TY  - BOOK
AU  - Hill, Errol.
TI  - The Jamaican stage, 1655-1900: profile of a colonial theatre 
SN  - 0870237799
U1  - 972.92 
PY  - 1992///
CY  - Amherst
PB  - University of Massachusetts Press
KW  - Theater
KW  - Jamaica
KW  - History
KW  - Th e atre
KW  - Jama ique
KW  - Histoire
KW  - Manners and customs
KW  - fast
KW  - Toneel
KW  - gtt
KW  - Koloniale periode
KW  - gnd
KW  - Th e atre - Jama ique - Histoire
KW  - 24.06 history of theatre
KW  - bcl
KW  - Social life and customs
KW  - Moeurs et coutumes
KW  - Jamaika
KW  - Jama ique - Moeurs et coutumes
KW  - Social
KW  - life
KW  - and
KW  - customs
N1  - Gives selected sources and readings on page 30; Gives selected sources and readings on page 30; Includes bibliographical references (pages 325-329) and index; 1; Prologue: Charting the Course --; 2; Theatres of the Slave Era --; 3; Post-Emancipation Theatres --; 4; Plays and Players --; 5; Travail and Triumph --; 6; Jamaican Professional Actors --; 7; The First Playwrights --; 8; Readers, Reciters, Storytellers --; 9; Slave Performances --; 10; Performance Modes after Slavery --; 11; Epilogue: Caribbean Perspective --; Appendix A. Record of Productions in 1783 --; Appendix B. Catalog of Original Jamaican Plays; Also issued online
N2  - "A distinguished scholar here offers a thorough lively account of the Jamaican stage, arguably the most prominent theatre of its kind in the British colonies through 1900. Errol Hill discusses the struggle to maintain viable playhouses, the fortunes of visiting professional troupes, and the emergence of an indigenous theatre. He documents the plays written and produced through the end of the nineteenth century, presenting them against the background of a society emerging in the 1830s from a slave-holding system. He also explores the rituals, festivals, and other forms of entertainment enjoyed by the broad underclass of Jamaicans, most of whom were slaves or slave descendants, and who today number over 90 percent of the island's population." "By examining the record of theatrical production on the one hand, and the variety of indigenous performance on the other, Hill shows how a synthesis of native and foreign elements has occurred. He calls particular attention to the use of the Creole language, new performance patterns, and the integration of music, dance, mime, and masking. In the Epilogue, he extends his discussion to the anglophone Caribbean which has become politically independent of Britain."--Jacket
UR  - http://www.gbv.de/dms/bowker/toc/9780870237799.pdf
ER  -