ABSTRACT
This chapter begins with an overview of national and transnational politics that have impacted Equatorial Guineans, before moving on to the dramas mentioned earlier to observe their treatment of national tensions/transnational tensions. It highlights the differences or similarities between the proposals for civic participation presented in these plays and those of a larger effort on behalf of African dramatists across the continent to promote social consciousness among their national audiences. The chapter extends that the dramas reflect-directly or indirectly- on a Spanish colonial past, Equatorial Guinean theatre is recognised as an art that bridges other literary traditions produced in the Hispanic world. Trinidad Morgades presents an image of self-renewal in correlation with Western biblical dogma; her play demonstrates a conscientious appreciation of the Equatorial Guinean circumstance. The meta-dramatic critical apparatus that frames this reconstruction of the Greek tragedy justifies the identification of Morgades' piece as part of African post-negritude drama as it underscores theatre's capability of historical and social reflection.
