Modelo clásico Se determinan las metas o intenciones generales, y seguidamente se pasa al desarrollo de programas educativos que se aplican y

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6.0 TUTOR – MARKED ASSIGNMENT.

1. Expatiate the concept of tragicomedy.

2. What are its characteristics?

3. Draw a line between melodrama and tragedy 4. What is dance drama?

5. How can it be explored to mobilise and chart the course of development?

7.0 REFERENCES/FURTHER READING

Brockett, Oscar. History of the Theatre. (8^thedition). USA: Allyn and Bacon, 1999.

Cohen, Robert. Theatre. (2^nd ed) California: Mayfield Publishing Company, 1988.

Dramatic Genres

www.://btk.ppke.hu/uploads/articles/135505/file/.../drama/dramatic_genres_tr agedy.ht

Gustav, Freytag. Freytag's Technique of the Drama: An Exposition of Dramatic Composition and Art. Translated and edited by Elias J. MacEwan.

Chicago: Scott, Foresman and Company, 1894. Available online at https://archive.org/details/freytagstechniqu00freyuoft

Guarini, Giovanni Battista. New International Encyclopaedia (1st ed.). New York: Dodd, Mead. 1905.

________ Compendium of Tragicomic Poetry. 1605.

MODULE 4: AFRICAN DRAMA

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2.0 - Objectives 3.0 - Main content

3.1 - North African drama

3.1.1 - The Focus and Major Dramatists of North Africa 4.0 - Conclusion

5.0 - Summary

6.0 - Tutor-Marked Assignment 7.0 - References/Further Reading 1.0 INTRODUCTION

This unit is designed to put through the dramatic activities in North Africa. This knowledge is very imperative given that Egypt which happens to be in region is generally acclaimed to be the cradle of civilisation and drama is not left out. The unit takes you the focus of North African Drama and its major dramatists especially Tawfik Al-Hakim and Abdelkader Alloula. It is therefore important that you acquaint yourself with the trends of North Africa drama in order to understand the happenings of the region.

2.0 OBJECTIVES

At the end of this unit, you should be able to:

i. Discuss the practise of drama in North Africa.

ii. Advance reasons why drama in North Africa has not recorded much growth as is in other African regions.

iii. Attempt an assessment of the major dramatists of North Africa vis-à-vis their

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contributions to the continent generally.

3.0 MAIN CONTENT

3.1 NORTH AFRICAN DRAMA

Drama in North Africa is rooted in the long history of the people of North Africa. However, Egypt has remained a major hub for most dramatic writings in North Africa.

3.1.1 FOCUS AND DRAMATISTS OF NORTH AFRICA

Modern North Africa is renowned for writings addressing the challenges of the Arabic world. Tawfik Al-Hakim has plays including the popular People of the Cave (1933), Fate of the Cockroach, King Oedipus (1949), and The Tree Climber (1966). Al-Hakim‘s The Tree Climber is an absurdist play. It is the story of a detective who investigates the disappearance of a wife belonging to a man who is influenced by a devil to kill her in the end. The story is complex but interesting and it draws attention to the reality of supernatural forces influencing mankind on a daily basis. Absurdism is a major influence in this play. In Fate of the cockroach, Tawfik Al-Hakim projects collective heroism in solving societal contradictions and challenges than selfish or individual attempts, especially such individual attempts that fail because of the obvious limitations in individuals.

Abdelkader Alloula has equally written some critical plays in North Africa. One of his popular plays is The Generous Trilogy (1980) made up of three plays. In Tunisia, Jalila Baccar is a woman whose passion for the theatre led to her establishing a theatre

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performance troupe known as Familia. Her play Araberlin looks at the 9/11 attack in America. In this play, the consequences of terrorism and terrorist activities on innocent citizens is addressed. Other Northern African playwrights notable for their contributions to the development of drama in the region include; Tayeb Saddiki, and Tsegaye Gabre-Medhin (Collission of Altars).

Tools/Materials

In writing a dramatic work, you will need writing materials like pen, paper, writing pads, pencil, notebooks, and perhaps a computer set. You can do your writing with all or any of these. What one needs to do is to identify what is most convenient. Most importantly, your ideas must be in shape and intact to be able to put a good unified plot on paper.

SELF ASSESSMENT EXERCISE 1

What would you consider to be most attractive and spectacular in the works of North African playwrights?

4.0 CONCLUSION

This unit has looked at drama in North Africa and particularly Egypt. It has discussed the works of major dramatists in the region with a view of identifying their contributions to the development of Africa as whole.

5.0 SUMMARY

In this unit, you have learnt that,

i. Drama in North Africa did not fare well like other African regions.

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ii. North African drama is rooted in the history of the people and their cultures.

iii. A number of dramatists in North Africa have projected the issues troubling the region in spite of all barriers.

6.0 TUTOR-MARKED ASSIGNMENT

1. What would you consider to be the reason (s) for the slow growth of North African Drama?

2. Discuss at least one major dramatist of North Africa vis-à-vis the issues addressed in his/her works.

3. Trace the trends of North African drama and show how these have made or marred drama in the region.

7.0 REFERENCES/ FURTHER READING

Aristotle. Poetics. In Dukore, F. B. Dramatic Theory and Criticism: Greeks to Growtowski. USA: Hodder and Stoughton, 1998.

Balogun, Odun. ‗Marxist Aesthetics in Socialist African Literature‘. In Proceedings of the International Symposium on African Literature. Osofisan et al (ed) Lagos: Centre for Black and African Civilization, 1991.

Encyclopedia Britannica. Chicago: 2010.

Longinus. ‗Sublime‘ In Dukore, F. B. Dramatic Theory and Criticism: Greeks to Grotowski. USA: Hodder and Stoughton, 1998.

Rohmann, Chris. A World of Ideas. New York: Ballantine Books, 2000.

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UNIT 2: SOUTHERN AFRICA