and in which Ngugi's individual subjectivity is “unclassed, ” and I Will Marry When I Want, in which a well-meaning, but petty-bourgeois consciousness regains its authority by objectifying the people. I Will Marry When I Want transgresses the very laws it appears to have set for itself, so that instead of “incarnating” the soul of the masses, it “incarnates” the crisis-laden soul of Ngugi himself. As it circulates as a text and is produced as a performance it is a play in which the workers and peasants are depicted by an “other.” Ngahiika Ndenda, on the other hand, suggests that it is not enough to reinterpret the Bible in decolonising ways, no matter how radical. It interrogates the very institutions, language and discourses of theatrical performance which inscribe the silence of the masses in theatre. It is these institutions which are responsible for the violent hierarchical ordering in which the Bible is given greater value than non-biblical religious narratives.
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