“Theatre is a white invention”?: Politics, Polemics and Transition of Theatres

Abstract

This study focuses on the provocative statement “theatre is a white invention” put forth by the esteemed British actor, Janet Suzman. This assertion, deemed discriminatory and racialized, prompts the study to explore the theatre’s history and performances resulting from interactions between the East and West. The primary aim is to challenge and refute the idea that theatre is inherently associated with a particular race, specifically ‘white’ in this context, while excluding or negating the contributions of others. The discussion focuses on two different theatre plays, illustrating the intergenerational, intercultural, and international journey of theatre heritage and showcasing the enduring appeal and relevance of older theatrical forms. In the play Death and King’s Horseman by Nigerian playwright Wole Soyinka, the mosaic of subjective rituals of the Yoruba tribe and postmodern theatre techniques is discussed. In the play Hakawatis: Women of Arabian Nights by Palestinian-Irish playwright Hannah Khalil, the fusion of various artistic elements, storytelling techniques, and performance styles from diverse cultural backgrounds are reflected through the narratives of the Arab and Muslim culture. Both plays make people witness the transboundary journey of theatre, emphasizing the interactive historicity of both Eastern and Western civilizations, and makes it clear that theatre has a rich history of cultural exchange and cross-pollination. In the same token, the two plays finalize that theatre transcends national boundaries and is a global art form and emphasize the dynamic, ever-evolving nature of this art form. They highlight how theatre continues to connect people across generations, cultures, and borders while celebrating its rich and diverse history.