During the National Drama Festival in 2013 and again last year in Guyana, it would have been noted that there were multiple entries of plays written by Guyanese dramatist Paloma Mohamed, performed by different groups.
There are several ways in which theatre education in Guyana in its widest context has been broadening its scope and attempting to achieve greater depth at a national level.
Easter 1916 I I have met them at close of day Coming with vivid faces From counter or desk among grey Eighteenth-century houses.
The rain set early in to-night, The sullen wind was soon awake, It tore the elm-tops down for spite, And did its worst to vex the lake: I listened with heart fit to break.
Siren Song This is the one song everyone would like to learn: the song that is irresistible: the song that forces men to leap overboard in squadrons even though they see beached skulls the song nobody knows because anyone who heard it is dead, and the others can’t remember.
Colonial Girls School for Marlene Smith MacLeish Borrowed images willed our skins pale muffled our laughter lowered our voices let out our hems dekinked our hair denied our sex in gym tunics and bloomers harnessed our voices to madrigals and genteel airs yoked our minds to declensions in Latin and the language of Shakespeare
The practice of producing plays on the public stage for the benefit of CXC study is back.
Link Show 31 continues its historical run as the most significant achievement in Guyanese theatre.
The annual Republic of Guyana Distinguished Lecture Series, established in 2011, continued last week with a lecture that provided, as has been the intention, an opportunity for intellectual engagement with concepts that define Guyana as a nation as a part of the celebration of Mashramani and the anniversary of Republicanism.
Naya Zamana 19: A Royal Twist presented two weeks ago as a repeat performance by the Guyana Hindu Dharmic Sabha is worth revisiting.
‘It is universally acknowledged’ that good creative writers do not write for prizes.
The relationship between the carnival season in the Caribbean and Guyana’s Mashramani is very easily disguised.
(Alim A Hosein is Dean of Education and Humanities at the University of Guyana; a linguist, artist, literary and art critic; Convenor of the Guyana Visual Arts Competition and Exhibition; Member of the Management Committee of the Guyana Prize for Literature) By Alim Hosein A book of artwork titled Panorama – A Portrait of Guyana was launched at Cara Lodge on Monday January 12.
Dialogue For One (for the NDTC) in this reflective exercise the bodies imitate contraction and release
A theatrical performance with two plays is to be staged at the National Cultural Centre on Saturday, January 17.
By Alim Hosein Alim A. Hosein is Dean of Education and Humanities at the University of Guyana; a linguist, literary and art critic, artist, member of the Management Committee of the Guyana Prize for Literature and Coordinator of the Guyana Visual Arts Competition and Exhibition (GVACE) The Awards ceremony held on December 17 at the National Cultural Centre brought an end to the public events in the 2014 Guyana Visual Arts Competition and Exhibition.
Sonnet 123 No. Time, thou shalt not boast that I do change Thy pyramids built up with newer might To me are nothing novel, nothing strange; They are but dressings of a former sight.
Caribbean History A flower falls on a leaf, the forest sleeps, and waves are on holiday El Dorado sings of love as Columbus listens in a plastic boat.
This Tuesday December 16, 2014 is the 105th birthday of Edgar Austin Mittelholzer (1909-65), standard-bearer for Guyanese and West Indian literature.
The staging of the production Expressions 2 by GEMS Theatre Produc-tions directed by Gem Madhoo-Nascimento at the Theatre Guild Playhouse on November 9 drew attention to a number of factors arising from the current range of dramatic and poetic performance in Guyana at present.
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