Abstract
Since 1970, the young generation of dramatists in the Ivory Coast has questioned the approach to the theatre represented by the tradition of the Ecole William Ponty and even by the new writing of Bernard Dadié, with his Monsieur Thôgô-gnini and, especially, Béatrice du Congo. Following Aimé Césaire's example, Dadié began writing political plays after 1966, but did, at the same time, incorporate some features of the traditional theatre. The founders of La Griotique, discussed below, thought these reforms too timid and were determined to break completely with the old style. This was the starting point for the new trends we shall be examining in this article.
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