Tactics of Resistance in Zimbabwean Post-2000 Street Theatre Performances

Abstract

The aim of this article is to set post-2000 street theatre in Zimbabwe apart from earlier post-1980 postcolonial theatre as representing a new radical aesthetic based on “hidden” rather than “public” transcripts and representing new forms of subaltern aesthetic practice of more direct engagement with audiences. This article analyses performance techniques whose effect is to disguise the playing of resistance against Zimbabwe’s authoritarian regime. The article applies a combination of public and hidden transcript theory and post-linear theory, examining how street theatre adopts techniques that produce and disguise resistance, making the performance appear innocuous. The focus is on how post-linear techniques, which reject dominant theatre practice, provide convenient cover for subordinate groups, appearing less confrontational and placing the hidden transcript beyond the reach of the dominant. Through a combination of James C. Scott’s theory and post-linear theories, the article interrogates the use of performance techniques as necessary in rendering the performance innocuous in contexts where authoritarian regimes censor critical and divergent art.