Abstract
Femi Osofisan is one of the most prominent contemporary Nigerian dramatists, with over fifty plays to his name. This corpus includes numerous adaptations, mostly from classic Western theatre. This article begins by addressing plays by Osofisan that are not adaptations, but that represent critical engagements with fellow Nigerian dramatists. Using a theoretical underpinning drawn from translation theory, it then analyzes the adaptations, focusing especially on those works in which Osofisan’s dramaturgy is most audacious and challenging, especially in its bringing differing historical periods into contact and conflict.
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