Abstract
This chapter not only explores the inherently avant-garde nature of Zimbabwean theatre, but also examines changing notions of avantgarde theatre in space and time. To further underscore the dynamic nature of theatre as a changeable cultural practice, Antonys Gyltzouris defines avant-garde theatre as “simply what a given society at a given time regards as such.”1 Zimbabwe has its own unique avant-garde theatre, but its avant-gardeness is dependent upon context. Thus, I would assert that what constitutes avant-garde theatre not only differs from one society to another, but also gets transformed from time to time. Joachim Fiebach argues that what is often regarded as inventions of the Western avant-garde have been “traditional” African culture for centuries.2 This chapter explores the exchanges, adaptations, and appropriations between the Western avant-garde movements and African avant-gardes – and within the latter. As such, my discussion primarily focuses on the extent to which avant-garde theatre in Zimbabwe defies, challenges, borrows, capitalizes, and builds upon the work of its predecessors and its peer practitioners from around the globe. I argue that transformation, innovation, and sometimes experimentation are endemic to Zimbabwean theatre out of necessity, not choice.
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References
Antonys Gyltzouris, “On the Emergence of European Avant-Garde Theatre,” Theatre History Studies 28 (2008): 131–146, 136.
Joachim Fiebach, “Avant Garde and Performance Cultures in Africa,” in Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance, ed. James M. Harding and John Rouse (Ann Arbor: University of Michigan Press, 2006), 69.
Claudia Orenstein, Festive Revolutions: The Politics of Popular Theater and the San Francisco Mime Troupe (Jackson, MS: University Press of Mississippi, 1998), 25.
Ngūgī wa Thiong’o, Moving the Centre (London: Currey, 1993), 13.
Jane Plastow, African Theatre and Politics: The Evolution of Theatre in Ethiopia, Tanzania and Zimbabwe: A Comparative Study (Amsterdam: Rodopi, 1996), 113.
For more details on UN sanctions, see Jeremy Matam Farrall, United Nations Sanctions and The Rule of Law (Cambridge: Cambridge University Press, 2009).
For more on the use of theatre during the liberation war era in Zimbabwe, see Kimani Gecau et al., Community Based Theatre in Zimbabwe: An Evaluation of ZIMFEP’s Experiences (Harare: ZIMFEP, 1991);
Ross Kidd, From People’s Theatre for Revolution to Popular Theatre for Reconstruction: Diary of a Zimbabwean Workshop (The Hague, Netherlands: CESO; Toronto: ICAE, 1984);
Preben Kaarsholm, “Mental Colonization or Catharsis? Theatre, Democracy and Cultural Struggle from Rhodesia to Zimbabwe,” in Politics and Performance: Theatre, Poetry, and Song in Southern Africa, ed. Liz Gunner (Johannesburg: Witwatersrand University Press, 1994);
Gene Jarrett, “The Black Arts Movement and Its Scholars,” American Quarterly 57.4 (2005), 1245.
Mike Sell, Avant-Garde Performance and the Limits of Criticsim: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement (Ann Arbor: University of Michigan Press, 2005).
Augusto Boal, Theatre of the Oppressed (New York: The Communications Group, 1985), 122.
Theodore Shank, Beyond the Boundaries: American Alternative Theatre (Ann Arbor: University of Michigan Press, 2002), 3.
R. Mshengu Kavanagh, Theatre and Cultural Struggle in South Africa (London: Zed, 1985), xv.
Don Rubin (ed.), The World Encyclopedia of Contemporary Theatre: Africa (London: Routledge, 1997), 308.
Ross Kidd, David Kerr, and Martin Byram developed this standard methodology in the 1970s and emphasized that it is not a rigid TfD formula but practitioners should adapt it to their different contexts. See Oga Steve Aba, Performing Life: Case Studies in the Practice of Theatre for Development (Zaria, Nigeria: Shekut, 1997).
David Kerr, African Popular Theatre (London: Currey, 1995), 149.
Paulo Freire, Pedagogy of the Oppressed, trans. Myra Bergman Ramos (New York: Penguin, 1982), 284.
Sandara Richards, “Wasn’t Brecht an African Writer?: Parallels with Contemporary Nigerian Drama,” in Brecht in Asia and Africa, ed. J. Fuegi and M. Silberman, The Brecht Yearbook 14 (1989) (Frankfurt/Main: Atheneum, 1989).
see Ngūgī wa Thiong’o, Decolonizing the Mind: The Politics of Language in African Literature (London: Heineman, 1986);
Gichingiri Ndigirigi, Ngūgī wa Thiong’o: Drama and the Kamiriithu Popular Theatre Experiment (Trenton, NJ: Africa World Press, 2007).
For more on censorship in Zimbabwe, see Praise Zenenga, “Censorship, Surveillance and Protest Theatre in Zimbabwe,” Theater 38.3 (2008): 64–83.
L. Joy Wrolson, “Conquered Plans: Performance for the Artist’s Sake, Panic Theatre in Zimbabwe During the Murambatsvina,” African Studies Association, Chicago, IL, Nov. 13–16, 2008.
James C. Scott, Domination and the Arts of Resistance: Hidden Transcripts (New Haven: Yale University Press, 1990), 19.
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© 2011 Praise Zenenga
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Zenenga, P. (2011). The Avant-Garde of Necessity: the Protest Theatre Movement in Zimbabwe. In: Sell, M. (eds) Avant-Garde Performance and Material Exchange. Performance Interventions. Palgrave Macmillan, London. https://doi.org/10.1057/9780230298941_12
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DOI: https://doi.org/10.1057/9780230298941_12
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-31707-3
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