In most discussions and essays on contemporary African drama and theatre the emphases by writers and critics appear to be focussed on areas of general criticism, autobiographical evidence and ideological content of the plays. No emphasis is placed on their performance context. While these approaches have their advantages, there is the temptation of studying African drama in isolation from its basic roots and inspiration, that is, its indigenous roots. Because of the peculiar nature of contemporary African drama and theatre, by this I mean that it is relatively new and, more importantly, it is a product of two cultures — African and European — an attempt to discuss it using modern criteria would not only create stereotypes but also a superficial understanding, especially among non-African critics and dramatists.



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