The aesthetics of the Baroque
in The Master of the Empire by Ayayi Togoata Apedo-Amah
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Analysis of the ins and outs of the emergence of the baroque explains its spontaneity in artistic creations and to some extent its permanent stylization in the writings of artists across space and time. In Africa, especially in political or committed theatre, the baroque aesthetic is much used to illustrate the negligence and abuses of leaders that most playwrights blacken by means of caricature. The purpose of this study is to sift through one of Apedo-Amah's baroque works in order to bring out his appropriation of the baroque aesthetic in his play, which is the bearer of his project to bring...
Analysis of the ins and outs of the emergence of the baroque explains its spontaneity in artistic creations and to some extent its permanent stylization in the writings of artists across space and time. In Africa, especially in political or committed theatre, the baroque aesthetic is much used to illustrate the negligence and abuses of leaders that most playwrights blacken by means of caricature. The purpose of this study is to sift through one of Apedo-Amah's baroque works in order to bring out his appropriation of the baroque aesthetic in his play, which is the bearer of his project to bring up to date a type of popular theatre practised in Togo: the concert party. To do this, taking into account the recipes of the baroque, some of which recall the foundations of the poetics of authentic African theater, Apedo-Amah displays his intention to go against the grain of classical drama, better, the theater in the West. By rehabilitating popular theatre through the dramatic text, he traces a new path of representation that combines orality, gesture and writing.
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