This aspect of Walcott's literary output is typically neglected as his work as a poet is normally stressed. Author Viola Davis originally wrote the book for her doctoral thesis at the University of the West Indies. This is Davis' second book on Caribbean literature. Visit Seller's Storefront. We guarantee the condition of every book as it's described on the Abebooks web sites. If you've changed your mind about a book that you've ordered, please use the Ask bookseller a question link to contact us and we'll respond within 2 business days.
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Caribbean Memories of Derek Walcott
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Payment Methods accepted by seller. Items related to Derek Walcott: Dramatist. Stock Image. The second was with the Trinidad Theatre Workshop for their participation in a European theatre festival sometime in the s.
University of London
Both productions, I understand, had successful showings. In completion was also the fate of another and more memorable Walcott play I directed in , Drums and Colours. This play has not, to my knowledge, been produced since then. The UWI Creative Arts Centre production was itself historic in that it brought together students, academic and administrative staff. Our efforts at a broader, more inclusive representation were curtailed by a workers strike on Campus, a situation which also prevented the public from seeing the show.
We, nonetheless, performed one weekend for a Campus audience and Walcott himself appreciated seeing a rehearsal during one of his post-Broadway visits. This production was an important part of my own directorial growth, in that the play allowed me to explore, as fully as I could at that time, a Carnival aesthetic.
Above all, Walcott is the great poet of our theatre. In , he retired from teaching theatre at the University of the West Indies.
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At present, Gibbons coordinates a regional programme of indigenous, creative education, Caribbean Yard Campus. Gibbons has contributed immensely to the development of theatre across the English speaking Caribbean. Then, we worked together periodically till Instead, Derek wrote his own version, using as his metaphor the model of a stick fight arena or Gayelle, based in a Trinidadian village, San Juan. This work experimented with an approach to language that the setting and historical time presented. The reference Derek used for his palette and costuming was the work of Diego Velasquez.
Caribbean Memories of Derek Walcott – Critical Stages/Scènes critiques
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Derek insisted that he use Trinidadian actors, stating that we were a West Indian theatre company doing West Indian material even if the text was centred on a Jamaican phenomenon. Derek was always a West Indian Federalist. He came from a generation of West Indian artists who believed that the West Indies was one nation. He was a St. Lucian who had gone to the University of the West Indies, in Jamaica, and then moved to Trinidad to live and do his work.
Unfortunately, the West Indies Federation that that generation hoped for only lasted from to and then dissolved, but this integrative process was always expressed by the way Derek created and promoted his work, and also by its content and structure. In , the theatre company was to represent Trinidad and Tobago at Carifesta, the Caribbean Arts Festival, held in Jamaica that year. The government capitulated and Derek had his way. The company was very cautious upon arrival in Jamaica. Break down the theatre.
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Storm the stage! My character, General Sufferer, has a speech where he explains the origin and meaning of Rastafari to the protagonist in the play Rude Bwoy. As I launch into this monologue, I hear what sounds to me like the most awful ruction, coming from the balcony.
I think, well, this is it.
They hate it! As the drumming continues it hits us that they have stopped the play to rejoice! A celebration all around! I have never experienced anything like it in the theatre. According to Derek, the Caribbean artist is a revolutionary. I knew Roderick Walcott as long as I could remember. She had been headmistress at the Methodist school where my mother had been inducted into the finer art of couture as a young girl.
Roddy, as he was affectionately called, was an outgoing spirit, always racing down the rickety wooden stairs with his young nephew Nigel, to the chagrin of Teacher Alix, who saw visions of an impending disaster that never came. Writing this short piece brought back quite vividly how I was scared of this guy as a child. I could not have been more than five and remember this huge oval shaped head like a dinosaur egg buried perpetually in a book. Never heard him utter a word, or moved from his chosen spot, in the light, by the window.
Never knew our paths would cross later in life, close enough to consider him a friend. I never knew when he disappeared. Years later, I heard, he left for university. My first close encounter with Derek was as young adult, while directing Joumard one of his short plays. On December 13, , Castries was to be raised from the status of town to city, and the Saint Lucia Arts Guild was expected to put on a production worthy of the occasion.
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Derek spoke in monosyllables and looked through me as if I was a whiff of air, penetrable and, no doubt, invisible. I was working with Roddy on the production of Sounds of a City, a revue that traced the history of Castries from the seventeenth century to modern times. Roddy had written most of the script and I had helped him with some verses on Castries, which later morphed into the poem Castries Revisited.
Joumard is a short early play by Derek about some bums roaming about town in search of their next shot of rum and going to elaborate lengths to achieve this end. Finally, one Easter morning, they decided to enact the death and resurrection of one of their followers, Joumard, the rest is tragedy.
I was busy working on an entrance scene with one of the characters, Bap.