Dramatic Dissent in Wole Soyinka’s Metaphysical Play Death and the King’s Horseman (1975) and Biyi Bandele’s Netflix Adaptation Elesin Oba: The King’s Horseman (2022)

Approaching the theme of this special issue as a dramatic structure, the contribution investigates the representation of dissenting practices in Wole Soyinka’s Death and the King’s Horseman and Biyi Bandele’s Elesin Oba: The King’s Horseman. First published in 1975, Soyinka’s metaphysical play dramatises the events surrounding the eponymous protagonist Elesin Oba who, according to Yoruba cosmology, must follow the king in death to ensure harmony between this world and the next. Questioning both metaphysical and Marxist readings of the play, I argue that its employment of ritual as a dramaturgical device functions to explore the intricate reasons for failed leadership in post-independence Nigeria. This re-reading of Soyinka’s classic is informed by its recent screen adaptation, Elesin Oba: The King’s Horseman, which was co-produced by Ebonylife Films and Netflix and directed by the late Nigerian playwright and filmmaker Biyi Bandele. Reinforcing new Nollywood’s budding relationship with Netflix and its accompanying globalisation, Bandele’s movie appropriates the play’s dramatic structure of dissent on the levels of cinematography and editing, mise-en-scène and sound, inviting its transnational viewers to consider past and present manifestations of dissent as a means of managing and envisioning possible solutions to contemporary conflicts. The conclusion stresses that the ritual form presents a flexible device to interrogate historically specific power relations and encourage distinct generations of audiences to imagine their forms, causes, and alternatives; whereas Soyinka’s play suggests that these alternatives rest on the capabilities of the educated middle classes, Bandele’s movie constructs more diversified audiences which may settle for its consoling or dissenting aesthetics, respectively.