Theatre of Cameroon consists in the theatrical plays produced across Cameroon. Its history dates back to the pre-colonial time, but it has gained wide popularity since the 1970s, with practitioners such as Daniel Ndo, Dieudonné Afana and David Kemzeu (alias Deiv K. Moktoï). It is made of different trends, some of them are more inflected by the European theatrical tradition, some others are more attuned to the indigenous performative styles. The comic genre is presently dominating so that laughter has become synonymous with modern Cameroon theatre productions, according to Bole Butake. Theatre of Cameroon is sometimes subdivided in traditional theatre, colonial theatre, and post-independence theatre. History Cameroonian theatre production starts well before the annexation of Cameroon by the Germans at the Berlin Conference. Traditional ceremonies and rituals, which are made of a combination of dance, music, spoken word and mime, can be seen as forms of theatrical performance. Ambassa Betoko points at the Mvet among the Betis, the Ngondo among the Sawas, and the So among the Ewondos, while Tala interprets the religious ceremony Menda-Nkwe of the North-West Cameroon as a ritual drama. The traditional theatre's main features are multi-mediality, improvisation of the dialogues, and the spontaneous participation of members of the audience in the performance. During the pre-colonial time also missionaries stage theatrical plays, in order to spread their religious message and Christianize the native people. These are dramatizations of Bible passages in the local languages, such as «The parable of the ten virgins», «The birth and death of Christ» and «The treachery of Judas». During the colonial era, theatre becomes a didactic tool used by teachers in schools. They organize the staging of European playwrights such as Molière, Shakespeare and La Fontaine, in both colonial and local languages, and encourage the writing of new works. According to the colonialist mentality of the time, the goal is to educate and uplift the local viewers from their so-called “primitive” ways of lives, through plays that celebrate the virtues of Western culture. After independence, there is an upsurge in dramatic production, characterized by artistic-oriented scripts, the use of standard French/English and well-educated publics. The first play of francophone Cameroon is Trois prétendants: un mari by Guillaume Oyono-Mbia, while I am Vindicated by Sankie Maimo is the first play of anglophone Cameroon. Many factors contribute to this favorable situation. A first boost comes from the mass-media and particularly the establishment of radio