Notice bibliographique

Notice

Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation

Auteur(s) : Cole, Catherine M. Voir les notices liées en tant qu'auteur

Titre(s) : Ghana's concert party theatre [Texte imprimé] / Catherine M. Cole

Publication : Bloomington : Indiana University press, 2001

Description matérielle : 1 vol. (x, 196 pages) : illustrations ; 24 cm

Comprend : 1. Introduction ; - 2. Reading Blackface in West Africa: Wonders Taken for Signs ; 3. "The Rowdy Lot Created the Usual Disturbance": Concerts and Emergent Publics, 1895-1927 ; 4. "Ohia Ma Adwennwen," or "Use Your Gumption!": The Pragmatics of Performance, 1927-1945 ; 5. Improvising Popular Traveling Theatre: The Poetics of Invention ; 6. "This Is Actually a Good Interpretation of Modern Civilization": Staging the Social Imaginary, 1946-1966.

Note(s) : Includes bibliographical references (pages 173-186) and index
"Under colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony. As social and political circumstances shifted through the colonial period and early years of Ghanaian independence, concert party actors demonstrated a remarkable responsiveness to changing social roles and volatile political situations as they continued to stage this extremely popular form of entertainment. Drawing on her participation as an actress in concert party performances, oral histories of performers, and archival research, Catherine M. Cole traces the history and development of Ghana's concert party tradition. She shows how concert parties combined an eclectic array of cultural influences, adapting characters and songs from American movies, popular British ballads, and local story-telling traditions into a spirited blend of comedy and social commentary. Actors in blackface, inspired by Al Jolson, and female impersonators dramatized the aspirations, experiences, and frustrations of their audiences. Cole's extensive and lively look into Ghana's concert party provides a unique perspective on the complex experience of British colonial domination, the postcolonial quest for national identity, and the dynamic processes of cultural appropriation and social change. This book will be essential reading for scholars and students of African performance, theatre, and popular culture."--Back cover

Sujet(s) : Théâtre ambulant -- Ghana -- 20e siècle Voir les notices liées en tant que sujet
Artistes de music-hall -- Ghana -- 20e siècle Voir les notices liées en tant que sujet