African Theatre: Why It’s Important to Transpose Western Dramatic Classics

African Theatre: Why It’s Important to Transpose Western Dramatic Classics

The Western dramatic canon has been a source of irritation to some Afrocentrists, who see it as providing unfair criteria for judging new work in Africa. Some call for its total abandonment and pursue performance modes that are relevant to Africa. I argue for its appropriation and repurposing in order to address Africa’s cultural needs.

There are several models in which this process can be carried out.

The Black Orpheus Model

The first model is generally called transposition. Some American scholars call it Black Orpheus. African playwrights create African equivalents of Western dramatic classics with a direct one-to-one correspondence.

Ola Rotimi’s The Gods are Not to Blame, based on Sophocles’ Oedipus Rex, follows the same schema. In it, Oedipus becomes Odewale, the setting changes from Thebes to Kutuje and all other names are changed to Yoruba equivalents. The Greek culture becomes a metaphor. A new text is formed which addresses African issues but with Greek structural underpinnings.

Welcome Msomi’s uMabatha which was first performed in 1971 at the University of Natal’s open-air theatre, did exactly the same thing. It was based on William Shakespeare’s Macbeth but changed the setting to 19th-century Zululand during the reign of Shaka and Dingane. Banquo became Bhangane, Lady Macbeth became Kamandonsela, Duncan became Dangane and the Thane of Cawdor became Khondo. It was performed entirely in Zulu.

Through this process, Msomi was able to re-programme the play’s reception as an African play dealing with African issues. Apartheid South Africa was preoccupied with the Afrikanerisation of theatre and the sidelining African culture and performances. Due to the activities of the Black Consciousness Movement, most radical theatre activities were banned during the time.

The performance of uMabatha was allowed under the pretext that Africans were complicit in their cultural colonisation. Yet the transposition of Macbeth decolonises Shakespeare through the insertion of Zulu dances, songs, drums, costume and praise poetry. The Zulu culture under threat from apartheid is revived and celebrated under the guise of Shakespeare. It was an incitement outside of the controls of censorship.

The Black Athena Model

The second model of repurposing Western dramatic classics, especially of Greek origin, is “reclamation” – sometimes called “Black Athena” by diasporic Africans in the US. The creative impulse emanates from the historical fact that much of the material contained in Greek plays is of African origin. According to the Greek father of history, Herodotus, the Greeks received their myths, gods and culture from ancient Egyptians who were phenotypically a combination of yellow and black.

Dionysus was a version of the African Osiris god. The Egyptians created performative theatre which was stolen/copied/appropriated by the Greeks as dithyrambic singing and dancing. But they later developed this into the dramatic canon associated exclusively with the West. According to this paradigm, to select material stolen from Africa and reinserting it back into Africa is not cultural colonisation, but a corrective returning of the culture to its rightful owners.

While the occult dimension of Western theatre has dissipated since the rise of the western bourgeoisie rule, it is still a part of the African theatre. My play Vumani Oedipus celebrates the power of the metaphysical world over humans.

Re-Historicising

The third model can be achieved through conceptual casting and re-historicising the old classics. In this model, the origin of Greek culture is of little importance. The Greek play is taken as it is and performed in a new context to speak to a different set of history.

In 2004, I staged Jean Anouilh’ Antigone (an adaptation of Sophocles’ Antigone) at the University of Zimbabwe’s Beit Hall Theatre. Zimbabwe was five years into an economic and political crisis. I used an all-black cast and invited the Zimbabwe Broadcasting Corporation (ZBC) to record the play. It happily accepted.

In the play, Antigone calls for civil disobedience over the dictatorship and heartlessness of Creon. Without changing a single word and through re-historicising and conceptual casting, the play had a different meaning to that of the original and was perceived as anti-Mugabe. ZBC refused to air it.

Similar results were achieved through the South African Antigone in 1971, which was performed by students involved in Theatre Council of Natal. The apartheid government gave the students blessings to perform the play, but the students used it to critique the government.

The play opened with a black man being hanged. They used projections of the slums of South Africa to draw similarities between the dictatorship and injustices of Creon and those meted on blacks in apartheid South Africa. In both cases, the injustices of Creon were interpreted to mean the injustices of the local context.

Vumani Oedipus was recently staged at the Market Theatre in Johannesburg. The work is inspired by the classical playwright Sophocles’ Oedipus Rex.

Vumani Oedipus being staged at the Market Theatre in Johannesburg. Wits Theatre

I did not faithfully follow Sophocles’ play. Rather, I directorially reinterpreted and reworked it through, among other things:
  • adding new material from other texts;
  • collapsing other characters, such as priest and senator into one (Ndunankulu);
  • simplifying language and cutting dialogue; and
  • re-historicising the play and reprogramming the reception of the story, theme and character.

I also did not resort to the extreme method of adaptation which virtually destroys any link between the source text and the resultant performance text. I wanted to capture the spirit of the old story in a new South African context: Nguniland of the 21st century. The new setting is fictional, but interestingly familiar to South African audiences.

Is there value in reviving Western classics in post-colonial (South) Africa? Is this not perpetuating Western cultural imperialism?

While I respect the view that Western classical canon when used unwisely can perpetuate cultural domination, I put forward views that can be considered when deciding to adapt these classics to enrich African culture. In this globalised world, negative identity is inappropriate. The whole Western modernist tradition is anchored on ideas stolen from Africa and Asia, and Africa can do the same as I have suggested above.The Conversation

This article was originally published on The Conversation. Read the original article.

 

This post was written by the author in their personal capacity. The opinions expressed in this article are the author's own and do not reflect the view of The Theatre Times, their staff or collaborators.

About The Author

Samuel Ravengai

regional managing editor - South Africa

Samuel Ravengai is a Zimbabwean born director and theatre maker working in South Africa. Ravengai is currently Senior Lecturer and Head of Witwatersrand University’s Department Theatre and Performance, in Johannesburg, where he teaches across a range of theory and practical courses covering performance, directing, writing, South African theatre and cultural myths. He received both his PhD and MA in theatre from the University of Cape Town. He is a member of the International Federation of Theatre Research (IFTR/FIRT) where he works closely with the African Caribbean Theatre and Performance (ACT&P) Working Group to which he is one of the founding members. He is particularly interested in the interconnection of race, nation, empire, migration and ethnicity with cultural production. Apart from being an academic, he is a director and theatre maker and has nearly twenty productions to his name since he started directing in 1996. His directing philosophy is guided by the value Africans place on the centrality of the body as a nucleus of performance. He has performed and directed nationally and internationally.

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