The infusion of a foreign language in the social, cultural, economic and political milieu of the African people by colonial imperialist, occasioned severe dislocation on African society and African theatre. It occasioned the erosion of African indigenous language and cultural traits and engendered the abdication of African tradition performances for the hybridized Modern African theatre. This conjugal mix of western and African aesthetics and the adoption of the imperialists' language as the medium of expression occasioned the identity crisis ravaging the African theatre phenomenon. It becomes imperative that this dislocating phenomenon is examined to unravel the extent and implication of dislocation on African theatre. This paper, therefore, examines language as a dislocating factor in African theatre through a comparative analysis of traditional and contemporary African theatre forms to ascertain the nature and impact of dislocation using Binebai's dislocation theory as a frame of reference. As a remedy to the anomaly, this work recommends instituting of an authentic indigenous theatre form and critical standards or negotiating a compromise between African cultural aesthetics and western theatrical structures. The will help to constitute an African theatre that will be functional to the African society at large.