摘要：Wole Soyinka chooses theatre as a political art for the purpose of showing tradition and myth as the main political forces in the postcolonial situation of Africa. He uses Nigerian ritual performance to bring back the traditions which were neglected by the colonizers and dictators. Hence, Soyinka masterfully brings the African gods most notably Ogun on the stage in the most of his plays. This paper investigates Wole Soyinka’s The Road as a political and artistic work and shows how he applies some of the ritualistic and theatrical devices like traditional dances, festivals, carnivals, and masks to approve his devotion to his homeland and tradition, and also to show the resistance in colonies.
其他摘要：Wole Soyinka chooses theatre as a political art for the purpose of showing tradition and myth as the main political forces in the postcolonial situation of Africa. He uses Nigerian ritual performance to bring back the traditions which were neglected by the colonizers and dictators. Hence, Soyinka masterfully brings the African gods most notably Ogun on the stage in the most of his plays. This paper investigates Wole Soyinka’s The Road as a political and artistic work and shows how he applies some of the ritualistic and theatrical devices like traditional dances, festivals, carnivals, and masks to approve his devotion to his homeland and tradition, and also to show the resistance in colonies.
