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Theater2A
First half of Theater2A at UCSB with McMahamon
| Question | Answer |
|---|---|
| autochthonous | indigenous- plays tied to the land and region sprung from the earth anansi the spider from ghana ijapa from nigeria |
| diaspora | the movement of africans moving to america and the carribean, communities that begun because of this |
| homowo(first fruits) festival | the Ga people of Ghana homowo means jeering at hunger harvest is a tradition that also ensures a good crop for the next year to come, mandatory to have every year |
| animist | have multiple gods |
| fallibility | gods make mistakes, ask forgiveness from humans not only the other way around can be wrong |
| Ogun | Yoruba god of Iron and War and recently, innovation and technology hacked between divide of realm of human and god with his iron a |
| ashe | is life force of the yoruba people |
| engungun masking | |
| anthropomorphic | |
| griot | -story tellers for important people, |
| epic of son-jara(sunjata) | Mande people and the story from mali around 1240 a.d. |
| written histories | present meaning as fixed and stable, no interpretation just facts |
| storytelling | the meaning can be changeable and adaptive to the times |
| Anansi the Spider | Originally from Ghana, the Akan people |
| Nyame- | the supreme god of the Akan people |
| morality tale | lesson learned at the end |
| Characteristics of Trickster Figures | undermine the gods or other authorities introduce elements of chaos into an ordered society violate a society's sacred institutions and values |
| 2 sets of characters in trickster tales | trickster and neighbors, telling you to be like the neighbors |
| Ijapa The Tortoise | From the Yoruba people in Nigeria |
| Efua Sutherland | famous for orature Mother of Ghanian Drama” |
| orature | combo of oral tradition and literature |
| mboguo | disruption of the story/improvisation |
| Femi Osofisan | |
| anansem | anansi + sem(story/issue/problem) |
| anasegoro- | anansi+ gro(theatre/musical) |
| Dilemma Tales | no clear cut lesson |
| Metatheatre | no fourth wall |
| Orunmila(Ifa) | Yoruba Orisha(God) cowrie shells God of oracles an pleads on behalf of mankind |
| Olodumare | Supreme God) of Yoruba |
| Esu (Eshu) | Yoruba Orisha (god) God of paradox “messenger” and “trickster” god |
| fa( Orunmila) Divination Processions | supplicant goes to Ifa priest, tells problem, priest casts Kola shells, supplicant chooses the best phrase, priest tells him what to do, active role for supplicant |
| total theatre | multi media production with dialogue, music, song, dance, color and spectacle |
| First Generation | 1960's directly following independence Ex. Wole Soyinka “The Strong Breed” Nigerian |
| Second Generation | 1970's followed a Marxist agenda but targeted the educated class Ex. Femi Osofisan “Once Upon Four Robbers” NIgeria |
| Scramble for Africa- | ivided Africa among the European colonies after slave trade ended |
| Civil War | Biafran War 1967-1970: in Nigeria-fight for political power between different groups and regimes |
| SAP's | Structural Adjustment Programs many restrictions and they require money to be invested in things like economy, not education |
| Postcolonialism | attitude toward colonialism doesn't mean “after colonialism” but rather the feeling of resentment |
| afro-pessimism | the tendency to associate Africa only with ethnic conflict, war and disease |
| Sango | Yoruba God of Lightning god-king, only yoruba god to have formerly been a human |
| Wole Soyinka | Series of ritual-centered plays interested in rituals gone awry |
| New Year Ritual | a way to rid the village of all its sins and wrongdoings and bad things that happen |
| Ritual- | Presentational, presents a reality (process in the now) |
| Drama | Representational- re-presents a reality(already happened) |
| Phases of Ritual | Victor Turner 1-preliminal 2-liminal 3-postliminal |
| Preliminal | (separation)- Creation of Sacred Space |
| Liminal | transition)- Anti Structure |
| Postliminal | (incorporation)- Re-integration in society |
| fourth stage | compared to the liminal /anti structure stage fourth stage is rituals |
| Chthonic realm | abyss dividing gods from mortals |
| tragedy | anguish of the severance humans feel being separated from gods |
| Scapegoat | catalogues sins of people from old year from the hebrew old testament |
| obatala | yoruba god of creation has patience, was imprisoned by Sango |
Created by:
hannad
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