IDEOLOGY AND DRAMATURGY IN WOLE SOYINKA’S THE STRONG BREED AND FEMI OSOFISAN’S NO MORE THE WASTED BREED

In the literary world, literary ideology has been a subject of discourse and debate among scholars, dramatists and students. Every work of arts is composed of literary ideology overtly or covertly. The notion of not all work is of literary ideology is not completely true. In this view, this study tends to debunk the fact that literary ideology is not in a literary work, except the dramatist accepts to belong to an ideological class. The study adopted the content analysis methodology of Wole Soyinka and Femi Osofisans’s works; The Strong Breed and No More the Wasted Breed. The research finds out that a dramatic work is either conforming to a social order or commenting against in the bid to bring about societal change; that is, a work will either take the form of Romanticism or Social Realism. The study approached the Social Commitment theory, and proposes that dramatists in eschewing ideology should be socially committed to the society they belong to; also, the study recommends that the society should be a major consideration at the time of creating a dramatic work.