When one thinks of a dictator known for his passion for theatre, the first that comes to mind is, of course, Stalin. The Soviet leader was accustomed to attending numerous plays, particularly those of Mikhail Bulgakov. However, another socialist dictator had a special relationship with performances. This was Ahmed Sékou Touré, president of Guinea Conakry from 1958 to 1982.

Sékou Touré was a trade unionist who, in 1958, led the opposition movement against French colonialism, helping his country achieve independence. Ideologically, he drew inspiration from socialism, Pan-Africanism, and anti-imperialism.

An element that immediately characterised his regime was the importance he placed on theatre. Numerous theatre festivals and competitions were held at the regional and national levels, attracting widespread public participation, especially from young people. There were also juries that awarded prizes based on ideological orthodoxy. Guinean theatre was, in fact, highly politicised: Sekou Touré himself declared that "militant theatre is the only theatre we know."

The purpose of the performances, in fact, was to involve the people in the construction of a socialist and pan-Africanist society. For this reason, the performances were not in French but in the "national languages" (Soussoi, Fula, and especially Malinke). The themes of the performances conveyed the regime's messages and values. Through the depiction of family or romantic events, the population was urged to learn to read and write, remain in the countryside, practice monogamy, reject Western clothing and music, abstain from alcohol, and despise imperialism and traitors.

The performances also addressed historical themes, especially opposition to French colonialism. For example, The Treason of Daoulen Karamo reenacted the 1886 story of Guinean Prince Daoulen Karamo, who conspired with the French to occupy Guinea but was discovered and executed by his father, King Samori Touré. In 1970, when Sekou Touré attended the play, he became very angry, believing the actor played the traitor too convincingly and gave too much room to the traitor's arguments. According to Sekou Touré, even portraying a traitor too well amounted to being a traitor.