...Art Borreca Copyright © THEATER 1985 1985 “Idi Amin Was the Supereme Actor An Interview with Wole Soyinka Art Borreca Wok Soyinku’s patron Yoruba god, Ogun, is approprdely the god...

...Olesegun Ojewuyi Copyright © Theater 1997 1997 OLESEGUNOJEWUYI WOLESOYINKA: THEHUNTER, THE HUNT A hunter himself, he lives the life of the hunt. When Wole Soyinka finally stole...

... to waste in the totality of your experience as “Ogun- power. We are a very stupid and open sore of Kongi” Soyinka? a continent. Ogun, I’m afraid, has retreated to Ire Hills. I You see, when we were students, we couldn’t...

... characters in a Nige- rian setting is not truly Nigerian unless its form derives from an experience that is meaningful to Nigerians. Nor is a play Nigerian if it expresses a foreign value that denies the cultural context of the play. Our major modern dramatists-notably Wole Soyinka and J...

... by Vaclav Havel, translated by Vera Blackwell. Directed by Joseph Papp. New York Public Theatre. . Kongi's Harvest by Wole Soyinka. Directed by Michael A. Schultz. Negro Ensemble Company, St. Marks Playhouse. Daddy Goodness by Richard Wright and Louis Sapin. Directed by Douglas Turner Ward...

.... Ojewuyi, Olesegun, “Wole Soyinka: The Sellar, Tom, “Body Language” [book review: Hunter, the Hunt,” no. I, 58-59. Valere Novarina’s The Theater of the Ears],no. I, 117-119. Ojewuyi, Olesegun, and Shawn-Marie Gar- rett, “A World...

... performers, but some leading ty: ”Why shouldn’t he laugh? He’s winning.” statesmen could successfully transfer their acts onto a stage, as Wole AS part of Tha,!erj.policy of impartial criticism, this issue considers Soyinka observes in this issue. Soyinka calls the former ruler of Russian as well...

...-particularly the Yoruba opera of Nigeria and a handful of plays by Wole Soyinka and Athol Fugard. Peter Brook’s recent work, The Ik, is derived from an anthropological account of a Ugan- dan tribe, although it does not use techniques of African theatre. These developments hardly constitute a trend...

... with the cast. The problem of contemporary African playwrights is to evolve a dramatic form based on the immense body of already existing folk drama. The bridge from the oral to the literary tradition has led to many false starts. Wole Soyinka cautious- ly began by simply incorporating elements...

... five centuries of im- Because I Will Marry When I Want in Kenya, Ingrid Bjorkman, Zed Press, perialist domination. While Soyinka reached non-English speaking London and New Jersey, 107 pp. sought to graft western theatrical tradi- Kenyans, Ngugi threatened the neo...

..., including South African sign Classics such as Soyinka might work, espe- language. While some languages may be mutually cially a play with local resonances. I’ve directed comprehensible (such as Zulu, Xhosa...

... about the play’s issues: drinking, sex, social behavior - all commonly on the mind of a new college student. Later in the year, two productions of The Bacchae were performed on campus. One was Wole Soyinka’s modern version: the other, a more “traditional” rendition. Students...

... with Wole Rouse, John. “Robert Wilson, Texts and History: CIVIL wad, German Soyinka,” (Interview) Vol: 16, no 2, p. 32. Part,” (Review) Vol. 16, no. 2, p. 68. Case, Sue-Ellen. “From Formalism to Feminism,” (Essay) Vol. 16, no. 2, p. Sainer, Arthur.. The Several Stages...

... of political dissent in their respective countries. Like Jelinek, Dario Fo, Gao Xingjian, Wole Soyinka, and other playwright-novelists who have received the prize in recent years, Pinter has expressed for decades an underlying commitment to social justice, freedom of expression, human rights...

... of honoring dissidents, often those in danger from their governments. But they have usually been dissidents from authoritarian Third World or Communist regimes: in the last ten years, Joseph Brodsky, Wole Soyinka, a chain of Eastern Europeans. Not since Pablo Neruda (1971)has the prize gone to a dissident...

... provides ample informative inter- The Performance Arts in Africa and The Athenian pretations ofW ole Soyinka’s The Bacchae of Sun in an African Sky illuminate a vibrant Euripides, Clark’s Song ofa Goat , Ola Rotimi’s panoply ofAfrican theatrical aesthetics and The Gods Are Not to Blame , Guy...

... provides ample informative inter- The Performance Arts in Africa and The Athenian pretations ofW ole Soyinka’s The Bacchae of Sun in an African Sky illuminate a vibrant Euripides, Clark’s Song ofa Goat , Ola Rotimi’s panoply ofAfrican theatrical aesthetics and The Gods Are Not to Blame , Guy...

... of Wole Soyinka's The Trials simply the desire to use the stage for a much more immediate and of Brother Jero, with Zakes Mokae as Jeroboam. Fugard was also direct relationship with our audience than had been possible with persuaded by Loder and Michael White, who had helped produce the 'ready...

... artistic muscles, we should embrace the Great Tradition warmly and thoroughly, read- ing Mr. Aristotle and Mr. Soyinka, enjoying Ms. Stein along with Mr. Williams, immersing ourselves in Mr. Shakespeare as well as Ms. Shange. And cross fertilize (or “cross-train: as they call it these days...

... or Wole They know they can vote. They’ve got the Soyinka. I know that’s harsh, but that’s the power and the sense of living in a democracy. truth. We need to come up with contemporary, commercial, relevant projects. I can assure you, Jozi Jozi...