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By Martin Banham

Supplying a entire account of a protracted and sundry chronicle, this background of theater in Africa is constructed from essays written via students within the box. The insurance is geographically vast and comprises an exam of the strategies of "history" and "theater" in Africa; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; in addition to the African diaspora.

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Extra resources for A History of Theatre in Africa

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There are papyri showing priestess-musicians; both royal and aristocratic ladies played instruments in the great religious ceremonies. Music was said to   delight the gods, cheer men’s hearts, soothe women in childbirth and drive away evil. Secular musical performances in great houses and palaces were led by blind harpists or by troupes of young women musicians. The main instruments were sistra, harp, lute, lyre (imported from Asia in the New Kingdom), trumpet (used ritually but mostly as a military signal), wind instruments such as flute, double pipes and double clarinet, drums, round or rectangular tambourines, magical clappers made of wood or ivory and bead rattles, as well as the clicking of fingers and the clapping of hands.

The building of the High Dam meant the destruction of much of Nubia. The Nubian population was moved to higher ground, but most of the history and ancient monuments of Nubia were drowned beneath the lake, with the notable exceptions of Abu Simbel, Philae and a few other monuments, which were saved with the help of UNESCO. Graeco-Roman period During the pharaonic period the Egyptian empire had stretched to many parts of the Mediterranean and north Africa, as well as east to Palestine and Syria. There had long been links between the Aegean and Egypt.

The most important of these writers are: Nu’man Ashur (–), Yusef Idris (–), Alfred Farag (b. ), Rashad Rushdi (–), Fat’hi Radwan (–), Lutfi al-Khuli (b. ), Sa’ad al-Din Wahba (–), Abdul Rahman al-Sharqawy (–), Mikhail Ruman (–), Najib Surur (–), Mahmud Diyab (–), Salah Abd al-Sabur (–), Ali Salem (b. ), Mustafa Bahjat (–).          This was an enormously exciting and creative period when the theatre was on the cutting edge of politics and society.

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