Death and King’s Horseman showcases a condition of cultural rupture. Wole Soyinka’s manner of realizing this is through theoretical adventure that reveals his own very postmodernist imaginings, perhaps prior to the play’s composition but certainly at “the creative furor”. Recognizing and focusing on an overriding theoretical influence in a composite artistic production such as Death would significantly defuse the burden of interpreting Death which on its own constitutes a distinct unit in Soyinka’s repertoire of creative writings labelled as complex and obscure. The present study reveals the play’s robust discursive worth by identifying and exploring its postmodernist constitutive parameters. As the study further reinforces the claim that the playwright is cultural analyst of the avant-gardist category, the postmodernist figuration of the play deserves to be noted for all it entails and should inspire renewed criticism of the text, whose canonical status promises a prolonged regime in African and world literary studies.