Theatre, Terrorism and the Society: A Study of Revolutionary Violence in Esiaba Irobi’s <i>Hangmen Also Die</i>

Abstract

The playwright as a social commentator is both a critic and a prophet. Often times he plays a non-conformist role as he takes a radical  stance on the issues affecting the society. The playwright through his art mirrors the society and gives direction on the desirable social  pattern to guide society out of its quagmire, at times charting the course of a revolution or revolt. This essay examines revolutionary  violence in Esiaba Irobi’s Hangmen Also Die. The role of the artist as a prophet, a critic and as an advocate for change is analyzed.   Hangmen Also Die portrays the issues and the use of violence as a tool of revolution. Intertwined in the play are the themes of corruption,  greed, abuse of power and terrorism. The essay scrutinizes the use of terrorism as a tool against oppressive government and  unfavorable politics. Adopting the analytical approach of methodology, this essay seeks to analyze the circumstance that births a violent  revolution as the most attractive option. It is discovered that violence holds a performative and transformative element as it can serve as  an alternative means in achieving consensus especially in a society riddled with massive corruption and exploitation.