ABSTRACT
NGŨGĨ WA THIONG'O EMPHASIZES THE educational implication of traditional performance's orientation to process. Following a traditional model, he and villagers of Kamiriithu created an open–air theatre in which to meet, discuss, rehearse and perform. He contrasts the participatory process of ‘open–air’ theatre with the European model that only opens itself to the public at the end when the show is perfected.
