Academic literature on the topic 'Soyinka'

It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka’s award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award.

Abstract The paper seeks to ascertain through the linguistic approach whether Wole Soyinka's The Trials of Brother Jero is actually, as propagated in some quarters, a focus on the problem of communication. Analysis is carried out on the lexico-semantic and morpho-syntactic features of the text, and in the process other linguistic flourishes typical of Soyinka are highlighted. These include especially features of graphetic and graphological importance. The study shows that Soyinka is a playwright with a penchant for linguistic communication. His dramatic raison d'être is to reach his Nigerian audience as stylistically as possible. Résumé Le but de cette recherche est l'étude linguistique de la pièce The Trials of Brother Jero de Wole Soyinka, et plus spécifiquement la vérification du constat chez certains critiques littéraires que cette pièce est liée en particulier au problème de la communication. Nous avons procédé à une analyse basée sur les aspects lexico-sémantiques et morphosyntaxiques du texte, et chemin faisant, nous avons découvert d'autres aspects stylistiques propres à Soyinka. Il s'agit surtout de caractéristiques d'importance graphique et graphologique. L'étude prouve que c'est à son penchant pour la communication langagière que Soyinka doit sa célébrité en tant que dramaturge. Son art dramatique n'a d'autre raison d'être que de créer d'une manière pragmatique une entente psychologique avec son public nigérien.

In fact, What became Ake started out with me wanting to write a biography of an uncle, a very remarkable uncle of mine, who is mentioned here, Daodu, Rev Kuti. I think some of you have heard of Fela, the Nigerian musician. Daodu was his father and a very remarkable individual.Wole Soyinka in Jo Gulledge (ed.), ‘Seminar on Ake with Wole Soyinka’, in The Southern Review (Baton Rouge), 23, 3, July 1987, p. 513.The publication of Ake: the years of childhood (London, 1981) won Wole Soyinka admirers among those who had never read his poetry, novels, newspaper articles, or criticism, never seen his films or plays. In a seminar on Ake which he gave in Louisiana during March 1987, Soyinka said that the autobiography had started from a desire to write a biography. He went on to say that he had ‘received letters about the book from the strangest parts of the world’.1 The autobiography was widely and favourably reviewed, it was awarded prizes and contributed to the elevation of Soyinka's reputation throughout the world—including Sweden, where he was subsequently presented with the Nobel Prize for Literature.

Abstract: Wole Soyinka publicly broke from his parents’ faith in early adolescence, yet his anti-Christian stance was not fully realized until his early thirties. Thus, a rich religious dialogue animates the first eight years of his artistic career, 1958–1965. In works from these years (during which Nigeria gained its independence), Soyinka keenly observes and insightfully images Christianity yet holds it at a distance. Soyinka’s changing religious outlook is examined through three works from this period: Camwood on the Leaves, The Interpreters , and The Road . Actions suggesting that he was gradually letting go of his inherited Christian values are also explored.

This abstract delves into the discourse of radical humanism and pluralistic perspectives as manifested in four significant plays by Wole Soyinka, the renowned Nigerian playwright and Nobel laureate. The selected plays for examination are "The Swamp Dwellers," "The Strong Breed," "Madmen and Specialists," and "A Dance of the Forests." Wole Soyinka's theatrical repertoire is characterized by its profound exploration of human agency, societal dynamics, and the clash of tradition and modernity. Through intricate plots, vibrant characters, and symbolic imagery, Soyinka navigates themes of power, oppression, spirituality, and the resilience of the human spirit. At the heart of his works lies a fervent commitment to radical humanism, advocating for individual autonomy, dignity, and social justice in the face of tyranny and societal decay. Furthermore, Soyinka's plays reflect a pluralistic worldview that celebrates the multiplicity of cultures, beliefs, and worldviews across Africa and beyond. He intricately weaves indigenous traditions, colonial legacies, and global influences into the fabric of his narratives, challenging monolithic narratives and embracing the complexities of cultural hybridity and interconnectivity. By closely examining the selected plays, this study aims to unravel how Soyinka employs dramatic techniques, linguistic innovation, and cultural symbolism to critique entrenched power structures, challenge hegemonic narratives, and amplify marginalized voices. Through the lens of radical humanism and pluralistic perspectives, Soyinka's plays offer profound insights into the human condition and the quest for meaning, freedom, and belonging in a rapidly changing world. This research contributes to a deeper understanding of Soyinka's literary legacy and its enduring relevance to contemporary discussions on identity, politics, and social transformation. By shedding light on the interplay of radical humanism and pluralistic perspectives in Soyinka's dramatic oeuvre, this study invites readers to engage critically with the complexities of human experience and the ongoing struggle for justice and equality.

This article re-examines views of some literary critics who find Soyinka’s style intolerably complex and those who disagree with this extremist view. The article further examines reasons given by each group. An attempt is then made to summarize the reasons given for the complexity of The Interpreters by getting into the text to reappraise the major styles Soyinka employs. Behind all this is an attempt to demonstrate that Soyinka is very much a committed artist giving a scathing comment on the corruption and bankruptcy of the so-called leaders (interpreters) of a newly independent Nigeria (Africa). Finally, as a rebuttal to increasing anti-Soyinka critics within our local/Ugandan society, some of whom mere singers of prejudices, the article attempts an ‘educating crusade’: challenging practicing teachers/lecturers first, and then extending this to our Language Education Curriculum in Teacher Training Colleges and Universities to re-examine the way we prepare our teachers of English and Literature for the critical task ahead during their execution of professional obligations. This is how the article looks at The Interpreters as a very important pointer to something that has gone wrong with our pedagogical and methodological practices. It is not Soyinka alone under attack when we label him too complex to deserve our attention but many other authors constantly being pooled into the ‘hole of poor or no readership’ in this country.

Wole Soyinka’s diasporic experience in foreign countries can be divided into two stages. In 1954, he went to study in the UK, having his theatrical talents exercised and improved. His works at this time mainly showed deep concern for the fate of his motherland, Nigeria. In 1964, in order to avoid political persecution, Soyinka was forced to flee to Europe and the United States, and the works at this time mainly expressed his criticism and struggles against the political dictatorship in Nigeria. These two diasporic experiences enabled Soyinka to integrate African and Western cultures into his w-orks and poetic theory. While absorbing the essence of human art, he resolutely returned to his home culture of Africa, creating a type of soul-shaking “ritual tragedy” and developing a unique theory of African tragedy.

Critics make a large claim that Wole Soyinka mythologizes death and deploys ritual form in his dramatic works but hardly account for the same in this light regarding his poetry, especially "Procession", a sequence which bears so many marks of this style. Critics of "Procession" discount a lot from its richness in mythological and ritual forms but focus more on its topical, social and political nature. The trend in the criticism of the sequence is obviously informed by the historical and political context of the sequence and its inclusion in A Shuttle in the Crypt (1972), a collection on Soyinka's prison experience. This approach to "Procession" detracts from the art in the sequence, fails to appreciate fully the poetry's formal properties and so the poetry requires a close reading. Formalism is applied to study the poem and the study stresses the analysis of the work as a self-sufficient verbal entity, constituted by internal relations and independent of reference either to the state of mind of Soyinka or the actualities of the "external" world. The approach highlights in a fresh manner the elements which the earlier criticism the poetry stresses to reveal Soyinka's mythologization of death and preoccupation with ritual forms in "Procession". The study reveals that Soyinka is not just preoccupied with political imprison- ment and judicial death but mythologizes the experience and treats rites de passage. It shows further the breadth with which the poet accentuates the esoteric theme through his by deployment of devices such as symbols, the motifs of passage, biblical allusion, pathetic fallacy, pun, incantatory rhythm, paradox, irony and humour.

The volume of critical writing on the theatre of Wole Soyinka both in Nigeria and abroad indicates his unrivalled pre-eminence among African play wrights. His work is still not as well known in the West as it should be, though his plays do occasionally get performed, especially in the USA, and it is encouraging that six of them have recently been published in one volume in the Methuen ‘Master Playwrights’ series. If cultural chauvinism is at least partly to blame for ignorance of the Third World's leading dramatist, there is also a genuine problem of access to a writer whose work is ‘difficult’ even for the educated élite among his own people. Indeed, some younger Nigerian critics have persistently accused Soyinka of obscurantism and of being too much immersed in private myth-making, an arcane metaphysics, at the expense of communicating with a popular audience about issues which directly concern it. A heated and sometimes acrimonious debate has arisen in the last few years around Soyinka's theater, in which the dramatist himself has participated both as critic and artist. Since the controversy, like the drama, is not well-known, and some of its key texts are not easily available, my purpose here is to summarize its main features, the implications of which go well beyond the work of a particular writer, however important. In conclusion, I shall briefly review Soyinka's more recent work and its bearing on the critical debate.

Wole Soyinka, auteur d'une vingtaine de pièces de théâtre, de deux romans, de poèmes et de bien d'autres œuvres est aujourd'hui considéré comme l'un des piliers de la littérature africaine. Il est apprécié par les spécialistes de littérature non pas pour la quantité de ses œuvres mais plutôt pour leur qualité, bref pour son talent d'écrivain. Il a su dans son œuvre intégrer les éléments de la tradition orale yorouba tels les mythes, les proverbes, etc. . . Et ceux de la culture occidentale. Soyinka analyse les rapports conflictuels entre la tradition et la modernité et définit le rôle que doit jouer l'artiste c'est-à-dire l'écrivain dans les sociétés traditionnelles et modernes. Cette démarche permet d'aboutir à une synthèse, à une symbiose de la tradition et de la modernité dans la culture africaine. En tant qu'écrivain engagé, Soyinka dénonce toutes formes d'oppression et milite pour la solidarité et la justice sociale. Son engagement politique se manifeste surtout à travers le théâtre qu'il considère comme son arme révolutionnaire
Author of about twenty plays, two novels, poems and other works, Soyinka is considered nowadays as one of the pillars of African literature. Experts in literature appreciate him not for the quantity of his works but for their quality, in a word, for his artistry. In his works, he has succeeded in combining the elements of the Yoruba oral tradition with those of the western culture. Soyinka analyses the conflict between tradition and modernity and defines the part the writer as an artist has to play in the traditional and modern societies. This will lead to a synthesis of tradition and modernity in African literature. As a committed writer, Soyinka denounces all forms of oppression and militates in favor of solidarity and social justice. His political commitment appears in his drama which he considers as a revolutionary weapon

Na moderna literatura africana, poucos autores se destacam tanto quanto o dramaturgo, poeta, ensaísta, memorialista e ficcionista nigeriano, de origem iorubá, Wole Soyinka, internacionalmente célebre e ganhador do Prêmio Nobel de Literatura em 1986. Soyinka é conhecido sobretudo como dramaturgo, e seu teatro se caracteriza pelo uso de uma variedade de gêneros literários, formas, linguagens extraliterárias, como a dança e a música, e outros recursos relacionados à cultura iorubá. A obra de Soyinka, escrita em inglês, incorpora tanto elementos das literaturas ocidentais quanto das africanas, e seu inglês é marcado pela constante visitação da oralidade iorubá em provérbios, metáforas e fragmentos de poemas tradicionais assim como sua dramaturgia incorpora elementos do teatro tradicional de seu povo. Acima de tudo, seus enredos, que incluem temas atuais como corrupção, lutas por poder e conflitos entre o indivíduo e seu grupo, estão alicerçados na visão de mundo e cosmogonia iorubá, contendo ainda diversas referências mitológicas e rituais. Em outras palavras, Wole Soyinka se caracteriza, antes de tudo, como um escritor iorubá, cuja obra, cosmopolita em seus temas e conflitos, encontra suas raízes e enquadramento filosófico na visão de mundo de seu povo. É nessa forte presença de elementos iorubás que se encontra um dos maiores interesses das obras de Wole Soyinka para o Brasil. Sabemos que, nos últimos tempos, está havendo uma considerável valorização de elementos de origem africana presentes na cultura nacional, dentre eles, os encontrados nas religiões de matriz africana, que se mostram verdadeiros repositórios de mitos e símbolos de grande riqueza semântica. Tais mitos e símbolos presentes nessas religiões são majoritariamente de origem iorubá. Ler a obra de Soyinka no Brasil, portanto, é buscar uma nova forma de se relacionar com esses elementos e de valorizá-los em sua dimensão literária. Entre as peças de Wole Soyinka, a mais conhecida é provavelmente Death and the King’s Horseman, publicada em 1975 e com diversas realizações teatrais na Nigéria, Estados Unidos e Reino Unido. Baseada em uma situação real na Nigéria colonial, em que um costume do povo iorubá entrou em conflito com a ordem britânica, tal peça é aquela em que visão de mundo e mitologia iorubá estão mais bem articuladas com uma linguagem rica em gêneros e fragmentos da literatura oral iorubá, sendo particularmente proveitosa para uma aproximação cultural. Esta tese oferece uma análise da peça baseada em noções da cultura, da mitologia e da visão de mundo iorubá e nas teorias estéticas e metafísicas do próprio Wole Soyinka. Destacam-se nesta análise os aspectos simbólicos, míticos e metafísicos, assim como os estéticos. Essa análise é precedida de um estudo sobre dimensões da cultura iorubá importantes para o entendimento da peça, tais como história, religião, mitologia, filosofia e artes. Em seguida, as teorias estéticas de Wole Soyinka são estudadas sobre o pano de fundo das discussões literárias vigentes na África no período em que Soyinka engendrava tais teorias. É a partir desses elementos que a peça é analisada. Acima de tudo, esta tese oferece uma tradução de Death and the King’s Horseman que busca valorizar seu conteúdo lírico, suas várias linguagens e suas perspectivas filosóficas, com base nos estudos que foram feitos nos capítulos precedentes, concluindo a tese com observações sobre o processo de tradução.
In modern African literature, few authors stand out as much as the Nigerian playwright, poet, essayist, memorialist, and novelist, of Yoruba origin, Wole Soyinka, internationally acknowledged as the winner of the 1986 Nobel Prize for Literature. Soyinka is known above all as a playwright, and his theatre is characterized by the use of a variety of literary genres, forms, extra-literary languages, such as dance and music, and other resources related to Yoruba culture. Soyinka’s work, written in English, includes elements from both Western and African literatures, and his English is marked by the constant presence of Yoruba orality in proverbs, metaphors and fragments of traditional poems as much as his dramaturgy embodies elements of the traditional theatre of his people. Above all, his plots, in such current themes as corruption, struggle for power and conflicts between individual and the community, are stippled on Yoruba worldview and cosmogony, containing as well many mythological and ritual references. In other words, Wole Soyinka characterizes himself, above all, as a Yoruba writer, whose work finds its roots and philosophical framework in the worldview of his people. It is in the strong presence of Yoruba elements in virtually all the ambits that we find one of the greatest interests of Soyinka’s works for Brazil. It is well-known that, in later years, there has been an increasing valuation and interest for elements of African origin in national culture, including those found in African-Brazilian religions, which are actually pools of myths and symbols of great semantic wealth. These myths and symbols found in those religions are, in their majority, of Yoruba origin. Reading Soyinka’s works in Brazil, therefore, is a way of relating to these elements and valuing them in their literary dimension. Among Soyinka’s works, the best-known is probably Death and the King’s Horseman, published in 1975 and with many productions in Nigeria, the United States and the United Kingdom. Based on an actual event that took place in colonial Nigeria, in which a Yoruba native habit conflicted with the British rule, this play is the one in which Yoruba mythology and worldview are best articulated with language that is rich in genres and fragments of Yoruba oral literature, being particularly fruitful for a cultural encounter. This dissertation offers an analysis of the play base on notions of Yoruba culture, mythology, and worldview and on Soyinka’s own aesthetic and metaphysical theories. This analysis highlights the symbolical, mythical and metaphysical, as well as aesthetic aspects. It is preceded by a study on important dimensions of Yoruba culture for the understanding of the play, such as history, religion, mythology, philosophy and arts. After that, Wole Soyinka’s aesthetic theories are studied against the background of the current literary discussions in Africa at the time. It is from these elements that the play is studied. Above all, this dissertation offers a translation of Death and the King’s Horseman that values its lyrical content, its many artistic languages and its philosophical perspectives based on the studies conducted in previous chapters and concluding with observations about the translation process.

Sur une interpretation des realites geographique, sociale, economique et politique de la route, wole soyinka tisse des reseaux metaphoriques et mythiques se structurant sur la figure centrale d'ogun, dieu yoruba du fer, de la creativite et de la destruction. . . Et aussi dieu de la route. C'est autour du theme de la route, qui parcourt toute l'oeuvre de soyinka (theatre, roman, poesie, essais) que s'articule une multiplicite de correspondances en rapport avec l'ambivalence d'ogun : ceci conduit a un questionnement sur les notions de route devorante et de "dieu glouton", de vie et de mort, d'accident et de sacrifice, d'art et de science. Le langage verbal et non-verbal de the road permet d'acceder aux routes de la "transition" - espace metaphysique yoruba reinterprete et transforme en mythologie personnelle par soyinka. Conjointement a ces differents parcours, soyinka trace des itineraires lies a la quete et toute la problematique deja evoquee se repercute sur la route du pouvoir, avec ses chauffards de la religion, de la politique et meme de la critique litteraire. Les ecrits de soyinka se renouvellent constamment, alliant mythe et histoire, comedie et tragedie, satire et poesie, parodie, humour et ironie. Ces multiples routes, fruit de "l'eclectisme selectif" de l'auteur, se rejoignent dans le ruban de mobius que soyinka s'approprie comme "route d'ogun" : ce "cercle mathe-magique" temoigne bien d'une pensee remarquablement coherente et antidogmatique qui se structure non pas sur une voie unique et peremptoire mais plutot sur la multiplicite des routes du systeme de divination ifa
From the geographical, social, economic and political reality of the road, wole soyinka weaves a network of metaphorical and mythical variations linked to the central figure of ogun, the yoruba god of iron, war, creativity and destruction. . . And also god of the road. The theme of the road pervades soyinka's plays, novels, poems and essays. It is connected with ogun's ambivalence and encompasses the relationships between the road as a man-eater and as a "gluttonous god", life and death, accident and sacrifice, art and science. The verbal and non-verbal language of the road gives insights into the road as the symbolic representation of "transition", a yoruba metaphysical notion that soyinka appropriates, revitalizes and integrates into his own private mythology. Concurrently, soyinka maps out other itineraries related to the quest motif;he also explores the realms of power, showing that some "specialists" of politics, religion and even literary criticism are the metaphorical equivalent of reckless and dangerous drivers. Soyinka's writings are a constant renewal of myth and history, comedy and tragedy, satire and poetry, parody, humour and irony. It is through his "selective eclecticism" that soyinka appropriates the mobius strip as his personal symbol of "ogun's road": this "mathe-magical ring" perfectly illustrates soyinka's highly coherent vision which is based not on a single prescriptive and dogmatic road but rather on the multiplicity of roads as found in the ifa divination system

Le titre anglais de cette thèse, Soyinka’s Language – calqué sur celui de l’ouvrage de Frank Kermode, Shakespeare’s Language – est traduit librement en français par Les mots de Soyinka en mouvement pour évoquer la richesse poétique de ‘language’ dans ce contexte littéraire. Cette étude adopte l’approche de Kermode pour analyser un corpus d’oeuvres de Wole Soyinka (neuf pièces de théâtre et deux essais), dans la tradition critique anglaise de ‘close reading’. Les mots nous pénètrent malgré nos efforts pour nous tenir à l’écart de l’expérience (The Lion and the Jewel; le diptyque Jero). Ils peuvent également rendre concret le passage d’un monde à un autre – par exemple, à travers un vocabulaire pédagogique qui tombe rapidement en désuétude (The Road; Madmen and Specialists). Comment exprimer, comment articuler sur scène la notion ambivalente de la distance – d’un côté, la distance de la théorie, de l’objectivité; de l’autre, l’absence d’empathie, de compréhension humaine – (The Strong Breed, A Dance of the Forests, The Bacchae of Euripides, et The Burden of Memory)? Il s’agit d’un problème rhétorique qui s’apparente à un risque d’autarcie ou de solipsisme. Désamorcé dans la prose de The Man Died, ce risque sert de repoussoir, pour Soyinka dans Myth, Literature and the African World, à l’articulation d’une conception (yoruba) de l’existence, dont les tensions constitutives s’expriment à travers les ressources rhétoriques de la poésie orale. Cette étude se termine par une lecture de Death and the King’s Horseman, expression exemplaire de la tension entre l’affirmation de soi et le retour à la communauté, entre l’être et le non-être
The title of this thesis is an allusion to Frank Kermode’s Shakespeare’s Language. There, Kermode directed his attentions to Shakespeare’s dramatic verse, its poetry, demonstrating how the demands which words make on the ear might attune us to the insinuating possibilities of language, if attended to by a patient reader. This thesis adopts the same methodological principle, in approaching a number of Wole Soyinka’s dramatic and prose works in English. Throughout, it is concerned with his intelligence as expressed through literature. To this end, it does not hesitate to speculate, in the manner of Shklovsky, as to schemata which Soyinka might have used in order to ‘make’ his works. At the same time, it sees in formalism, for writer and would-be critic alike, the danger of words’ being cut off from the common human constituency and experience which assure their meaning. Words penetrate us, undermine our attempts to stand apart, draw us into a realm of consequence (The Lion and the Jewel; the Jero plays). Consequence, in turn, implies passage between two distinct moments, inviting us to reflect on how language can become strange (The Road; Madmen and Specialists). What happens to words in one who is content to look on from a distance, instead of participating? This is the starting point for a discussion of Soyinka’s interrogations of justice in The Strong Breed, A Dance of the Forests, The Bacchae of Euripides and The Burden of Memory. Implicit in onlooking is the risk of self-sufficiency. Warded off in the prose of The Man Died, self-sufficiency provides a foil to a Yoruba conception of being and tragedy, as articulated in Myth, Literature and the African World. The study culminates in Death and the King’s Horseman, which best enacts the tension between self-assertion and commonality, departure and return, being and non-being, in and through poetic language

Bahram Beyzaee, the Iranian playwright, screenwriter and filmmaker, and Wole Soyinka, the Nigerian poet, playwright, and novelist have produced artistic works that transcend the limitations of time and locality to become powerful comments on human life and socio-political and cultural institutions. This research study examines the major themes and dramatic techniques of these two writers to demonstrate how, in two very different cultural settings, traditional modes and themes appear in modem art forms to renegotiate cultural identity. I argue that both writers place themselves in a post postcolonial position which rather than being concerned about 'writing back against the centre' reflects on the cultural shortcomings that leaves their people at the mercy of vicious internal and external forces. I also demonstrate how they demythologize the traditional superstitious beliefs that haunt the present, foreground the inauthenticity of the modern hybrid obsessions that distort everyday life in their countries and mythologize and glorify the positive aspects of history and contemporary life to redefine cultural identity in terms of the best their cultures can offer. The first two chapters give an account of the history of Iranian and Nigerian performance forms in the context of socio-political, cultural, literary and artistic movements and traditions. The third chapter proceeds to present a short discussion of the theatrical vision and themes of Beyzaee and Soyinka and embarks on a general comparison of the two writers. Chapter four is focused on Beyzaee and Soyinka's depiction of the intellectuals as sacrificial heroes whose death may initiate social purgation and cultural regeneration and liberation. Chapter five is less mythical and more sociopolitical. It is a reflection on the writers' portrayal of women in their works and their success or failure in transcending literary and cultural stereotypes in a world where the means of production and socio-economic facts and the cultural developments associated with them demand a rapid movement away from patriarchal values. Chapter six is devoted to the study of another major issue in the process of cultural transition, namely, redefining the position of ethnic minorities in the myth of nationhood. This last chapter is followed by a brief conclusion, discussing the results and the future possibilities of drama in the context of rapid transition.

Le rite traditionnel , les croyances , les mythes et les legendes yorouba constituent les fondements de cette etude du theatre rituel de wole soyinka. Le mythe du dieu ogun , premier acteur et premier vainqueur de la transition , est l'element sous-jacent a l'ensemble de la recherche. Nous examinons d'abord les aspirations de l'individu , en integrant la dimension collective , qui est le point d'ancrage de la tragedie soyinkienne. Le mecanisme du sacrifice est ainsi considere a travers l'exploration des rites de passage , de purification et de communion. Eu egard au role du theatre rituel dans la realisation de la cohesion sociale , nous analysons ensuite les phenomenes de mediation et de transition , en mettant l'accent sur la nature et le pouvoir devastateur des etres transitionnels, en l'occurence les mediateurs du rite et les chefs spirituels. Le besoin d'agents de changement obeissant a l'archetype ogunien apparait comme un element central de la philosophie soyinkienne. De leur double fonction de guerisseurs et d'acteurs de la reforme sociale se degage un espoir de regeneration de la societe. Des facteurs rituels tels que la musique , les dances , le phenomene egungun et le masque permettent alors de mettre en evidence l'interet de la communaute yorouba pour le theatre.

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