REVOLUTIONARY DRAMA IN POSTCOLONIAL NIGERIA: THE THEATRE OF FEMI OSOFISAN by Chima Julius Osakwe A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto © Copyright by Chima Osakwe (2014) Abstract Revolutionary Drama in Postcolonial Nigeria: The Theatre of Femi Osofisan Chima Julius Osakwe, Doctor of Philosophy (2014) Centre for Drama, Theatre and Performance Studies University of Toronto This work examines the use of theatre as an instrument of socio-political revolution in selected works (Morountodun, The Chattering and the Song, No More the Wasted Breed, and Aringindin and the Nightwatchmen) by Femi Osofisan. Osofisan is the indisputable leader of Nigeria‘s second generation of playwrights. Driven by Marxist ideology, this generation, which also includes Bode Sowande and Kole Omotoso among others, rose to prominence in the 1970s after the nation‘s civil war. Since then, it has continued to produce revolutionary dramatic works calling for the immediate transformation of Nigeria‘s repressive socio-political order. Although the concept of revolution as dramatized in the works of these playwrights has been influenced by the political notion of revolution, especially the Marxist notion that revolution is the substitution of one ruling class for another after a class struggle resulting in the enthronement of communism, my study‘s theorizing of revolutionary drama has not been strictly determined by the political theory of revolution. The most important criterion used to determine what constitutes revolutionary drama in this study is the liberatory intent rather than the actual liberation accomplished in a given play, although the selected Osofisan titles all conclude with the liberation of the oppressed. ii As the most prominent member of Nigeria‘s second-generation playwrights, Osofisan has produced works that are widely considered paradigmatic articulations of revolutionary theatre. Mindful of the fact that his works have yet to precipitate a revolution, and eager to investigate why, I examine his language, performance venues, dramatic techniques, reception, politics and ideology. Acknowledging that the perception of a direct link between theatre and revolution appears to be exaggerated and misguided, I also cite several other dramatists, playtexts and theatrical experiences from around the world to argue that the potential of theatre as an indirect or contributory instrument of revolution may not be completely discounted. My study concludes by validating the study of theatre as a force for socio-political change and suggesting strategies by which Osofisan‘s revolutionary theatre could actually inspire social transformation in postcolonial Nigeria. iii Dedication To every individual of any cultural background, dead or alive, who may or may not have suffered persecution but has dedicated their life or used their talents or resources to champion the cause of the underprivileged. iv Acknowledgements I have inevitably incurred a debt of gratitude while completing this work. I am grateful to my supervisor Professor Uzoma Esonwanne for his patience, guidance and rigorous supervision. Even when on sabbatical, far away from Canada, Professor Esonwanne constantly found time to read the draft chapters and provide a comprehensive feedback. He was quite generous with his time; in face-to-face meetings, e-mail or telephone correspondence he gave my work the kind of attention that demonstrated unflinching commitment. The rigorous drill I experienced at his hands constantly challenged me to do my best. My gratitude equally goes to Professors Neil ten Kortenaar and Victor Li. Professor Kortenaar and Professor Li always read my entire drafts with minimum delay and provided constructive feedback that assisted me in my revisions. Both of them also found time to engage me in one-on-one conversations geared towards the improvement of my work. And my general meetings with the entire committee members were characterized by fruitful and productive discussions that immensely benefitted my work. Each member of my committee also contributed significantly in improving my knowledge of postcolonial theory and literature in the courses I took with them. Like the three-man committee, the three interviewees for this dissertation, Professors Femi Osofisan and Eugene van Erven and Mr. Sudhanva Deshpande were wonderfully cooperative. The Osofisan interview was the high-point of my research trip to Nigeria. I am very grateful to Professor Osofisan for finding time for a particularly marathon chat that covered various aspects of his dramaturgy. I am also indebted to Professor Van Erven and Mr. Deshpande, both of whom granted me impromptu interviews upon my arrival in the Netherlands for a research fellowship at Utrecht University. Professor Andrew Buckland, Mr. Robert Haxton v and Ms. Sophie Marcus also deserve to be thanked for granting me permission to use some production pictures of some of Osofisan‘s plays or for facilitating the process leading to the granting of permission. I am highly grateful to the Chair of the Centre for Drama, Theatre and Performance Studies, Professor Stephen Johnson. My studies benefitted from his caring and compassionate disposition. He was quite supportive and repeatedly encouraged my effort to complete the program sooner than later. His approach and responses to all matters related to my studies gave me the effect of a healing spiritual tonic. Under Professor Johnson‘s leadership, the Drama Centre provided me with some financial assistance that enabled me to undertake some research trips in connection with my dissertation. His advice and guidance was particularly useful in the process of writing a thesis proposal and achieving candidacy. I enjoyed every moment my colleagues and I spent in Professor Johnson‘s office for this exercise, and do consider myself fortunate to have done this program under his administrative leadership. I must equally thank Professor John Astington for his encouragement and for the advice that helped me select my dissertation topic. As Graduate Coordinators, Professors Bruce Barton and Antje Budde were equally helpful. By assisting me at specific moments, they gave me the strength I needed to persevere. To Robert Moses, Samiha Chowdhury and the late Lou Massey, I say thank you for giving me administrative support. My gratitude also goes to the University of Toronto‘s School of Graduate Studies for providing some financial support for my research trips. I also appreciate the moments I shared with my colleagues Noam Lior, Sasha Kovacs and Shelley Liebembuk. To Kaelyn Kaoma who became my closest academic colleague because of our mutual interest in postcolonial theory and literature, I will be ever grateful for our stimulating conversations. vi At Utrecht University where I began drafting the preliminary chapters of the dissertation, some faculty and staff members were supportive in providing material assistance and words of encouragement besides giving useful feedback to my talk on the dissertation prior to rounding off my fellowship at the university; they also offered some advice that enabled me to adapt to a foreign environment. In this regard, I would like to thank Professors Sandra Ponzanesi and Rosemarie Buikema as well as Trude Oorschot, all of the Media and Culture Department, and Karin Keulers, Zarah Farhan and Laura Tankink, all of the Research Institute for History and Culture. Let me thank my friends Professors Kolawole Olaiya and Ifeanyi Ezeonu whose advice and suggestions helped to convince me on the need to pursue a doctoral program. And when I commenced the program, Professor Ezeonu was a constant source of inspiration, always providing a word of encouragement and offering some useful suggestions that assisted me in resolving some issues pertaining to the program. Other friends who are worthy of appreciation are Pastor Francis and Deaconess Ada Orji and the rest of the members of the King Palace Church especially for praying for me and encouraging me to forge ahead with my studies despite the illness that once threatened to destabilize me at the dissertation stage of my program. Guinness Ohazuruike, Arua Oko, Muyiwa and Toyin Olaniyan are all valuable friends that offered me a word of encouragement from time to time in the course of the program. Some relatives deserve special thanks for their persistent word of encouragement and support for my studies and overall well-being. In this regard, let me thank Mr. and Mrs. Silas Soronnadi who have served as my parents in North America. My brothers-in-law Nnamdi Nwoke, David Hibbert, Christian Iwuchukwu and Tobechi Asoh together with my sister in-law Agbenu Osakwe are equally worthy of special appreciation for either assisting with some crucial vii errands pertaining to my dissertation, making special efforts to make me feel at home during my research trip to Nigeria or achieving both. I am proud of my parents Chief Donatus and Mrs. Gladys Osakwe and my siblings Nneka, Ekeoma, Stella, Modestus (Abobo), Ugochi, Obi, Emma and Okey for their ceaseless prayers, motivational words and various kinds of assistance geared towards the success of my studies. And a special thanks to my wife Dr. Odilia Osakwe who stood by me right from the beginning of the program and provided the much-needed companionship. Her support was quite enormous. For those whose names have been erroneously omitted, I am ever willing to apologize. But let me conclude by thanking