By John Middleton
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Additional resources for New Encyclopedia of Africa
This play explores the resources of the anansesem tradition: a narrator, songs (mboguo used for delineation of character, the depiction of mood and atmosphere, and the creation of suspense), dance, and the character of Ananse (the Spider) in dealing with the themes of national unity, greed, and avarice. Other plays by Sutherland include Foriwa (1967) and Edufa (1969). Foriwa deals with the theme of national reconstruction, while Edufa explores the dangers involved in the insatiable desire for wealth.
Atlanta, GA: Rodopi, 2000. Bame, Kwabena N. Come to Laugh: African Traditional Theater in Ghana. New York: Lilian Barber, 1985. Banham, Martin, ed. A History of Theatre in Africa. : Cambridge University Press, 2004. Banham, Martin; Errol Hill; and George Woodyard; eds. The Cambridge Guide to African and Caribbean Theatre. : Cambridge University Press, 1994. Barber, Karin; John Collins; and Alan Ricard. West African Popular Theater. Bloomington: Indiana University Press, 1997. Cole, Catherine M.
This fame, in turn, has led some to the ‘‘worship of ancestors,’’ and to a ceaseless quest for purity in the name of ‘‘authentic’’ A hybrid theatrical tradition has, however, been established by the Moroccan Tayeb Saddiki, not only in Morocco but in all North Africa. His play titled Diwan sidi abderrahman al-majdub (The collection of Master Abderrahman al-majdub, 1967) is a play conceived in an open public place that is also hybrid in the way it holds up a mirror to the performance itself almost in the same way as the Comedia dell’arte.