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Inspired by Caribbean playwrights and artists like Dennis Scott, the Collective utilizes songs, games, rituals, folklore, African stories, reggae, and other elements of Jamaican popular culture in their plays. [5] Performances often rely heavily on dance, mime, and ritual.
His first play produced there was Dame Lorraine, the final play of his Caribbean trilogy. Set in modern times, the play tells the story of an elderly couple living in Harlem that anxiously await the return of their last surviving son who has just been released from prison.
Also: Trinidad and Tobago: People: By occupation: Theatre people / Writers: Dramatists and playwrights Subcategories This category has only the following subcategory.
Also: Jamaica: People: By occupation: Theatre people / Writers: Dramatists and playwrights Subcategories This category has the following 2 subcategories, out of 2 total.
This is a non-diffusing subcategory of Category:Jamaican dramatists and playwrights. It includes dramatists and playwrights that can also be found in the parent category, or in diffusing subcategories of the parent.
After seeing his first play at the age of nine, he fell in love with theatre. Educated at Beckford & Smith High School, now known as St. Jago High School , he began his theatre career as a teacher after a three-year stint at Rose Bruford College , an English drama school, where he studied in the early 1960s on scholarship. [ 4 ]
One of Clejan's fans asked him to play the theme song from The Pirates of the Carribean movie and so he took them up on the challenge. Watch as he begins to play and the turtles come running, um ...
His plays include Terminus (1966), Dog, and An Echo in the Bone (1974); the latter was published, together with a play by Derek Walcott and one by Errol Hill, in Plays for Today (1985), edited by Hill. [citation needed] Scott's dramatic work is acknowledged as a major influence on the direction of Caribbean theatre. [2]