adminDRAMATIC writing in Zimbabwe is certainly not dead. To call it dead would certainly be disrespectful to the efforts of those that have been keeping dramatic writing and drama performances in Zimbabwe alive. Dramatic writing is not dead but perhaps it is in the intensive care unit. It lies on the deathbed, comatose, waiting to be resuscitated. The reasons for this current condition are many. Here are some of them:
The backbone of theatre in Zimbabwe is based on the community theatre approach which recognises every member of the group as a creative individual with something to contribute to the group. This approach relies heavily on improvisations rather than scripts. The focus is on performance rather than writing. The unfortunate result with this approach is that most dramatic performances are improvised and therefore the stories have been known to die with the last performance. Since there is no script there is nothing that lives beyond performances leading to scholars, who mostly deal with written evidence, to suggest or declare that dramatic writing in this country is dead or non- existent.
The second reason is we have an environment that does not nurture independent dramatic writers. There is literally an absence of production houses that are willing to produce independent playwrights’ works. Most people in theatre have assumed the ‘‘Tyler Perry syndrome’’. They write, direct and produce their own work — even though most are not good writers. The end result has been frustration for the talented playwright who then fails to get to see his writing come alive on stage. Consequently, the independent playwright stops writing — why would one want to continue writing when one knows their work will never be appreciated and put on stage? So in the end the mediocre work of the untalented producers continues to represent Zimbabwean dramatic writing.
The third reason is the absence of publishing opportunities for local playwrights. Publishers are simply not interested in publishing plays as they say there is no business in play publication. In the last 10 years only Stephen Chifunyise and yours truly have published some anthology of plays after getting assistance from Culture Fund of Zimbabwe Trust. But these are self- publications and are not testimony of the true quality of Zimbabwean dramatic writing. The absence of publishing opportunities means good script will never find life after being performed. Most good stories die with the last performance. As long as there is no calculated effort to publish Zimbabwean plays there will also be a gap, a void as far as dramatic writing in Zimbabwe is concerned. Without published plays local writers will not be read or studied in schools and colleges.
The fourth reason and perhaps the biggest weakness contributing to the sorry state of theatre and dramatic writing in this country is the absence of a national theatre policy. What are the guiding principles in terms of theatre in this country? What is the national ambition? What are we collectively doing to support theatre and dramatic writing in this country? The answer to all the above questions is nothing. We have nothing and we are doing nothing about it. We need a theatre policy that will look at training, production and distribution of theatre works nationally. That is the only medicine that will get dramatic writing out of its comatose situation and into a vibrant and more visible condition.
Of course more needs to be done. But for now what is more critical is the coming together of all those who love theatre and dramatic writing. We are too scattered and disintegrated to effect any meaningful change as things stand.
Online Reporter