(Social commitment, tradition and modernity in the pre- and postcolonial Tunisian theatre: An overview)
in La rivista di Arablit, a. VII, n. 13, giugno 2017, pp. 69-89.
The present paper aims at showing how even if the Tunisian dramatic production of the last century has always been labelled as ‘immature’, Tunisia has amazingly been a prolific laboratory of all the recent trends in European drama. This in spite of the outstanding problems and issues it has been facing, such as censorship, lack of professional actresses and scarcity of financial resources. Besides being an active arena for public discussion and confrontation about the quest for independence, throughout the centuries, drama in Tunisia has become a powerful means of denunciation of the most daring social and political issues, thus developing, at the same time, its own genres and original plays. After a brief phase of translation and imitation from Italian and French models, Tunisian drama has found its own ways of expression, embodying its best dramatic production in the genre of the musical play. This was also due to the rivalry – but sometimes cooperation – among the most prominent companies of the country.
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