Journal of Development Communication And Applied Theatre

Heroism is an accepted act of bravery to earn admiration, social recognition and communal validation. In all cultures, heroes are remembered in stories, songs and performances as model of human valor. However, when heroism takes excessive, irrational, and destructive form, the same society recast the individual as a villain. This paper critically examines J.P. Clark’s Ozidi Saga, focusing on the protagonist, Ozidi, a celebrated avenger who later transformed to a destructive force. Drawing on postcolonial criticism, tragic hero framework, and performance theory to examine how Clark adapts Ijaw oral tradition to the modern stage, the gap between heroism and tyranny is quizzed. Though, starting as a courageous person, Ozidi’s vicious, violence, and unrestrained brashness ultimately strip him of heroism. Thus, this paper reveals that Ozidi’s expedition illustrates the ambivalence of power. Ozidi’s trajectory is well articulated in the Yoruba saying, afi fila perinojokan lo n niyimo (he who fells an elephant with a cap command short-lived respect). The tragedy of Ozidi proves the instability in heroism that is based on violence. It, thus, demonstrates broader socio-political realities in postcolonial Africa where leaders transform from liberators to tyrants. Through the exploration of the thematic, structural, and cultural elements of the play, the study concludes that although heroic deeds are commendable; however, where ethical restraint is lacking, heroes can turn villains.

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