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| Preface | |
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| Fate of a Cockroach | |
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| Intelligence Powder | |
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| Sizwe Bansi Is Dead | |
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| Death and the King's Horseman | |
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| Collision of Altars | |
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| The Dilemma of a Ghost | |
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| I Will Marry When I Want | |
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| Esu and the Vagabond Minstrels | |
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| On National Culture | |
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| Theatre in African Traditional Cultures: Survival Patterns | |
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| Enactments of Power: The Politics of Performance Space | |
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| The Reinvention of Theatrical Tradition | |
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| African Theatre in a Global Context | |
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| Dimensions of Theatricality in Africa | |
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| Art as Tool, Weapon or Shield?: Arts for Development Seminar, Harare | |
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| [Trends in the Drama of Tawfik al-Hakim] | |
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| Introduction to "Fate of a Cockroach" and Other Plays | |
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| [Philosophical and Psychological Themes in Fate of a Cockroach] | |
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| [The Theatrical Carnivalesque in Intelligence Powder] | |
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| [Populist Aesthetics and Idioms in Kateb Yacine's Theatre] | |
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| The Pragmatics and Aesthetics of Kateb Yacine's Theatre Practice | |
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| Introduction to Statements | |
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| "Robert Zwelinzima Is Alive" | |
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| [Artistic Ambivalence in Sizwe Bansi Is Dead] | |
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| The Statements Plays | |
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| Author's Note to Death and the King's Horseman | |
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| Towards a True Theatre | |
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| The Fox's Dance: The Staging of Soyinka's Plays | |
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| [Cultural Death and the King's Horseman] | |
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| Tribute to Wole Soyinka | |
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| Author's Note to Collision of Altars | |
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| Collision of Altars: Notes on History | |
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| Art and Ideology in the Plays of Tsegaye Gabre-Medhin | |
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| [Tsegaye Gabre-Medhin and Ethiopian Reformist Theatre] | |
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| [Oral Tradition in Dilemma of a Ghost] | |
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| [Motherhood in Ama Ata Aidoo's Plays] | |
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| A Bird of the Wayside Sings | |
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| Women in Cultural Work: The Fate of the Kamiriithu People's Theatre in Kenya | |
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| I Will Marry When I Want | |
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| [Formal Strategies and Social Commentary in His Plays] | |
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| Hegemony Rests with the Audience | |
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| [Form, Content, and Context in Femi Osofisan's Drama] | |
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| [The Theatre of Femi Osofisan] | |
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| African Drama: A Chronology | |
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| Selected Bibliography | |