n African Performance Review - Editorial : in black and white

Volume 3, Issue 2_3
  • ISSN : 1753-5964


That Femi Osofisan is today one of the greatest dramatists in Africa is beyond doubt. In Nigeria he is not only the most prolific, but he is also the most popular. As many critics have observed, his plays are the most ubiquitous on the production pallets of professional and semiprofessional companies; and even more so, on the production bills of university students all over the country. Many scholars attest not only to his diversity but to his prolificacy. For instance, Chris Dunton (1992: 67) and Muyiwa Awodiya (2006: 50) attest both to his popularity and dizzying productivity. Indeed, there is an obvious evolvement of what can now rightly be described as Osofisan Studies.

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