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Journal articles on the topic 'Wole Soyinka'

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Published: 4 June 2021

Last updated: 4 March 2023

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1

Vermeulen, Julien. "Wole Soyinka. Het Profiel van een Nobelprijswinnaar." Afrika Focus 3, no. 1-2 (January 12, 1987): 123–46. http://dx.doi.org/10.1163/2031356x-0030102007.

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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.

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2

Smith, Robert P., and Derek Wright. "Wole Soyinka Revisited." World Literature Today 67, no. 4 (1993): 879. http://dx.doi.org/10.2307/40149777.

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3

Quayson, Ato. "Wole Soyinka (review)." Research in African Literatures 36, no. 2 (2005): 139–41. http://dx.doi.org/10.1353/ral.2005.0132.

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4

Schmidt, Nancy J., and Derek Wright. "Wole Soyinka Revisited." International Journal of African Historical Studies 27, no. 1 (1994): 216. http://dx.doi.org/10.2307/221012.

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5

Gibbs, James. "Biography Into Autobiography: Wole Soyinka and the Relatives Who Inhabit ‘Ake’." Journal of Modern African Studies 26, no. 3 (September 1988): 517–48. http://dx.doi.org/10.1017/s0022278x00011757.

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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.

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6

Ojaide, Tanure, and Biodun Jeyifo. "Conversations with Wole Soyinka." World Literature Today 76, no. 1 (2002): 117. http://dx.doi.org/10.2307/40157033.

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7

Ojaide, Tanure, and Adewale Maja-Pearce. "Wole Soyinka: An Appraisal." World Literature Today 69, no. 2 (1995): 420. http://dx.doi.org/10.2307/40151329.

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8

Gibbs, James, Biodun Jeyifo, and Wole Soyinka. "Conversations with Wole Soyinka." South Atlantic Review 67, no. 1 (2002): 155. http://dx.doi.org/10.2307/3201598.

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9

Kiguli, Susan Nalugwa. "Wole Soyinka: an introduction." Journal of Contemporary African Studies 38, no. 2 (April 2, 2020): 171–72. http://dx.doi.org/10.1080/02589001.2020.1794295.

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10

Eke, C. U. "A Linguistic Appraisal of Playwright - Audience Relationship in Wole Soyinska's The Trials of Brother Jero." Babel. Revue internationale de la traduction / International Journal of Translation 42, no. 4 (January 1, 1996): 222–30. http://dx.doi.org/10.1075/babel.42.4.04eke.

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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.

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11

Alabi, Adetayo. "Wole Soyinka’s Ori Olokun Emprise and Autobiography." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–18. http://dx.doi.org/10.32473/ysr.7.2.132801.

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In Telling Our Stories: Continuities and Divergences in Black Autobiographies, I suggest that the overwhelming presence of the community is one of the major continuities in Black autobiographies of Africa, the Unites States, and the Caribbean. This focus on community manifests itself in terms of resistance, solidarity, and inclusiveness in the autobiographies of slaves, creative writers, and political activists. A new dimension to the superordinate presence of the community in Black autobiography is in terms of diaspora sensibility. This diaspora consciousness is symbolized in the Orí Olókun treasure that Wole Soyinka foregrounds in You Must Set Forth at Dawn. This paper focuses on the development of Soyinka’s diaspora consciousness in relation to the perceived presence of Orí Olókun in Bahia and his attempt with his colleagues to forcefully repatriate the treasure back to the public domain from where it was removed. The paper argues that what operates at the background of Soyinka’s group’s project of repatriating Orí Olókun from Brazil to Nigeria is the communal spirit of Yoruba and African nationalism that cuts across colonial geographical boundaries. The paper considers the role of Soyinka, Yai, Isola, and Abimbola in the attempt to repatriate Orí Olókun back to Nigeria. Emphasis is also on Soyinka’s narrative strategies and specifically the implications of his autobiographical medium to represent his and his community’s struggle to return what rightly belongs to them back to Nigeria. How the autobiographical genre develops that umbilical cord that links the Yorubas in Africa and the diaspora through the Ori Olokun episode is also considered.

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12

Dunmande, Olufemi Ibukun. "Ritual form and mythologization of death in Wole Soyinka’s ‘Procession’." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 181–95. http://dx.doi.org/10.17159/tvl.v.54i1.12.

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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.

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13

Dasenbrock, Reed Way, Wole Soyinka, and Eldred Durosimi Jones. "The Writing of Wole Soyinka." World Literature Today 62, no. 3 (1988): 502. http://dx.doi.org/10.2307/40144462.

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14

Appiah, Anthony. "An Evening with Wole Soyinka." Black American Literature Forum 22, no. 4 (1988): 777. http://dx.doi.org/10.2307/2904052.

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15

Irobi, Esiaba. "Special Issue on Wole Soyinka." Philosophia Africana 11, no. 1 (2008): 1–4. http://dx.doi.org/10.5840/philafricana20081118.

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16

Irele, F. Abiola. "The Achievement of Wole Soyinka." Philosophia Africana 11, no. 1 (2008): 5–19. http://dx.doi.org/10.5840/philafricana20081119.

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17

Maja-Pearce, Adewale. "Who's Afraid of Wole Soyinka?" Index on Censorship 17, no. 7 (August 1988): 10–17. http://dx.doi.org/10.1080/03064228808534484.

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18

SUBERU, ROTIMI T. "The Politics of Wole Soyinka." African Affairs 94, no. 376 (July 1995): 424–25. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098843.

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19

Sabor, Peter. "Wole Soyinka and the scriblerians." World Literature Written in English 29, no. 1 (March 1989): 43–52. http://dx.doi.org/10.1080/17449858908589081.

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20

Lloyd, Robert B. "Of Africa. By Wole Soyinka." Journal of the Middle East and Africa 4, no. 1 (January 2013): 109–13. http://dx.doi.org/10.1080/21520844.2013.773414.

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21

Dunton, Chris. "Wole Soyinka: Novelist, playwright, poet." New Community 13, no. 2 (September 1986): 257–60. http://dx.doi.org/10.1080/1369183x.1986.9975974.

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22

Anaya Ferreira, Nair María. "Wole Soyinka y Eurípides: una tumultosa celebración de la vida." Anuario de Letras Modernas 14 (July 31, 2009): 153–68. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.683.

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This essay explores Soyinka’s social, political and cultural concerns taking as point of departure his exploration of the role of myth in Yoruba culture and its repercussions in contemporary Nigerian society. In his rewriting of Euripides’ best known tragedy, Bacchae, Soyinka reflects on the impact of the colonial process and on the role of modernday dictatorship in many Third-World countries. Interestingly called The Bacchae of Euripides. A Communion Rite, Soyinka’s play takes the effects of intertextuality to the extreme, not only by taking the Greek tragedy as hypotext, but by relating Euripides’ subversive criticism of Greek imperialism to his own denunciation of colonization and tyranny. Because of its radical use of imagery —such as the fact that the blood which emanates from Pentheus’ head at the end of the play becomes wine and everybody drinks from it—the play was not well received in London in the 1970s, but has been recognized as one of Soyinka’s masterpieces after that.

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23

Olusegun, Elijah Adeoluwa. "The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà." European Journal of Humour Research 6, no. 4 (December 30, 2018): 118. http://dx.doi.org/10.7592/ejhr2018.6.4.olusegun.

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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called áwàdà to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given impetus by the dexterity of Moses Olaiya. In the dramatic literary circle, Wole Soyinka bestrides the Nigerian space with his biting and humorous satire in such plays as The Lion and the Jewel, The Jero Plays, Childe International amongst others. With a great mastery of satire and humour, in his most recent play Alápatà Apátà, we witnessed a reincarnation of Moses Olaiya. However, Soyinka does not focus only on the character of Moses Olaiya (whom he dedicates the play to), he explores the misapplication of Yoruba language’s accent resulting in semantic oddity. The incongruity that can arise from the misunderstanding of language and its nuances is brought to the fore in our understanding of the theoretical exploration of the phenomenon called áwàdà. This article thus situates Wole Soyinka’s Alápatà Apátà within the literary and theatrical explication of humour in the Nigerian context showing that ‘that which is comic’ resonates as a universal human phenomenon irrespective of language.

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24

Dehe, FENG. "Diaspora and Home-back: Origin and Evolution of Wole Soyinka’s Poetic Practice and Theory." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 4 (December 30, 2022): 004–12. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.002.p.

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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.

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25

Stratton, Florence. "Wole Soyinka: A Writer's Social Vision." Black American Literature Forum 22, no. 3 (1988): 531. http://dx.doi.org/10.2307/2904314.

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26

Feuser, Willfried F. "Wole Soyinka: The Problem of Authenticity." Black American Literature Forum 22, no. 3 (1988): 555. http://dx.doi.org/10.2307/2904315.

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27

Jeyifo, Biodun. "Oguntoyinbo: Wole Soyinka and Igilango Geesi." Philosophia Africana 11, no. 1 (2008): 21–36. http://dx.doi.org/10.5840/philafricana200811110.

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28

Irobi, Esiaba. "Wole Soyinka: Politics, Poetics, Postcolonialism (review)." Theatre Journal 58, no. 1 (2006): 149–50. http://dx.doi.org/10.1353/tj.2006.0076.

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29

David, Mary. "Wole Soyinka Talks to Mary David." Wasafiri 9, no. 18 (September 1993): 22–27. http://dx.doi.org/10.1080/02690059308574324.

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30

Ogede, Ode. "The Poetry of Wole Soyinka (review)." Research in African Literatures 33, no. 3 (2002): 228–31. http://dx.doi.org/10.1353/ral.2002.0083.

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31

Gover, Daniel. "Wole Soyinka: Dance Master of Appetite." Journal of the African Literature Association 7, no. 1 (January 2012): 25–34. http://dx.doi.org/10.1080/21674736.2012.11690197.

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32

OKOME, ONOOKOME. "The Social Crusade of Wole Soyinka." Matatu 23-24, no. 1 (April 26, 2001): 55–64. http://dx.doi.org/10.1163/18757421-90000354.

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33

Ojewuyi, O. "WOLE SOYINKA: THE HUNTER, THE HUNT." Theater 28, no. 1 (September 1, 1997): 58–59. http://dx.doi.org/10.1215/01610775-28-1-58.

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34

Ugochukwu, Françoise. "Essays in Honour of Wole Soyinka at 80, Ivor Agyeman-Duah (Ed.) - book review." Issue 1 1, no. 1 (June 12, 2018): 107–8. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a7.

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Wole Soyinka, best known as a Nigerian writer, playwright and Nobel laureate, has been a staunch supporter of the Nigerian cinema, and one of his plays, Death and the King’s horseman, is currently in the process of being adapted to the screen. He embodies the link between the Nigerian society, Yoruba culture and Nollywood. This book of essays in honour of Wole Soyinka’s life and works, offered to him on his 80th birthday, brings together a good number of contributions - short paragraphs, long essays, formal interviews, impromptu conversations and poems. The authors of these texts include a former general Commonwealth secretary, university dons from various fields, internationally acclaimed writers such as Ngugi, Aidoo or Mazrui, diplomats and politicians, journalists, students and personal friends.

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35

Osakwe, Mabel. "Ogun Abibiman: A Creative Translation of Yoruba Verse." Meta 43, no. 3 (October 2, 2002): 467–71. http://dx.doi.org/10.7202/003768ar.

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36

Adjandeh, Evelyn Aku. "Analysis of Wole Soyinka’s The Trials of Brother Jero in Relation to Ghanaian Religious Discourse." Asemka: A Bi-Lingual Literary Journal of University of Cape Coast, no. 10 (September 1, 2020): 143–53. http://dx.doi.org/10.47963/asemka.vi10.278.

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One of the roles of Literature is its aesthetic value. Aside from that literary works serve as important tools that are used to comment on issues of society since most writers base their writings on their societal occurrences. While agreeing with the reflectionist theory of art that Literature reflects the society from which it emerges, this paper underscores that through writing, literary works have often sought to correct the ills of society. Wole Soyinka’s The Trials of Brother Jero satirizes the work of the clergy. The paper analyzes selected reports in the Ghanaian media in relation to the clergy and identifies how Wole Soyinka’s theme is reflected in these papers. The presence of Soyinka’s theme in these reports is a reaffirmation that literary writers do not only present fiction but also express pertinent realities. This study seeks to examine the extent to which themes in Soyinka’s Trials of Brother Jero play out in religious discourses in Ghana. The global nature of the issues problematized by Wole Soyinka also comes out through this study as the work set in Nigeria is analyzed in relation to the selected articles set in Ghana. The paper relies on a content analysis of The Trials of Brother Jero and similar themes presented in the selected articles and makes a few recommendations on how these religious issues could be partially, if not wholly, resolved in Ghana.

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37

Olaniyan, Tejumola. "Dramatizing Postcoloniality: Wole Soyinka and Derek Walcott." Theatre Journal 44, no. 4 (December 1992): 485. http://dx.doi.org/10.2307/3208770.

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38

Bauerle, Richard F., and Obi Maduakor. "Wole Soyinka: An Introduction to His Writing." World Literature Today 62, no. 2 (1988): 324. http://dx.doi.org/10.2307/40143741.

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39

Ojaide, Tanure. "Wole Soyinka: A Quest for Renewal (review)." Research in African Literatures 31, no. 1 (2000): 179–80. http://dx.doi.org/10.1353/ral.2000.0028.

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40

Quayson, Ato. "Wole Soyinka and Autobiography as Political Unconscious*." Journal of Commonwealth Literature 31, no. 2 (June 1996): 19–32. http://dx.doi.org/10.1177/002198949603100203.

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41

Rohmer, Martin. "Wole Soyinka's ‘Death and the King's Horseman’, Royal Exchange Theatre, Manchester." New Theatre Quarterly 10, no. 37 (February 1994): 57–69. http://dx.doi.org/10.1017/s0266464x00000099.

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In large part due to the relative lack of productions in Europe, the plays of Wole Soyinka have mostly been approached from a literary point of view rather than analyzed as theatrical events. Because the plays rely heavily on non-verbal conventions, this neglect of visual and acoustic patterns promotes an incomplete understanding of Soyinka's idea of theatre. Here, for the first time, a play by Soyinka is analyzed from the point of view of performance – specifically, the production of Death and the King's Horseman staged at the Royal Exchange Theatre, Manchester, in 1990. Martin Rohmer examines the transformation of playscript into mise-en-scène, focusing in particular on the use of music and dance, but looking also at the production as an intercultural event – asking not only how far a European company has to rely on African performing skills, but how far a European cast and audience is capable of a proper understanding of the play. This article is a revised version of a lecture delivered at the Conference of the Association for the Study of the New Literatures in English, held in Bayreuth in June 1992. Martin Rohmer studied Drama, German Literature, Anthropology, and Philosophy in Munich, and Theatre, Film and TV Studies at the University of Glasgow, before completing his MA in Munich in 1992. Presently he is a Research Assistant at the University of Bayreuth, where he is working on a PhD on the performing arts in Zimbabwe.

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42

Maledo, Richard Oliseyenum, and Emmanuel Ogheneakpobor Emama. "Wole Soyinka’s The Road as an intertext." Tydskrif vir Letterkunde 57, no. 2 (July 22, 2020): 26–36. http://dx.doi.org/10.17159/tl.v57i2.6617.

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Studies on African drama have shown the influences and the intertextual relations between African drama and European (Classical and Elizabethan) plays. It is also a known fact that African drama exhibits traces of African tradition and instances of textual relations with already existing oral and written texts. However, existing studies on Wole Soyinka’s The Road have tilted towards the usual literary interpretation or as a piece of theatrical performance with little attention paid to the intertextual nature of the text. Based on the challenges of these usual approaches to the study of literature by contemporary literary and cultural theories, this study adopts intertextual theory as a framework to examine Wole Soyinka’s The Road as an intertext showing traces of textual influences from oral and written external sources. The aim is to reveal the source texts from which the playwright draws in the creation of the text and to show how these sources contribute to the overall thematic significance of the play. Findings reveal that Soyinka draws extensively from Yorùbá oral sacred texts, the Bible, and his own earlier texts and that these sources contribute to the eclectic nature of the thematic preoccupation of the play. It is hoped that this has gone a long way to mitigate the obscure claim of structural and thematic incomprehensibility with which the play is associated.

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43

Olu-Osayomi, Olusegun i. "Yoruba Festival and the Dramatist: Satire as Spine in Soyinka’s A Dance of the Forests." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–16. http://dx.doi.org/10.32473/ysr.7.2.132802.

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In most African societies, festivals play especially important roles linked to the survival of the society. This paper investigates the festival motif in Wole Soyinka’s A Dance of the Forests with the purpose of illuminating further his exploration of elements of indigenous African (Yoruba) lore. The paper contends that the satiric mode explored trenchantly in Soyinka's play's organizing and structuring principles. The paper posits that satiric mode is the fundamental backbone of his work, not just a decoration. The paper explains further that the festival's motif and cultural celebration built into the structure of the selected play and properly harnessed raw material for his poetry. The methodology is analytical and complemented by hermeneutics theory. By vigorously exploiting African (Yoruba) experience, festival motif, and satiric modes, in a manner relevant to the moral development of his world, it will be seen that Soyinka, succeeds in laying the foundation for a truly Nigerian national literature and it is, in fact, on this that his strengths as a satirist playwright lie

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44

Granqvist, Raoul. "Wole Soyinka, Nobel Prize Winner: Sweden Acknowledges Africa." Black American Literature Forum 22, no. 3 (1988): 467. http://dx.doi.org/10.2307/2904310.

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45

Fioupou, Christiane. "Mpalive-Hangson Msiska, Postcolonial Identity in Wole Soyinka." Commonwealth Essays and Studies 33, no. 1 (September 1, 2010): 121–22. http://dx.doi.org/10.4000/ces.8359.

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46

Fioupou, Christiane. "Interview of Wole Soyinka in Paris, February 1995." Présence Africaine 154, no. 2 (1996): 87. http://dx.doi.org/10.3917/presa.154.0087.

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47

Ojaide, Tanure, and Adewale Maja-Pearce. "Who's Afraid of Wole Soyinka? Essays on Censorship." World Literature Today 66, no. 3 (1992): 568. http://dx.doi.org/10.2307/40148556.

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48

Maja‐Pearce, Adewale. "Punching holes inside people: Words of Wole Soyinka." Third World Quarterly 9, no. 3 (July 1987): 986–92. http://dx.doi.org/10.1080/01436598708420010.

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MOSOBALAJE, ADEBAYO. "The Transition from a Mythopoeic to a Populist Aesthetic in Selected Political Plays of Wole Soyinka." Matatu 47, no. 1 (August 22, 2016): 71–95. http://dx.doi.org/10.1163/18757421-90000396.

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The study examines the movement of Wole Soyinka from mythopoeic dramatic strategies to a realistic populist aesthetic in selected political plays. It also examines the cause(s) of the movement, analyses the formal pattern engendered by it, and discusses the portrayal of the military in governance in the political plays, with a view to establishing the impact of the metamorphosis on the revolutionary tenor of the plays. Three of Soyinka’s political plays are selected for analysis. The first, A Dance of the Forests, represents Soyinka’s experimentation with the mythic imagination among the pre-Civil War works from the 1960s to the early 1970s; the second, Madmen and Specialists, a Civil-War play, constitutes the watershed and middle ground in the dramaturgic metamorphosis of the playwright; and the third, Opera Wọ́nyọ̀sí, a post-Civil-War political satire, begins the history-informed plays of the mid-1970s and onwards. Using a close-reading technique, the essay argues that the personal involvement of Soyinka in the Nigerian Civil War of 1967–70, coupled with the effects of the war, his consequent incarceration, and the demands made on him by Marxist critics to employ a populist aesthetic, led the playwright to the realization that the political comprador did not heed the warnings in the mythinfused political plays of the early phase of his career, most probably because of the relative inaccessibility of their hieratic idiom. There arose a strong need to communicate in simple, accessible language addressing contemporary history. This dramaturgic movement has a positive impact on the revolutionary tenor of the plays.

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Crow, Brian. "Soyinka and his Radical Critics: A Review." Theatre Research International 12, no. 1 (1987): 61–73. http://dx.doi.org/10.1017/s0307883300013304.

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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.

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