Trickster Theatre traces the changing social significance of national theatre in Ghana from its rise as an idealistic state project from the time of independence to its reinvention in recent electronic, market-oriented genres. Jesse Weaver Shipley presents portraits of many key figures in Ghanaian theatre and examines how Akan trickster tales were adapted as the basis of a modern national theatre. This performance style tied Accra's evolving urban identity to rural origins and to Pan-African liberation politics. Contradictions emerge, however, when the ideal Ghanaian citizen is a mythic hustler who stands at the crossroads between personal desires and collective obligations. Shipley examines the interplay between on-stage action and off-stage events to show how trickster theatre shapes an evolving urban world.
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Trickster Theatre is a tremendously valuable contribution to the growing literature on Ghanaian and African theater and to performance studies in general.
" - American Ethnologist
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Thoroughly researched, and supplemented by Shipley's own remarkable fieldwork as both chronicler and performer within the history, this is one of the most sophisticated and thorough volumes on African performance in recent memory. With its rich discussion of millennial Ghanaian performance, this rich primary source is a model of scholarship. . . . Essential.
" - Choice
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Trickster Theatre not only appeals to scholars of theatre, anthropology, African performance, and Ghanaian and Nigerian history and politics, it also speaks to scholars of colonialism, postcolonial studies, and the cultural politics and legacies of the Cold War. It highlights the ways in which colonial education shaped ideas about the arts in national development.
" - The Drama Review
