ABSTRACT This study assesses how the existence of repressive media laws in Zimbabwe led to the rise of journalistic production of theatre performances. The censorship of media by the state resulted in the use of creative arts as subversive spaces to convey intractable messages for majority consumption—a role similar to that of citizen journalism. Similarly, responding to the suppressive hand of the state on media, online spaces have rampantly enabled the (re) distribution of information to the citizenry. We posit that the spaces created by online platforms are similar to those created by protest theatre in the extension of the role of journalism. While there are considerable difficulties in defining journalism since it has been defined from a varied perspective, ranging from the traditional through to the derivative meanings from context and method of use, this study employs the progressive definition of journalism being inclusive of art forms. To understand protest theatre as journalism in Zimbabwe, we deploy Schechner's performance theory in analysing All Systems Out of Order.

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在 2000 年后津巴布韦的抗议剧院和新闻业之间导航：对所有系统失序的研究

摘要 本研究评估了津巴布韦压制性媒体法的存在如何导致戏剧表演新闻制作的兴起。国家对媒体的审查导致使用创意艺术作为颠覆性的空间，为大多数消费传达难以处理的信息——这一角色类似于公民新闻的角色。同样，为了应对国家对媒体的压制，在线空间已经使信息（重新）分发给公民成为可能。我们假设在线平台创造的空间类似于抗议剧院在新闻角色延伸方面创造的空间。虽然定义新闻业有相当大的困难，因为它是从不同的角度定义的，从传统意义到背景和使用方法的衍生意义，这项研究采用了新闻业的渐进式定义，包括艺术形式。为了将抗议剧院理解为津巴布韦的新闻业，我们运用 Schechner 的表演理论来分析所有系统失序。