Post-colonial Drama:Theory, Practice, Politics

In Post-colonial Drama: Theory, Practice, Politics Helen Gilbert and Joanne Tompkins embark on an ambitious, if not impossibly contingent, project. It is ambitious in that the authors’ field of exploration includes most of the postcolonial drama written and performed in “english” throughout the world. Taking as their focus, dramatic language (both vocal and visual), the arrangement of theatrical space and time, and the manipulation of narrative and performative conventions of drama, they aim “to isolate possible ways to read and view theatre texts ... as well as ways to interpret the strategies by which playwrights, actors, directors, musicians and designers rework a historical moment or a character or an imperial text or even a theatre building” (1).