Anotace:
Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifi cations. Specifi cally, while the former’s dramaturgy is defi nable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the eff ort in this paper was to locate a nexus in their writings, using two of their plays, Death and the King’s Horseman and Endgame, respectively. eatre of the Absurd, as an off shoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. e critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defi nes modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.