Ain't no doubt that the Western style theatre is not the sole theatre form in the world. Many performances that was in vogue in ancient Egypt or Mesopotamia may be upheld as where the genesis of theatre spawned. The passion play and the shadow play are also but worthy of mentioning two examples of drama that was performed during the golden days of Islam!
There is no origin of theatre, as I see it. To perform is a human activity that has always been part of human life. One can compare it to other art work or decorations of everyday tools. People have probably always been dancing, singing, shouting, pretending, etc.
@willmar Sauter, with all do respect.
I'm very attuned to what you have upheaved, Professor. However, the very crux I'm trying to pin point is that the Aristotelian theatre is not the only theatre in the world which is considered in the literary scholarship as the starting point for the theatrical practices, it is simply not!
The discourse surrounding the origin of theatre is indeed a labyrinthine journey through historical veils and cultural nuances. While I concur that pinpointing a singular, genuine ground for the birth of theatre may be an elusive quest, it is paramount that we acknowledge and appreciate the documented evidences shedding light on early theatrical forms in civilizations like Egypt and Athens.
In traversing the vast expanse of human culture, we encounter a rich tapestry where theatrical expressions bloom in diverse hues. From the mystic rituals of Africa to the grand spectacles of European stages, theatre emerges as a universal language woven into the fabric of human existence.
African cultures, steeped in the cadence of folklore, the resonance of folksongs, and the vibrancy of rituals and festivals, offer a unique vista into the essence of theatricality. While some European standards may deem these expressions as divergent from their classical models, it is imperative to recognize the intrinsic theatrical elements embedded in these cultural gems.
The burgeoning knowledge in theatre discourse serves as a beacon, illuminating the path towards a more inclusive understanding of theatrical histories. Scholars, armed with insightful analyses, debunk earlier notions of pseudo-theatricality in African forms, unveiling the profound theatrical heritage nestled within rituals, festivals, folklore, and folksongs across tribes, countries, and continents.
Indeed, the evolution of theatre discourse heralds a renaissance of appreciation for the myriad theatrical traditions that have flourished organically in every corner of our world, long before the formal ink of history captured their essence.
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