la atención se centra no sólo en la historia de las culturas escénicas en el Zimbabwe poscolonial: extiende su mirada crÃtica para incluir la historia de las ideas polÃticas que dieron lugar a la contestación cultural en el campo del teatro y la actuación. |
| Nota de contenido: |
1. Introduction; Samuel Ravengai and Owen Seda -- 2. Chapter 1: Colonial Zimbabwean Theatre, Cultural Production and the Interplay with Rhodesian Power and Discourse; Samuel Ravengai -- 3. Chapter 2: Negotiating Whitehood: Identity and Resistance in Rhodesian Theatre 1950-1980; Kelvin Chikonzo and Samuel Ravengai -- 4. Chapter 3: Transformative Complexity of Found Objects in Devised Zimbabwean Theatre; Tafadzwa Mlenga and Nehemiah Chivandikwa -- 5. Chapter 4: Amakhosi Theatre Training (1990-2000): An Exercise in Syncretism; Nkululeko Sibanda and Julia Yule -- 6. Chapter 5: Contestation in Post-Colonial Drama – Residual and Emergent Consciousness in Zimbabwean Theatre at Independence: NTO and ZACT; Owen Seda -- 7. Chapter 6: Creating Counter-Public Sphere(s): Performance in Zimbabwe between the Influence of Mugabe and Western NGOs; Julius Heinicke -- 8. Chapter 7: 'I was never a white girl and I do not want to be a white girl': Albinism, Youth Theatre and Disability Politics in Contemporary Zimbabwe; Chiedza Chinhanu, Nehemiah Chivandikwa and Owen Seda -- 9. Chapter 8: Popular Theatre as a Struggle for Identity and Representation in Matabeleland: 1980 to the Present; Mandlenkosi Mpofu, Cletus Moyo and Nkululeko Sibanda -- 10. Chapter 9: Harnessing the Whirlwind: Hybridity, Memory, and Crisis in Theatre during Zimbabwe's Operation Murambatsvina; Joy L Wrolson -- 11. Chapter 10: Towards a Democratic Protest Theatre in Zimbabwe: Vhitori Entertainment's Protest Revolutionaries (2012); Kelvin Chikonzo -- 12. Chapter 11: Who is Indigenous? Freeing Indigeneity from a Time Warp; Pedzisai Maedza. |
| Tipo de medio : |
Computadora |
| Summary : |
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 politicalideas that gave rise to cultural contestation in the field of theatre and performance. |
| Enlace de acceso : |
https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] |
Theatre from Rhodesia to Zimbabwe : Hegemony, Identity and a Contested Postcolony [documento electrónico] / Ravengai, Samuel, ; Seda, Owen, . - 1 ed. . - [s.l.] : Springer, 2021 . - XVII, 273 p. 9 ilustraciones, 8 ilustraciones en color. ISBN : 978-3-030-74594-3 Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés ( eng)
| Palabras clave: |
EtnologÃa Cultura Actores Teatro y performance contemporáneos Teatro y Performance Global e Internacional Cultura africana Historia del teatro Artistas y practicantes |
| Clasificación: |
792.9 |
| Resumen: |
Las voces representadas en esta colección provienen de diversas partes del mundo y expresan las opiniones de profesionales y académicos que han tenido experiencia de primera mano trabajando en el teatro de Zimbabwe desde los últimos dÃas de Rhodesia hasta Zimbabwe. La colección considera el largo continuo de desarrollos en la historia del teatro local como un caso de las hegemonÃas intrusivas que vinieron con la Rodesia colonial como sociedad de conquista, y de identidades localizadas en la forma de la persistencia de formas populares indÃgenas y sincréticas. Con el tiempo, todo esto se unió para constituir los ingredientes de una poscolonia disputada en la práctica teatral contemporánea en Zimbabwe. El interés principal de los académicos aquà representados se ubica en la intersección de los discursos polÃticos, culturales y performativos y el flujo de la historia de Zimbabwe. Además, la atención se centra no sólo en la historia de las culturas escénicas en el Zimbabwe poscolonial: extiende su mirada crÃtica para incluir la historia de las ideas polÃticas que dieron lugar a la contestación cultural en el campo del teatro y la actuación. |
| Nota de contenido: |
1. Introduction; Samuel Ravengai and Owen Seda -- 2. Chapter 1: Colonial Zimbabwean Theatre, Cultural Production and the Interplay with Rhodesian Power and Discourse; Samuel Ravengai -- 3. Chapter 2: Negotiating Whitehood: Identity and Resistance in Rhodesian Theatre 1950-1980; Kelvin Chikonzo and Samuel Ravengai -- 4. Chapter 3: Transformative Complexity of Found Objects in Devised Zimbabwean Theatre; Tafadzwa Mlenga and Nehemiah Chivandikwa -- 5. Chapter 4: Amakhosi Theatre Training (1990-2000): An Exercise in Syncretism; Nkululeko Sibanda and Julia Yule -- 6. Chapter 5: Contestation in Post-Colonial Drama – Residual and Emergent Consciousness in Zimbabwean Theatre at Independence: NTO and ZACT; Owen Seda -- 7. Chapter 6: Creating Counter-Public Sphere(s): Performance in Zimbabwe between the Influence of Mugabe and Western NGOs; Julius Heinicke -- 8. Chapter 7: 'I was never a white girl and I do not want to be a white girl': Albinism, Youth Theatre and Disability Politics in Contemporary Zimbabwe; Chiedza Chinhanu, Nehemiah Chivandikwa and Owen Seda -- 9. Chapter 8: Popular Theatre as a Struggle for Identity and Representation in Matabeleland: 1980 to the Present; Mandlenkosi Mpofu, Cletus Moyo and Nkululeko Sibanda -- 10. Chapter 9: Harnessing the Whirlwind: Hybridity, Memory, and Crisis in Theatre during Zimbabwe's Operation Murambatsvina; Joy L Wrolson -- 11. Chapter 10: Towards a Democratic Protest Theatre in Zimbabwe: Vhitori Entertainment's Protest Revolutionaries (2012); Kelvin Chikonzo -- 12. Chapter 11: Who is Indigenous? Freeing Indigeneity from a Time Warp; Pedzisai Maedza. |
| Tipo de medio : |
Computadora |
| Summary : |
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 politicalideas that gave rise to cultural contestation in the field of theatre and performance. |
| Enlace de acceso : |
https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] |
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