Ola rotimi books and plays
The epilogue : two unpublished plays of Ola Rotimi | Search Results | IUCAT EastSkip to main content Ola Rotimi. Something went wrong. Please try your request again later. Early life Rotimi was the son of Samuel Gladstone Enitan Rotimi a Yoruba steam-launch engineer a successful director and producer of amateur theatricals and Dorcas Adolae Oruene Addo an Ijaw drama enthusiast. He was born in Sapele, Nigeria; cultural diversity was a recurring theme in his work. He attended St. In , he married Hazel Mae Guadreau, from Gloucester Massachusettes; Hazel also studied at Boston University, where she majored in opera, voice and music education.
Our Husband has gone Mad Again by Ola Rotimi - 2013 National Tour
Books by Ola Rotimi
London: Colonial Office. Theatre in Africa. Mahmud, M. Foucault, U.
Moscow: Progress Publishers. He also must develop, a keen perception that could spot the tragic and bring it about in a neat and convincing pattern of events. An Inaugural Lecture. Readings in the Sociology of Language.
Report by Sir John Playys on the disturbances at Brass. He also produced Tororo Tororo roro, as a convocation play. Click here to sign up. The Classical Review.
Rightly, They had four children. This situation is of course plas reflective of the stature of this playwright who had such a fruitful theatre career spanning nearly forty years by the time he passed away on 18 th August, The Players came of age and went ahead to demonstrate what could be achieved with patient training and an unfailing devotion to the craft of theatre. New York: Routledge?
He was a complete man of the theatre - an actor, director, choreographer and designer - who created performance spaces, influenced by traditional architectural forms. In , he became a research fellow, and, in , a lecturer at what became Obafemi Awolowo University in Ife. There, the Ori Olokun acting company performed in an arts centre that Rotimi and his colleagues converted out of a disused hotel. Its open courtyard was altered to admit audiences on three sides, breaking any imported sense of a proscenium arch and allowing for a drama- turgy that utilised Nigerian performance forms, where audience and actors interact in the same space. Although Rotimi was trained in a western tradition of theatre, his work returned strongly to Nigerian forms.