Abstract
Community theatre has for a long time been considered as an ‘alternate’ to the main stream, a practice on the margins. Scholarly attention to the practice of scenography within community theatre performance practice occupies the periphery of a discipline that is already on the fringe. Through the use of two practice-as-research case studies in two cities in Zimbabwe and South Africa, this paper identifies varied ‘politics’ that influences the practice of scenography. The interrogation of these politics highlights the creativity, versatility and lay bare the challenges and need for personnel development with specialised interest to the technical needs of community theatre practice.
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