Reflections of Brecht’s Political Theatre on African Drama: Imbuga’s <i>Successor</i> and Rotimi’s <i>If</i>… in Perspective

Abstract

This paper takes a critical look at the influences of Bertolt Brecht’s dramaturgy on the works of African playwrights. It is evident that the  theoretical approach and style of Bertolt Brecht has shaped the new narratives that has been unleashed on the modern stage. His  devoted treatise on social theatre theory and the creation of storylines that are centred on around the emancipation of the people has  served as a template for most playwrights in developing countries. This article looks at the deployment of the Brechtian Theatre model by  two prolific African playwrights. Francis Imbuga’s Successor and Ola Rotimi’s If… from the popular nature of the storylines that  captures the historicity that shapes the African political landscape, to the everyman characterization that the playwrights deploy; this  nature of characterization easily speaks to the African because it propagates its historical and immediate challenges. All these attributes  are firmly entrenched in Bertolt Brecht’s Theatre. The article looks at the historical nature of the plays and their social relevance to the  development of man in the modern society.