(Anti)Colonials dramaturgy, History of Theater and Colonialism is a research about authors whose dramaturgy is inscribed in Colonial History, inpired directly from reels events linked to the colonies (Shakespeare's Tempest; Miguel Cervantès) or trying to oppose an alternative story on colonized people around the world (Aimé Césaire; Kateb Yacine; Sony Labou Tansi). How occidental Art, more precisely theater, relied on representations of Others inferiors, despising their culture as their life? How the History of colonisation snuggled in our representations, engaging a series of cliches, exotics and racists? And, fist, what is racism, who is racist?

For Achille Mbembe, a camerounese philosopher, in Critique of Black Reason, the racist is those for who "seeing a Nigger, is not seeing that he isn't there; that he doesn't exist; that he is but the pathological fixation point of an absence of relation. We must consider Race at the same time as an below and a beyond the being. It's an imaginary operation, the meeting point of the darkness and the obscure regions of the inconscious." Colonisation is operating a overthrow of humanity, making litteraly disapear the one in front of oneself, because of an imagination that is complety saturated by contradictories and automatics informations. Theater, as an european art, is not above those representations, even naturalizing them. Europeans dramaturgies is first of hand a work of making the Other disapear, even if the Other is here. Playing, as in role playing, in this contexte, is first not seeing the one in front of oneself, plating a represenation that doesn't exist. Dramatic anti-colonial litterature, proposed a response which takes many forms in History, and claims an equal humanity, won by struggle and artistic avant-garde, by claiming the right of the Other to be where is not suppose to.

If today's theater is moved by such questions, the simple presence of people from the diaspora on stage is sufficient to shut down any further questions and necesary debates. It would be dangerous to think that diversity policies in our institutions or our stages will be efficient alone to resolve the colonial question, even though i am not denying it's necessity. Achille Mbembe quote proves that being here is not the problem, the problem is who and how oneself is whatching, who this person is treated. The minorities on a stage remains mainly to satisfy a White public, linked to represenations of minorities that are acceptable (the migrant; the youhtness from the outskirts; the rebel). Because a White public (I define white not as a color but as an ideology) watches in a certain way how the actors and actresses performs, or which form is used by an artist. The End of colonization (and it's not quite achieved) didn't signed the end of our insconscient.

The vast heritage of an dramatic anti colonial litterature from artists born in ancient colonies helps us to see that diversity of writings, dramaturgies and ways to interpret them isn't the problem, because of the large works of people not born in Europe. The problem is that the validity of their works is often questionned as if "their problems" isn't ours. Indeed, occidental theater remains largely opaque to be changed by those new ways to make theater, as if our institutions is opposed to be transformed by artists who considers that political and artistical forms are but one. And that theater is a place of struggle for equality, without denying poetry and avant-garde initiatives and questionning what is theater.

What I intend to do is, with the materials I already talked about, trying to understant how dramaturgies respond to a certain need of represenation and political imaginary, which implies certain needs for interpretation. What are the forms that chooses an artist and why? How the public, his gaze and it's cultural vision transforms the vision of an art work? Finally, in that context, what is the place for minorities, whose are often confined in a represenation that doesn't suits them? Because, even is artist from the minorities to get out of that White gaze, theater industry is now very attracted to these types of subjects. The presence of diversity often is an obstacle to talk about the real needs of artists issued from immigration, without any half-mesures of concessions.