Theatre Performance as a Reconcilable Tool: An Analysis of the Performance of Eyoh Hansel Ndumbe’s “The Magic Flute”

Tanyi-Tang Anne

From late 1980s and early 1990s, the world experienced change. It started with the collapse of the Berlin wall in late 1980s followed by the release of Nelson Mandela in 1990. Oppressed people in developing countries, particularly in Africa witnessed another wave of change and yearned for political liberation. Cameroon was not an exception.  Some English-speaking playwrights who believed that English-speaking Cameroon was socially, culturally, politically and economically exploited by French-speaking Cameroon turned to theatre as a means through which they could express their concerns. They wrote, produced, directed and performed plays which called for English-speaking Cameroon to secede from French-speaking Cameroon. Ndumbe Eyoh Hansel was one of the playwrights. However, unlike his peers who asked for secession, he wrote, produced and directed “The Magic Flute” which called for reconciliation. The audiences which watched the performances of “The Magic Flute”   responded positively to the call for reconciliation. The reception theory is used in the analysis.