Samuel Ravengai
Generation 1
The first generation of Zimbabwean theatre makers was born between the early part of the 20th century and 1939. Their support of nationalism took various forms. The first was to project a thrust to rejuvenate African culture by staging plays that glorified rural linkages and the past. According to Raftopoulos and Yoshikuni (1999), the evidence points to one Hudson Ndlovu who joined the Bulawayo City Council in 1959 and produced dramas which attempted to purify Ndebele culture of the corrupting influences of Westernisation. Dramas revolved around dances of warriors and how to crown a king. There is also one Rev. Osias Mkosana who joined the Bulawayo City Council in 1957 and produced two plays uSikhwili ‘The Grudge’ and Ngiyalunga ‘I am doing well’. Mkosana described the plays as based on the lives of the Zulus and the Ndebele. The details about directors are tentatively scant but playwrights in Harare included Paul Chidyausiku who wrote Ndakambokuyambira (I Warned You) (1968), Davidson Mugabe who wrote Rugare Tange Nhamo (Peace Comes After Trouble) (1972) and Arthur Chipunza who wrote and performed Svikiro (Spirit Medium) (1978) to preserve Shona culture. The plays so produced were assimilationist in nature in the sense that except in content, everything else resembled the drama of the Metropolis. Some members of this generation even tried to prove that they could do what the white man could do by performing popular European plays. Adrian Stanley directed Macbeth with an all-African cast in 1961.
Generation 2
Theatre makers and/or directors of this generation were born between 1940 and 1959. Their artistic work began around the 1970s. The configuration of this generation invariably reflected the different political persuasions that obtained during its formative time. There was a group of nationalists who advocated for multiracialism and these were Michael Mawema’s National Democratic Party (NDP) and Abel Muzorewa’s United African National Congress (UANC). There was another group of nationalists who were radical and advocated for total black control of all structures and could work with whites on the basis of invitation and these were Joshua Nkomo’s ZAPU and Robert Mugabe’s ZANU. Theatre makers and directors were also divided along the same political lines. The first coterie of theatre makers and directors comprised black people who worked with white liberals to create multiracial productions. These theatre makers and directors included Walter Muparutsa, Dominic Kanaventi, Steven Chigorimbo, John Indi and Friday Mbirimi who worked with the white liberal John Haigh from 1974 when the theatre group Sundown Theatre Company was formed. They mostly performed Athol Fugard’s plays. Another experiment in multiracial theatre was the joint effort of Ben Sibenke and a white liberal playwright and director Karl Dorn to establish the People’s Theatre Company. Their repertoire of plays included Sibenke’s My Uncle Grey Bonzo, Dr Madzuma and the Vipers and Chedembo Chanhuwa (The Polecat Stank), Dorn’s Home Holds the Heart and Chifunyise’s Shocks and Surprises. What is characteristically common to this group is its preoccupation with African issues especially as they relate to their coloniser or the systems the coloniser has put in place.
The second coterie of generation 2 comprised the radical cultural nationalists who probably took their cue from the radical nationalists. The group included Thompson Tsodzo, Stephen Chifunyise and Vimbayi Chivaura, Robert McLaren, Ngugi wa Mirii, Micere Mugo and Kimani Gecau.
Generation 3
Generation 3 theatre makers and directors were born between 1960 and later. There are the youngest artistes. The artistic work of the older members of this generation like Cont Mhlanga and Daves Guzha began in the mid-1980s. The number of directors is as many as theatre companies that exist today in Zimbabwe. Some of the directors include: Raisedon Baya, Sithokozile Zulu, Stix Mhlanga, Bekezela Dube, Mandla Ndongeni and Christopher Mguni. In Harare, some of the directors include Samuel Ravengai, Daves Guzha, Owen Seda, Stanley Mambo and Daniel Maposa. In Mutare the most outstanding directors include Keavan Simomondo, Ambrose Maropa and Lucky Saungweme. Much of the theatrical output Zimbabwe is experiencing now is a product of generation 3. Since they were either unborn or children and/or adolescents during the war of liberation, this generation is somewhat detached from the war, more open minded and critical about society than its antecedents. Unlike its rural counterparts, urban generation 3 is heterogeneous owing to multiple influences that have played its life. Migrant workers from South Africa, Malawi, Mozambique and Zambia have influenced the cultural complexion of this generation. Considering that Zimbabwe has about fifteen ethnic groups who mostly make the city their meeting point, the resultant culture is of a hybrid nature, which does not come from pure ancestry, but convergent cultures. Apart from this internal diversity, generation 3 also accepts that it is a product of both nationalism and colonialism and as such colonial and nationalist forms of theatre are available to it for creativity. However, this generation neither believes in artistic rules set by Western realists nor socialist realists. They work without rules in order to establish the rules for what will have been created.
Zimbabwean Playwrights
Aaron C Moyo. 1983. Chenga Ose
Aaron C Moyo. 1987. Wandibaya Panyama Nhete.
Aaron C Moyo. 2004. Pane Nyaya.
Aaron Hodza. 1984. Mitambo yaVasikana naVakomana Pasichigare.
Andrew Whaley. 1991. The Rise and Shine of Comrade Fiasco.
Arthur Chipunza. 1981. Svikiro [My Spirit Sings].
Barbara Makhalisa. 1977. Umhlaba Lo [What a World]
Bart Wolffe. 2006. Africa Dream Theatre.
Basil Diki. 2000. The Tribe of Graves.
Ben Sibenke. 1982. My Uncle Grey Bhonzo.
Bertha Msora. 1984. I Will Marry.
Cain N Mathema. 1985. Silubhekise Ngaphi?
Canaan Sodindo Banana. 1981. Sponono Sami [My Beautiful One].
Charles Mungoshi. 1980. Inongova Njakenjake.
Cont Mhlanga. 1992. Workshop Negative.
Dambudzo Marechera. 1994. The Alley. In Scrapiron Blues.
Dambudzo Marechera. 1984. Blitzkrieg. In Mindblast.
Dambudzo Marechera. 1984. Mindblast.
Dambudzo Marechera. 1984. The Coup. In Mindblast.
Dambudzo Marechera. 1984. The Gap. In Mindblast.
Dambudzo Marechera. 1984. The Skin of Time. In Mindblast.
Dambudzo Marechera. 1994. Alien to the People. In Scrapiron Blues.
Dambudzo Marechera. 1994. Killwatch. In Scrapiron Blues
Dambudzo Marechera. 1994. Scrapiron Blues.
Dambudzo Marechera. 1994. The Breakdown Scrapiron Blues. In Scrapiron Blues
Dambudzo Marechera. 1994. The Servants Ball. In Scrapiron Blues.
Danai Gurira and Nikkole Salter. 2009. ‘In the Continuum’. In Kilalea, Rory. Ed. In The Continuum
Daniel Pearce. 1983. Generation Gap.
Davidson Mugabe. 1972. Rugare Tange Nhamo.
Fraser Grace. 2005. Breakfast with Mugabe.
George Mujajati. 1989. The Wretched Ones.
George Mujajati. 1991. The Rain of my Blood.
George Mujajati. 1997. Zinyekenyeke.
Habakkuk Gonzo Musengezi. 1984. The Honourable MP.
Joanne Dorras and Peter Walker. 1987. She Can’t Even Cook.
Joanne Dorras and Peter Walker. 1987. The Big Wide World.
John Gambanga. Mari Ine Chitema.
Jonathan Khumbulani Nkala. 2011. Faith in Love. In Cockroach: a Trilogy of Plays.
Jonathan Khumbulani Nkala. 2011. The Bicycle Thief. In Cockroach: a Trilogy of Plays.
Jonathan Khumbulani Nkala. 2011. The Crossing. In Cockroach: a Trilogy of Plays.
Juliet Chikanza. 1984. Vakasiiwa Pachena.
Julius Chingono. 1980. Ruvimbo.
Julliana Lwanda. 1976. Mudyazvevamwe.
Mordekai Hamutyinei. 1973. Sungai Mbabvu.
Morgan Mahanya. 1976. Chidamwoyo.
Ndabezihle Sigogo. 1976. Indlalifa Ngiebani? Gwelo: Mambo Press
Nondo, S.J. 1982. Icala Lezinduna. Harare: Book for Africa
Paul Chidyausiku. 1968. Ndakambokuyambira. Gwelo: Mambo Press
Pearson M Mashiri. 1978. Ushe Ndohwangu. Harare: Longman
Pedro Calderon de la Barca 1600‐1681. (Translation, teachers and students, Gokomere). 1958. Mutambo Wapanyika.
Raisedon Baya. 2009. Madmen and Fools. In Tomorrow’s People.
Raisedon Baya. 2009. Super Patriots and Morons. In Tomorrow’s People.
Raisedon Baya. 2009. The Moment. In Tomorrow’s People.
Raisedon Baya. 2009. Tomorrow’s People and other Plays.
Robert Mshengu Kavanagh. 1997. Mavambo [First Steps]. In Making People’s Theatre.
Sidambe, L. C. 1977. Okunje Akuzange Kwenzakale.
Simbarashe T Dzoro. 1978. Mukwasha Aba Nyama.
Stephen J Mhlabi. 1981. Ibuzwa Kwabaphambili [Wisdom Begets Age].
Stephen Joel Chifunyise 1984. A Woman of Courage. In Medicine for Love.
Stephen Joel Chifunyise. 1984. Medicine for Love and Other Plays. Gweru: Mambo Press
Stephen Joel Chifunyise. 1984. Not for Sale. In Medicine for Love.
Stephen Joel Chifunyise. 1984. When Ben Came Back. In Medicine For Love.
Stephen Joel Chifunyise. 2008. Intimate Affairs and Other Plays.
Stephen Joel Chifunyise. 2008. Love at Crossroads. In Intimate Affairs.
Stephen Joel Chifunyise. 2008. Lovers, Friends and Money. In Intimate Affairs.
Stephen Joel Chifunyise. 2008. Muramu. In Intimate Affairs.
Stephen Joel Chifunyise. 2008. Vicious. In Intimate Affairs.
Tambayi Oliver Nyika. 1986. A Rat on her Back.
Themba Petros Ndhlovu. 1983. Umkhunjulwa Ufelokwakhe.
Themba Petros Ndhlovu. 1990. The Return.
Thompson Kumbirai Tsodzo. 1976. The Talking Calabash. In Mcloughlin, T O. ed. New Writing in Rhodesia.
Thompson Kumbirai Tsodzo. 1977. Babamunini Francis.
Thompson Kumbirai Tsodzo. 1982. Tsano.
Thompson Kumbirai Tsodzo. 1983. Shanduko.
Tsitsi Dangarembga 1987. She No Longer Weeps.
Willie Chigidi and Wiseman Magwa. 1990. Atsunzunya Regai Atsikwe.
Willie Chigidi. 1986. Imwe Chanzi Ichabvepi.
Willie Chigidi. 1986. Mufaro Mwena.
Willie Chigidi. 1988. Mhosva Ndeyako.
Wiseman Magwa. 1991. Njuzu.
Wiseman Magwa. 2000. Jemedza.
Zambuko/Izibuko. 1987. Katshaa: The Sound of the AK!
