WE are already 10 days old in 2016. Sketchily, I want to say I have had the pleasures of 2015 theatre-wise: I prevailed over two major drama jamborees of upcoming theatre artists, lucidly examining the treads and limitations that young playwrights, actors, directors and producers have made.
In two series, today and next Sunday, I am obliged to look back at 2015 – the first being a swipe at scripting plays, and end at staring at the various activities we had in the year.
While all this is my private view, script writing has been one of heavier public concerns in Zambian theatre mainly because theatre usually begins with the controlled writing of the script.
I am mindful of improvised sketches; the formal premise is that performers will first sit down before the rehearsal to nurture an idea, scheme a way; how the theme would begin, unfold, flow and close.
Most of the plays I watched in 2015 were generally fragile, though a some showed enormous promise, skill and vibrancy.
The fact that these scripts were drafted by very young writers, they usually lacked research, convincing themes, conflict, suspense and resolution. Yes, they seriously scratched the flesh showing the writers knew some day they would get there.
Creativity is an uneasy task, hence those with this inert ability to write once appropriately utilised can rightly reap from it, and show a profit as the case is in the developed world. Writers, actors, musicians, painters, sculptors, sports men and women – the list is long of those living in success – largely through every sort of entertainment.
In Zambia, success in the performing arts is still in the exceptionally nascent stage. Nevertheless, success can be attained, and developed if interventions often discussed at various forums can unfold; recognition, investment, respect for the creative industry, and promotion among others – if we can applaud to these from the individual level to the public, then our various art forms can flourish, and their creators openly yield from their talents.
For Zambia, only a handful of artistes can safely declare to gainfully live from their art. Even then, sadly, most of them do not recognise and put the correct price on their own works!
Most theatre artists place little cost when they churn out play scripts, while musicians pirate their own music and price them low for bread and butter. Wholesomely, one cannot heft blame upon their shoulders, they need to subsist; my point is, is Zambia surely making any treads particularly in conserving scriptwriting, documenting, and developing theatre?
This year I joyously attended the United Church of Zambia, Lusaka Presbytery drama and the national school drama festivals in Lusaka and Mansa, respectively. These two events were unimaginably rich assemblies where I unmistakably noted imposing aptitudes among the potential writers, actors and directors.
I believe many people in Zambia less know of all this, unless they have followed the trend. We have surprisingly so much talent among the youth!
During these festivals, I managed to collect some play scripts, and will from time to time again look back to see how I can be of help to these writers.
I know that presently these writers have gone back with their craving to write more for 2016. If we are not careful, the same mistakes in script construction will resurface, hence my call for workshops that will guide and sharpen them before any festival this year.
Script writing is an art; hence not everyone is skilful to write.
There are rudiments to follow when laying out a script and organisers of festivals should clearly explain or find people to tutor the young writers.
While, a hard copy of the script may not appear important as the outcome of a performance is much more meaningful, some people will not find time to watch a live show, but will read the play which is valuably worthy too – so the layout of the script is essentially central.
The layout starts with the title and author, followed by characters, a preamble or summary, perhaps even the conceived analysis of characters describing them primarily to help the would-be producers with prior information.
Each character as they speak should have a well captioned character’s name, and what he or she says. The behaviour of the characters can briefly be described too (separated from the spoken words) to help set the mood though the director can heavily amplify on this.
Workshop topics for the young playwrights should include the dangers of patent copyright, exclusive rights and plagiarising.
Such workshops should emphasise exploring community themes, common cultural etiquette and other social issues with expositions expected to entertainingly educate the public.
With well written plays, the corporate world in collaboration with the various television stations, arts bodies and clubs should be excited – promote the artists by investing in their scripts; the proliferation of local themed-television drama is a sure sign of the promised and existing market.
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Good news: A week ago, I spoke to the president of the Zambia Women Writers Association (ZWWA) Agnes Singini Nyendwa, and later learnt the association was producing an anthology of short stories. ZAWWA, therefore, is inviting creative writers to submit stories. Agnes can be contacted on 097 9179997.
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Light Musonda is back in the theatre news, and promises serious humorous entertainment this year. Light told me he was working in collaboration with Mufulira Arts Council at the Mufulira Little Theatre to restage his epic play ‘A man as good as me’.
A neatly and highly minimalist drama written 43 years ago in 1972; ‘A man as good as me’, Light tells of the most embarrassing day in the life of an autocratic man. It highlights the consequences of violence against women and religious hypocrisy.
There is news too filtering through that the newly-reconstructed Masala Cultural Village in Ndola has given birth to an exciting theatre group with names like Ben Mokola in the loop. The group is already working on Azwel Mwalimu’s play ‘Book, Bread and Roses’.
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Last week I had a surprise call from Dickson Chilapa, an old friend who was once highly instrumental in running NATAAZ on the Copperbelt. We last met three years ago when I hurriedly passed through Chingola.
When he called, Dickson said he was still active in theatre and running a company, Fedi Management Consultancy limited dealing in management training, supplying and contracting. He told me he is actively working with DC Theatre Memories educating young people in Chingola on play construction, make-up, stage management, casting and costume.
With a degree in business administration majoring in human resource, Dickson explained he was too busy to formally get back to conventional theatre, but admitted he was eager to help develop Zambian theatre when he publishes what he called theatre pamphlets.
John.kapesa818@yahoo.co.uk – 0955-0967-0977-710975