The Brechtian Theatre And The Kwagh-Hir African Production Style: Convergences And Divergences

ABSTRACT

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. Other differences include the fact that Kwagh-hir

has not embraced the universal language of the English with a standing orchestra while

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Brecht's uses the universal language but does not have a standing orchestra among

others.

The study has therefore concluded that Kwagh-hir possesses most qualities of

the Brechtian Epic theatre with the affore mentioned differences thus meeting the

;quirements to be regarded as theatre.