Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509829
Title: The dramaturgy of Femi Osofisan
Author: Adeyemi, Adesola Olusiji
Awarding Body: University of Leeds
Current Institution: University of Leeds
Date of Award: 2009
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Abstract:
This thesis examines the development of Femi Osofisan as a dramatist and his contribution to world drama. I used his plays to explore how he exploits his Yoruba heritage by reading new meanings into myth and re-writing history to comment on social issues. In Chapter One, I relate the influence of colonialism and Western drama on the drama of Femi Osofisan. Osofisan grew up under British colonial influence in Nigeria; his secondary and university education were during the early years of independence. He was also influenced by the cultures of Yoruba Travelling Theatre, storytelling, rituals and festivals among the Yoruba people. Chapter Two offers a comparative critique of the writing of Wole Soyinka, Osofisan foremost dramatic influence, with that of our playwright. Chapter Three examines Osofisan plays of the 1970s but also includes two plays written in 1967 and 1968. Nigerians who became major writers in the 1970s were referred to as ‘the angry young men of Nigerian literature’ because of their Marxist orientation and because of their commitment to societal change. With University of Ibadan as their base, these writers sought to sensitise the societal psyche, or, in the English rendering of the name of the drama group formed by Osofisan during this period, Kakaun Sela Kompani, produce his plays and sensitise the people to a radical political consciousness. Osofisan also experimented with many dramatic forms during the period. By 1980s, Osofisan’s drama began to challenge popular myths and historic facts along socialist maxims. Chapter Four will look at his work during this decade. In the 1990s, Osofisan embraced a pan-Africanist quest in his dramaturgy, writing plays like Yungba-Yungba and the Dance Contest (1990), Tegonni (An African Antigone) (1994) and Nkrumah ni!... Africa ni! (1994). This chapter therefore assesses these dramas and their contribution to the debate on post-colonialism and pan-Africanism. In Chapter Six, the concluding chapter, I consider the direction of Osofisan’s dramaturgy since the end of the 1990s until 2008 and assess the relative importance and relevance of his work to world literature.
Supervisor: Plastow, Jane Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.509829  DOI: Not available
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