Indigenous Theories of Syncretic Theatre
This chapter provides a historical overview of indigenous theories of theatrical syncretism. It begins with Rabindranath Tagore's essay ‘The Stage’ and continues with an analysis of H. I. E. Dhlomo's writings on the theatre in the 1930s. Dhlomo's writings articulate in considerable detail a theory of theatrical syncretism in which the merging of European theatre and indigenous performance forms is explicitly propagated. This chapter also surveys the theoretical and programmatic discussion on indigenous theatre which took place amongst African writers in the 1960s and early 1970s. It also provides an overview of programmatic writings on syncretic theatre by indigenous theatre artists in Australia, New Zealand, and Canada.
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