The configuration and formation of the postcolonial theatre

The emergence of the post-colonial theatre is connected to the production of intercultural collaborations which are based on the different purposes. Some theatre’s groups and directors, who have a specific mise-en-scène and styles, have been involved into this kind of theatre cooperation. The numbers of artists, who are interested in working on the production of intercultural collaborations, pay attention to the intercultural collaborations to create a performance. Regardless of how the development of these productions is, and how diverse performances have been emerged, and what forms and meanings exist, all of them depend on artists and their manifests. This article is going to show the real and unreal (visible/invisible) purposes and perspectives of artists, who involve in this theatre. This paper is going to focus on some contemporary artists who are famous. Consciously and unconsciously, they have spent their lives in the formation of the colonial and post-colonial theatre, such as Peter Brook, Eugenio Barba, Jerzy Grotowski, Antonin Artaud, Vsevolod Meyerhold and so on. How and why the phenomenons of “post-colonial” form on the field of theater, and what the mechanism of this production is, are two main questions.