See Hegel's «Lordship and Bondage», in The Phenomenology of the Mind, arguing that the bondsman derives his identity through the master. See too Alexandre Kojève's Introduction to the Reading of Hegel for a succinct summary of Hegel's master-slave relationship. To «speak of the "origin" of Self-Consciousness is necessarily to speak of a fight to the death for "recognition"»; the human being «is begotten only in and by the fight that ends in the relation between Master and Slave» (Kojève, 7, 9).

T. Philemon Wakashe, in «Pula: An Example of Black Protest Theatre in South Africa», describes a production of Pula, written by Matsemela Manaka, in which the actors call for solidarity in the blacks' struggle to repossess their land. Wakashe, as audience member, states that «if at that moment the actors had dared to call on the audience (at a black township hall in Soweto) to rise and repossess their lands, I believe all of us would have gone».

Pianca, in Diogenes (1:8), quotes Sergio Corrieri, director of Teatro del Escambray: «The whole generation was revolutionary; we were militant, we had fought at Girón, we were facing the most difficult transformations and the most serious problems of revolutionary change and... damn!, then we'd go and rehearse Ionesco».

«Still about Avant-Garde Theatre», 8. Ionesco distinguishes between permanent and topical truths: «More of us die in wartime: topical truth. We die: permanent truth» (94); hence, he feels we can speak of some plays as being «more true, more universal» than others. In «Remarks on my Theatre and on die Remarks of Others» (98), he adds that a work of art «cannot have the same function as an ideology, for if it did it would be an ideology, it would no longer be a work of art, that is to say, an autonomous creation, an independent universe with its own life and its own laws.... A work of art is for me an expression of native intuition that owes almost nothing to other people».

References to Ceremonial de guerra and Palabras comunes are to Triana's unpublished typescripts of the plays.

The use of the map is problematic, and I deal with it as part of more detailed analysis of Ceremonial in Taylor, «Framing the Revolution».