THE POETICS AND PERFORMANCE OF RELIGIOUS ABUSE; A STUDY OF WOLE SOYINKA'S 'THE TRIAL OF BROTHER JERO AND JERO'S METAMORPHOSIS

ABSTRACT This study critically examines the poetics and performance of religious abuse in Wole Soyinka’s The Trial of Brother Jero and Jero’s Metamorphosis, with particular focus on how theatrical devices and satirical techniques are employed to expose and critique the manipulation of religion for personal and political gain. Set against the backdrop of postcolonial Nigeria, the plays center on the character of Brother Jero, a self-styled prophet whose trajectory from beachside preacher to political aspirant serves as a metaphor for the increasing entanglement of religious institutions with state power. Drawing on performance theory, postcolonial discourse, and satire as analytical frameworks, the research explores how Soyinka’s use of dramatic elements—such as costume, stagecraft, physical comedy, and sharp dialogue—enhances his social commentary on religious exploitation. The study is structured into five chapters: the introduction, literature review, textual analysis of the two plays, performance critique, and a concluding discussion. Key findings reveal that Soyinka uses humor and performance not just for entertainment but as subversive tools that prompt critical reflection on the complicity of both leaders and followers in the perpetuation of religious and political abuse. By juxtaposing personal manipulation in The Trial of Brother Jero with systemic corruption in Jero’s Metamorphosis, the study illustrates the progression of religious fraud from the individual level to institutional entrenchment. This project contributes to African literary and performance scholarship by demonstrating how Soyinka’s dramaturgy serves as a potent medium for socio-political resistance. It recommends further research into contemporary continuations of Soyinka’s themes in Nigerian theater and urges society to cultivate critical awareness in both religious and political engagement.