n English in Africa - Zakes Mda's We Shall Sing for the Fatherland : an illustration of African life using European dramatic modes
|Article Title||Zakes Mda's We Shall Sing for the Fatherland : an illustration of African life using European dramatic modes|
|© Publisher:||Institute for the Study of English in Africa (ISEA)|
|Journal||English in Africa|
|Publication Date||May 2003|
|Pages||123 - 134|
Although Credo Mutwa, for one, "honestly believes that the European-style stage kills an African play and should be avoided wherever possible" (Mutwa 1974/5, 32), Western dramatic modes and European theatrical techniques have left deep imprints on black South African drama. This influence can readily be seen in such plays as The Girl Who Killed to Save (1936) by Herbert Dhlomo; No-Good Friday (1958), Nongogo (1959), and The Coat (1966) by Athol Fugard; The Kimberley Train (1958) by Lewis Sowden; and The Rhythm of Violence (1964) by Lewis Nkosi. As for the drama of Black Consciousness, plays with 'the European-style stage' include Not His Pride (1973) by Makwedini Mtsaka; The Sacrifice of Kreli (1976) by Fatima Dike; and We Shall Sing for the Fatherland (1979), Dark Voices Ring (1979) and Dead End (1979) by Zakes Mda.
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