Tsegay’s historical plays published

Four historical plays of the acclaimed playwright and poet Tsegaye Gabre-Medhin were published in book form. Prepared and edited by Dr. Heran Serke-Berhan, and published by the Addis Ababa University Press, the book was launched at the Addis Ababa’s National Theatre on Monday in an occasion to mark Tsegaye’s 75th birthday anniversary. Poet, dramatist, translator, anthropologist, activist and social critic, Tsegaye is regarded by many as a major figure in Ethiopian letters. His plays, Tewdros, Petros yachin Seat (Petros at the Hour), Zeray Be Rome Adebabay (Zeray in Rome Square), though never published, are among the foremost representative of country’s drama. One play, Menelik, which was written towards the latter days of the playwright’s life, has never been staged.
‘They (they plays) are not stuck on longing for yesterdays, they aren’t disheartened by today, they just attempt to translate today’s world,’ said the Addis Ababa University’s Tewdros Gebre who wrote a preface for the book and one of the speakers at the ceremony.
One of the plays which have been popular with spectators, Tewdros, commemorates the life of the Ethiopian emperor who took on the world’s great power, and was martyred for it. Tewdros rose from humble origins: his mother was street vendor. But he re-established much of the dissipated power of the Ethiopian Crown.
“Menelik was also from the modest origin as his mother was a servant. The plays are unified by the theme that they have characters who stand out by deed than by blood. They could also be agents for other past kings and warlords,’ the young scholar Tewdros explained. Tewdros made analyses of the plays, commenting the extent to which Tsegaye took liberties with the facts for the sake of dramatic effect.
As history, the plays paint a panorama of the 19th and 20th century Ethiopia, embracing a wide social range, as the action moves from court to tavern, chamber to battlefield, city to country, patriarchs to traitors, it was said.
Another speaker, actor and radio personality, Teferi Alemu applauded the playwright for doing on the whole manage to stay faithful to the facts and still deliver exciting dramas. Teferi said that Atse Menelik, which Tsegaye wrote towards the end of his life, is different from his earlier plays as it is written in a less measured verse and is full of long narration which could make difficult for stage realization. He said Tsegaye wrote the play at a time when a new political atmosphere prevailed, derailing the king as “colonizer” and “criminal”.
Hence, Tsegaye’s intention was to try clarify the king’s motives and action and highlight his achievement, which include the mammoth task of uniting the country and introducing innovation, according to Teferi.
Professor Masresha Fetene, the departing head of the Addis Ababa University Press, thanked Dr. Heran (who was not present at the ceremony) for her hard work to put the scattered plays in a single book. He also thanked the artists, and performers who provided information, insight, ideas, and impressions about Tsegaye Gabre-Medhin.
“This is magnificent,” said the 66-year veteran actor, Debebe Eshetu, who was master of the ceremony. “I am exhilarated because the University Press is now turning its attention to theatre, “he said. Debebe also invited others to submit their stories for publication to the university press. Debebe who was once imprisoned for his anti-government political stance led the ceremony in front of audiences which included big-wigs personalities of the government such as Sebhat Nega.
The event consisted of excerpts from Tsegay’s writings by nearly seven actors, including Fekadu Tekele Mariam, Getnet Enyewe, Feleke Abebe, directed by Getnet himself. Tsegay’s widow, Woizero Laketch also attended the program and presented awards to actors and producers.
Although most made favorable comments about the event, some participants were heard saying there was not time dedicated for discussion and interaction with audience.
Tsegaye’s contribution to drama was immense. He had a poet’s ear for language, an almost flawless sense of dramatic rhythm and the ability to distil the conflicts of daily life. Even the most hard-core haters would have to concede that his plays were strong, he had a determination to experiment, he had high regard for Ethiopian heroes, and he brought new heights to production in the country’s drama history.