ALT 26 War in African Literature Today by Ernest N. Emenyonu

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 this present day is dedicated to reviews of the way African writers, as old witnesses, have dealt with the activity of warfare as a cataclysmic phenomenon in a variety of destinations at the continent. The individuals discover the topic from quite a few views: panoramic, neighborhood, nationwide and during comparative experiences. warfare has enriched modern African literature, yet at what cost to human lives, peace and the surroundings? ERNEST EMENYONU is Professor of the dept of Africana reviews collage of Michigan-Flint. The individuals 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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Set in areas under Ethiopian control, they portray ‘Life in the Camp of the Enemy’ (A. Tesfai 2002: 137) in which battles of very different kinds were fought. Le’ul Le’ul was Alemseged Tesfai’s first play as Head of Drama in the Division of Culture. Written in 1982 and performed for the Workers’ Congress at Arag in 1983, it went on tour throughout the field, including parts of Sudan, until succeeded by the production of The Other War (1984). With Le’ul, the author explains, ‘theatre controlled by a script took shape in the field’ (A.

So, get this straight. Eritrea no longer belongs to the Mika-els [sic], it belongs to us, (Pointing at Kitaw) to the Kitaws. (p. 291) It is initially Solomie who deflates this idea. The girl is adamant that the infant must come with them to the field, because he is her brother and only a child, guiltless of political scheming. Hiwot reinforces her view for different reasons, urging her friend not to be governed by the same bigoted opinions, but to twist them around in self-defence: ‘Take the child away from them.

Alemseged observes that in non-scripted pieces actors often lost a sense of direction in terms of plot, character building or overall meaning of the play, resulting in ‘muddled’ messages or incoherent ‘rambling’ on stage (A. Tesfai [1983]). Then there was the tendency to overload the plays thematically. ‘Although drama is a reflection of reality’, Alemseged explains, ‘it cannot hold all of its aspects’ (A. Tesfai [1983]). Stereotypes were also a problem for non-scripted and early scripted works, as were overacted stock characters.

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