Abstract

I use the notion of speech politics from William B. Worthen’s consideration of how the written text or script and performance influence and inform the other as an evolving practice. (Worthen 2009) I make the argument that the rehearsal of the performance through the Gacaca play by Kalisa Rugano and several grassroots theatre associations that used theatre to rehearse and perform gacaca was influential in certain areas. Here, a critical gap between the written text or script and the performance of gacaca is made visible as the theatrical frame becomes a space to critically analyse some of these larger narratives in relation to the local context.