By Ernest N. Emenyonu
Because the moment half the 20 th century, no unmarried phenomenon has marred the picture and improvement of Africa greater than mindless fratricidal wars which speedily the political independence of countries. This factor of African Literature at the present time is dedicated to experiences of ways African writers, as old witnesses, have dealt with the game of conflict as a cataclysmic phenomenon in a variety of destinations at the continent. The individuals discover the topic from a number of views: panoramic, neighborhood, nationwide and during comparative experiences. struggle has enriched modern African literature, yet at what fee to human lives, peace and the surroundings? ERNEST EMENYONU is Professor of the dep. of Africana stories collage of Michigan-Flint. The members comprise: CHIMALUM NWANKWO, CHRISTINE MATZKE, CLEMENT A. OKAFOR, INIBONG I. UKO, OIKE MACHIKO, SOPHIE OGWUDE, MAURICE TAONEZVI VAMBE, ZOE NORRIDGE and ISIDORE DIALA. Nigeria: HEBN
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The work we started now was different to the work we had done previously. Then we didn’t have any idea about drama. Now, Alemseged taught us what drama meant and how it had developed historically, for example among the ancient Greeks or about Ngugi’s drama. We became totally absorbed. Thanks to Alemseged, we were getting to know fundamental ideas about drama. (interview, 29 February 2000) Engendering Drama in the EPLF At this time of war, the early 1980s, theatre work was hampered by many obstacles: the constant threat of military attacks, especially air raids; the dearth of materials and rehearsal time, but also the lack of training, experience and performative skills.
Two Weeks in the Trenches: Reminiscences of Childhood and War in Eritrea. Transl. Alemseged Tesfai. Asmara: Red Sea Press, 2002. —— Unpublished email to the author. 28 August 2002. —— ‘The Other War’. Transl. Paul Warwick, Samson Gebregzhier and Alemseged Tesfai. In Martin Banham and Jane Plastow (eds). Contemporary African Plays. London: Methuen, 1999: 261-301. (Repr. and with an ‘Afterword’ in Alemseged Tesfai. Two Weeks in the Trenches: Reminiscences of Childhood and War in Eritrea. Transl.
This is true whether it is done on purpose or inadvertently. In our and many other societies, for example, jokes and proverbs exist which belittle women [or] cheapen the relationship between husband and wife’ (A. Tesfai ). Time and again, these attitudes were utilized to engender laughter among the spectators, for 20 ‘Life in the Camp of the Enemy’ mirth was believed to be the ultimate measure for the success of a show: Actors go to great length to use abusive language for comic effect. In plays against feudalism women are beaten just to make people laugh, not because of the logical development of the drama.