In this paper, attempt is made to make a critical view of ecstatic performance as a theatre form. Also, there is a critical analysis of the possession state of an ecstatic dancer that is, the brains behind ecstasy and possession, and whether ecstasy and possession are mere fallacy. Also, the paper seeks to discern the theatrical elements that are inherent in such African performance of sublime. Ecstatic performance is the first state of possession. The performance consumes or catapults the performers from their state of being and lodges them into a spiritual realm. Theatre is a conglomeration or a synthesis of all facets of art form, it transcendents human activities and a place where all human endeavours including the spirit essence are highlighted, re- enacted and woven together as a unit. This study has its premise on “Iya ebo” or the performance of the deities among the Igala. It is indeed, out to establish the relationship between the mortal and the immortal worlds among Igala people.