Theatre in Eurasian lands impacted by European colonialism is often discussed in terms of being “traditional” or “modern.” This chapter proposes a conceptual framework that better accounts for the many theatrical paths taken in those lands over the past two centuries. It first considers sub-Saharan African theatre, including its long-established masquerade traditions, its twentieth-century syncretic forms (e.g., Concert Party theatre and Yoruba Travelling Theatre), and its domestication of European-style spoken theatre. It then turns to South Asian theatre, discussing not only the continued importance of established forms but also the emerging indigenous forms (e.g., tamasha and nautanki) and syncretic forms (e.g., Parsi theatre), as well as the domestication of spoken theatre. The chapter also examines Southeast Asian theatre, which similarly saw a degree of continuity in established forms while at the same time spawning new syncretic forms (e.g., likay and bangsawan) and domesticating spoken theatre.