The dramaturgy of Ola Rotimi

Abstract

This study examines the evolutional phases of Ola Rotimi as a dramatist and his contribution to Nigerian, African and world drama. In this study, some of Ola Rotimi’s plays are analysed, to investigate and document how his Yoruba and Ijaw cultural background became an important tool in the craftsmanship of his plays, especially those that comment on social issues. In addition, the study discusses the influence of Western drama on the drama of Ola Rotimi. Rotimi studied at Yale School of Drama and Boston University, in the United States of America. Consequently, his exposure to western dramatic theories, dramatic concepts, epochs in world drama and theatre shows, clearly, in many of his works. Furthermore, this study asserts that Rotimi was also influenced by the cultures of Yoruba Traditional Travelling Theatre, storytelling, rituals and festivals among the Yoruba people. The study relied primarily on secondary literature; and related Rotimi’s drama and theatre to Cremona’s (2007) concept of ‘Theatre as Poly-System’ and Sauter’s (2007) theory of ‘Theatrical Events’. Rotimi, in his dramaturgy, embraced ‘socio commitment’ by dramatizing issues that concern the Nigerian populace, in connection to socio-political and economic mishap, in his plays, such as Our Husband Has Gone Mad Again (1977), If … (1983), Hopes of the Living Dead (1988), the three-act plays: Who is a Patriot? When Criminals Turn Judges, Man Talk, Woman Talk, and Tororo, Torororo-ro-ro (2006).