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The current critica! emphasis on self-referentiality brings to the fore an important component in modem theatre practice, namely its engagement in privileging representation and simulacra. Baudrillard's critique of representation articulates such celebration as, "no more mirror and appearances of the re al and its concept... In fact, since [the real] is no longer enveloped by an imaginary, it is no longer real at all. It is a hyper real, the product of an irradiating synthesis of combinatory models in a hyper space without atmosphere."2 The celebration of theatricality and performativity has become dominant not only in the Western tradition, but in the Arab theatrical scene as well. Such phenomenon has become a generalized feature of the so called postmodem epoch of writing -as well as the postcolonialsince our Global Village now is not only a hyper space of 'mobile objects' but also one of 'reflexive subjects'; not only one of global hyper comodification but of opportunities for enhanced social intelligence and cooperation. The degree of the ability to reflect upon the social conditions of existence is linked to the process of globalization and of accelerated de-traditionalisation of modem societies including developing on es like Morocco. 3 Hence, reflexivity becomes a characteristic feature of our age embedded in our cultural processes; and theater is, in deed, part of these cultural processes. 4

Performing Comicality in Moroccan Theatre: The Postcolonial condition of hybridity and the third space