Chigidi’s play belongs to the theatre of ideas

As a result, this is a play with potential to cause a whole conference among those in the fields of theories of literature and drama.
Although we may know that acting is imitation, would you stand it, if as in Zvinoda Kutangira Pasi, your wife appears in a local television drama as somebody’s girlfriend?

Where would you put your eyes when your wife’s television drama lover gives her a lingering kiss in front of the whole nation?
Would you simply watch from the couch in the sitting room?

If you are in the bar with some dear friends, would you dismiss it and say: “Well, they are just acting”?
After all that, how would you feel when strangers point you out in public, saying: “There goes the real husband to that mischievous television drama woman”?
Just where do we draw the line between life on stage and the real life of an actor?

And; can actors claim that they are not affected (positively or negatively) by what they play on stage?
Is our society ready yet to accept that the killer on stage could actually be a loving father and husband in real life?
Although these matters appear simple, Chigidi seems to insist through his play that they are not.

Johannes Mabhechu cannot believe his eyes when his wedded wife, Geraldine acts girlfriend to a local tycoon and serial bed-hopper called Justice.
Whenever the sensational TV drama begins, Johannes either walks out of his friends in the bar or sits there, sulking.
If he is in the home, he either rushes to switch off the TV or sits there scowling and muttering to himself.
He does not know how to face his half grown daughters, who encourage their mother.

He also does not know how to face in real life the man who is playing tycoon and lover of his wife.
He wants to know why his wife, of all the women in the regional town, was picked to play this “dirty” part in this drama.
He also wants to know why the director and those responsible for casting did not pick their spouses to play this troublesome part.
Besides being a play within a play, Zvinoda Kutangira Pasi belongs to the theatre of ideas.

Here the dramatic action is largely played out in ways that parade sharply conflicting ideas.
There is very limited emotional and physical action. Only once do things become physical and somebody receives a slap across the face.
As the title ‘Zvinotangira Pasi’ suggests, this play invites you to go back to bare basics: Does drama mean the same for both African and western audiences? Do you become what you act?

As usual, Willie Chigidi is keen on churning out plays that ask fundamental questions just as in; Mhosva Ndeyako, Mufaro Mwena and Imwe Chanzi Ichabvepi? and others.

However, Chigidi could have done better with the three Mabhechu sisters by making them more distinct. They tend to speak like one another and their opinions coalesce.

This is a play that could be relevant across Africa and may be worth translating.
Born and bred in Chimanimani, Zimbabwe, Willie Chigidi is a Professor of African languages and literature at the Midlands State University, Gweru.