Abstract
Nigerian and Ghanaian plays were written during the 1960s by intellectuals trained in foreign or local universities. The dramatists majored in English or other subjects, but seldom in theatre arts or playwriting. John Pepper Clark-Bekederemo, Efua Sutherland and Ama Ata Aidoo were fascinated by the wealth and vitality of oral literature, myths, legends, tales, masquerades, pantomimes, festivals and rituals; but being university-educated, they were equally at home with European models, techniques and ideologies. They had a partiality for Sophocles, Euripides, Shakespeare, and, among moderns, for J. M. Synge. Their preoccupations — generation, race, gender and cultural conflicts — reflected the inner tensions of people finding themselves ‘in a sort of ambivalent role... between the so-called educated and the so-called illiterate’.1
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© 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Utudjian, E.SA. (1992). Ghana and Nigeria. In: King, B. (eds) Post-Colonial English Drama. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-22436-4_13
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DOI: https://doi.org/10.1007/978-1-349-22436-4_13
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