THE BRECHTIAN THEATRE AND THE KWAGH-HIR AFRICAN PRODUCTION STYLE: CONVERGENCES AND DIVERGENCES

This study is a comparative analysis of Brecht's theory of presentational theatrical production with the Tiv Kwagh-hir theatre showing both the similarities and differences. Broadly speaking, both the Brechtian Epic theatre and the Kwagh-hir theatre share the same approach to production. The Kwagh-hir as paradigm for the African traditional theatre shows that from time immemorial productions follow the Brechtian presentational style of production because it is essentially a story telling theatre and like the name itself implies 'magical things'. It is alleged that Brecht may have studied traditional African Style of production in his sojourn to Africa and had gone back home to document it without giving credit to the continent. To arrive at meaningful findings the researcher has done a critical content analysis of the duo theatres as well as conduct interviews. This has helped to show that both theatres share many similarities including the narrative technique, the episodic nature of the arrangement of events, alienating effects, presentation of materials where the actor distances himself from his role among others. Also, the study has recorded some notable differences thus; The Kwagh-hir is almost dialogue free as compared to Brechtian epic theatre that is full of dialogue in addition to the indisputable fact that the Kwagh-hir theatre is improvised up to the moment of this study. Its performance is oral and elements of dialogue are seen only when the Orshuwa or Master of Ceremony offers commentary on the stage action.