Chapter One — 1.1 Background to the Study

Scholarly interest in Zulu Sofola's Wedlock of the Gods has remained strong, reflecting its continued relevance to discussions of Nigerian and African literary identity.

Existing criticism of Wedlock of the Gods tends to focus on its broader thematic concerns, with stagecraft as a stylistic device in service of political power and corruption receiving comparatively less sustained attention.

1.2 Statement of the Problem

While Zulu Sofola's Wedlock of the Gods is widely studied, there is no settled critical consensus on how its stagecraft functions specifically in relation to political power and corruption. This study undertakes a close textual analysis to address that gap.

1.3 Objectives of the Study

1. To examine the use of stagecraft in Zulu Sofola's Wedlock of the Gods.
2. To analyze how stagecraft contributes to the portrayal of political power and corruption.
3. To assess the effectiveness of stagecraft as a stylistic/thematic tool in the text.
4. To situate the findings within the broader context of Nigerian literary/linguistic scholarship.

1.4 Research Questions

1. How is stagecraft used in Zulu Sofola's Wedlock of the Gods?
2. In what ways does stagecraft contribute to the portrayal of political power and corruption?
3. How effective is stagecraft as a stylistic/thematic tool in the text?
4. How does this reading relate to the broader body of Nigerian literary/linguistic scholarship?

1.5 Significance of the Study

This study is significant to students and teachers of theatre arts, offering a close reading of Zulu Sofola's Wedlock of the Gods that can support classroom discussion and further critical work. It also contributes to the broader body of scholarship on Nigerian literary and linguistic studies.

1.6 Scope of the Study

The study is limited to a close textual analysis of stagecraft within Wedlock of the Gods, reflecting a PhD-level scope; it does not extend to a full survey of the author's other works.