This analogy is carried out by contrasts distinguishing the specific features of the forms by comparing differences and is essentially written in counterpoint. This paper is a comparative examination of Alarinjo and Nōh the operatic theatres of Nigeria and Japan. This pretermits, in the usual manner, the depth and value of African and indeed Nigerian theatrical traditions which are arguably and inextricably rich in comparatives such as trends, forms which have also been globally acclaimed in the international communities. Most transnational and transcontinental comparative studies on Japanese literary traditions have also not ventured beyond the Western world. The interests and explorations, by critics of other far more developed national literatures into Japanese dramatic and theatrical tradition, is an indication that this research effort is pertinent. None so far has comparatively examined the two traditions with the intent of establishing distinct national identities ,which are concealed in the theatres of peoples, neither has there been an attempt to comparatively institute universality, conformity or unorthodoxy or lack of it in both theatrical traditions.
Several studies in Nigerian and in Japanese theatrical traditions have centred on various elements of either of the two dramatic and theatrical traditions.
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