DRAMATIC TECHNIQUE IN The Trial of Dedan Kimathi

The Trial of Dedan Kimathi covers the period of the Mau Mau insurrection and Kimathis relentless fight against colonialism in history and politics of Kenya which lead to the independence of Kenya in December 1963. The atmosphere of the play is one of the unrelieved tension between the resolute will of the peasants and workers of Kenya and the callous and oppressive colonial army and police. The solidarity and strength of the Kenyan men, woman and children makes the colonial rulers view each one of them as a Mau Mau terrorist. The peoples identification with national struggle is so intense that the woman, a pivotal and motivating figure in the play, hides a pistol in a loaf of bread in order to rescue the imprisoned Dedan Kimathi and the boy unconditionally devotes his life to the cause for which Kimathi has been detained, tortured and sentenced to death. The Trial of Dedan Kimathi is a folk play with political overtones that can best be performed in terms of a hybrid mode of presentation. It is a blend of realistic theatre, mime and African song and dance tradition. Real action of the play takes place in streets; with Kimathi symbolizing the active, pulsating life of his beloved Kenya which is freed from the isolation of his cell which threaten to instill in him corroding doubt by cutting him of from his people. There are numerous references in the play to the threat of divisive machinations of the colonial rulers and the weakness in being misled by them. The division is greater between the masses and the African collaborators of imperialism. Greater unity is needed to help and carry forward the struggle for the freedom. The presence of three African collaborators \-business executive, politician and the priest. The third trial when they try to persuade Kimathi is surrendered accept the imperialist offer, emphasizes this political maneuvering. Kimathi is fighting for his people for whom and by whom real freedom is to be won. These are the people who are seen in the streets living and shaping their lives, living and shaping Kenyas history. The major experimentation by Ngugi and Mugo is witnessed in the interspersing the play with songs, giving instructions that, on the whole action should be seen as demolishing the demarcation between formal and infinite time, in suggesting that Henderson plays both Judge-Prosecutor and a member of the Special Branch and projecting him as the enemy friend of Kenya.