Black African theater has undergone a diachronic evolution from an artistic point of view. Starting from an art of oral expression recounting the social, cultural, economic and political life of traditional Africa, this dramaturgy is, today, in search of a more universal field of action. From now on, the identity of the characters is neither racial nor fixed. The status of these is reconstituted by the reader in the course of the microstructures. In the subversive aesthetics or the rupture of Koffi Kwahulé, each word emits a sound similar to the sounds of different instruments of Jazz. This linguistic practice is a modality that allows him to create jazz theater. In addition, the dramaturgy of multicolored aesthetics, like the zebra, succeeds in the challenge of subversion by discoloring the clues that constitute its framework. It deconstructs, at the same time, the theatrical structure, the character, the space, the time and the frame. The theatrical art of Koffi Kwahulé demonstrates that African playwrights today are in search of a new aesthetic, a universal art that takes up the cause of every human being.