Abstract
An exciting development in African cultural criticism over the past decade has been the growth of critical interest in African theater. Valuable book-length studies have been published on the subject, 1 not to mention the reference books wholly or partly devoted to it—The Cambridge Guide to African and Caribbean Theatre, edited by Martin Banham (1994), The Cambridge Guide to Theatre, also edited by Banham (1995), The World Encyclopedia of Contemporary Theatre, volume 3, edited by Don Rubin (1997)—or the recent founding at the University of Leeds of African Theatre, the only journal of its kind in Britain and the US, whose first number appeared in summer 1999. This growing academic interest in African theater has led to a greater understanding of the subject and focused attention on a medium of cultural expression that (compared to the novel) has suffered relative critical neglect—a neglect that is at odds with the vitality of theatrical activity in Africa.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
