Performances that bind: a preliminary reading of dramaturgic element in Ngugi wa Thiong'O' s I will marry when I want, Derek Walcott's Dream on Monkey Mountain, August Wilson's The piano lesson and Aimé Césaire's And the dogs were silent

Performances that bind: a preliminary reading of dramaturgic element in Ngugi wa Thiong'O' s I will marry when I want, Derek Walcott's Dream on Monkey Mountain, August Wilson's The piano lesson and Aimé Césaire's And the dogs were silent  

Creator: Kuwabong, Dannabang
Publisher:  Fundashon di Idioma (FPI) ( Willemstad, Curaçao )
University of the Netherlands Antilles (UNA)
Type: Book
Format: Page 113-129.
Source Institution: University of Curaçao
Holding Location: University of Curaçao
Language: English

“...says in the book, there is no performance without a goal, thus, all drama in the African world is socially committed. Amiri Baraka expresses this much more forcefully when he advocates for a: Revolutionary Theatre [that] must EXPOSE! . It should stagger through...”
Performances that bind: a preliminary reading of dramaturgic element in Ngugi wa Thiong'O' s I will marry when I want, Derek Walcott's Dream on Monkey Mountain, August Wilson's The piano lesson and Aimé Césaire's And the dogs were silent
Re-centering the 'Islands in between': re-thinking the languages, literatures and cultures of the Eastern Caribbean and the African diaspora

Re-centering the 'Islands in between': re-thinking the languages, literatures and cultures of the Eastern Caribbean and the African diaspora  

Creator:  Faraclas, Nicholas
Severing, Ronald
Weijer, Christa
Echteld, Liesbeth
Publisher:  Fundashon di Idioma (FPI) ( Willemstad, Curaçao )
University of the Netherlands Antilles (UNA)
Publication Date: 2009
Type: Book
Format: 198 p. : ill., fig., tab. ; 18 cm.
Edition: 2009
Source Institution: University of Curaçao
Holding Location: University of Curaçao
Language: English

“...says in the book, there is no performance without a goal, thus, all drama in the African world is socially committed. Amiri Baraka expresses this much more forcefully when he advocates for a: Revolutionary Theatre [that] must EXPOSE! . It should stagger through...”
Re-centering the 'Islands in between': re-thinking the languages, literatures and cultures of the Eastern Caribbean and the African diaspora