This chapter examines the different theatrical forms developed within the context of increasing state surveillance, harassment, arrest, persecution and censorship of political theatre in Zimbabwe at the turn of the century as subordinate social groups strive to express dissent in the face of an overwhelmingly oppressive hegemonic power. It argues that popular theatre artists in Zimbabwe often develop new and relevant systems of aesthetics for theatrical performances in order to keep pace with an ever-changing political climate, while simultaneously endeavouring to remain true to a progressive social and political agenda. While providing a historical overview of the various ways in which Zimbabwean popular theatre practitioners constantly negotiate and navigate the political landscape, this chapter particularly focuses on a wide range of surreptitious strategies as well as on the risky, in-your-face performances that artists created to resist subjugation, express dissent and critique the state, especially during the crisis decade (1998- 2008). While Zimbabwean theatre activists envision change by challenging or undermining established forms of power and authority in response to the 21st century's call for the contestation of ideas around possible options for economic development and democratization, the state in turn views popular theatre as a threat to national security and stability. Consequently the regime views artists who practice political theatre as unpatriotic traitors who should be silenced, meaning that all state security organs are mobilized and put on high alert to banish all political theatre activity. This chapter not only analyzes the various censorship mechanisms, but also examines a plethora of ingenious strategies that popular theatre artists living and working in such a highly treacherous political terrain devise to evade censorship and pragmatically ensure their survival and artistic advancement.