When People Play People - PAR Q1 _ 0.4

On the development of theatre in Africa

Theatre is part of the people’s life. The contemporary African Theatre practitioner is aware of the need to evolve an authentic African theatre that will be relevant to the community, and also be part of the people’s life. (Mda, 1993, p7)

On the travelling theatre concept

‘The theatre artists in these shows were coming down from some ivory tower to show the poor illiterate rural masses something they were missing from their lives’ (Kamlongera, 1989, p70) These plays were presented in the villages, but rarely did they address themselves to the question of their audiences’ reaction to this whole exercise. Even when the emphasis had shifted to presenting plays on local issues, the format was still the one learnt in schools from Western sources. No attempt was made to incorporate or learn from the people’s own performance modes. (Mda, 1993, p9)

On creating theatre for the people

Kamlongera writes that some practitioners trying to establish a truly African theatre have resorted to adopting ancient legends, myths, and rituals, and presenting these in the context of, and within the understanding of Western theatre…

Creating theatre for the people assumes that the people are devoid of any theatre experience. The latest stage now is to try to identify and African aesthetic by creating theatre with the people. (Mda, 1993, p9)

On identifying a truly African theatre

It is not a cliché to say indigenous performances in Africa contain within them some functional element. It most cases this takes the form of a didactic statement. Whilst performers might engage in doing spectacular movements and dances, they might also carry within the performances special messages or lessons to some members of their audience. (Kamlongera, 1989, p.88)

It has already been stated that in pre-colonial Africa, art both functioned and communicated. This was an epoch before the commodification of art, and creators of art were not solely artists, but community members who engaged in the creation of artistic products among other activities. (Mda, 1993, p.47)

***   Individual author – script – structured stage / arena trouvé – charged admission / free performance – actor’s ‘magic’ – actor’s self criticism – audience applause / participation – post performance contemplation / analysis ***