Le concert-party togolais, une esthétique théâtrale du XXe siècle : un héritage en mutation

This article examines the trajectory of the concert-party in Togo, a popular theatrical form originating from the ports of the Gulf of Guinea, its codes (itinerant advertising, dance, first open, participatory performance), and its transformations in the 21st century. Based on fieldwork (observations/interviews) and a return to historical sources (Ricard, Cole), we analyze how the form is being reconfigured (duration, gender-mixed troupes, Gazo-kini, the Kétéké vs. Asihu principle), and how it reshapes its archetypes and languages. The Gbadamassi case study illustrates a postdramaturgy that combines heritage and innovation. Finally, we discuss the challenges (funding, training, digital audiences) and the prospects for active heritage-making.