ABSTRACT
Drama, in much the same manner as the rest of the literary genres cultivated in Equatorial Guinea, signals concurrent processes of nation-building and decolonization. In spite of its potential for penetrating a national audience with little access to formal education, dramatic writing has not been a favored expression of Equatorial Guinean authors, most of whom tend to write poetry, fi ction, or essay. Notwithstanding a reduced corpus, the dramatic texts available to the readers inside and outside of Equatorial Guinea emerge as an active space in the formation of discourses of nation and citizenship. This is in spite of the environment of surveillance under which these texts are written and performed.1
