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There are different areas of relatedness between performance and law as reflected in the codes on the rights of the performer to seek redress in the Nigeria court of law. They provide adequate substantiation for the seam between Theatre and Legal Studies. The artist-performer embodies the spheres of connection and continues to reflect how the codes could be articulated for the apposite enforcement of his rights. This shows that there are meeting points and they should be highlighted. Using library phenomenological research, this paper gauges the Sunny Ade Case and attempts to reveal these meeting points. Again it seeks to find out how and why they occur and ways the artist-performer could benefit from such. It found that the cases under litigation like those of Anidugbe Oluwatobiloba Daniel, also known as, Kiss Daniel; Douglas Jack Agu, also referred to as Runtown; and the singer and song writer, Olawale Oloforo, also called Brymo, the film and music producer, Remi Ibitola reveal the need for the practitioners of the law to accurately understand the universe of the artist-performer. On the other hand, the artist should comprehend legal drafting and contracts before appending their signatures to them. It is recommended that training programmes should be organised for both parties to remedy the deficit in the broad understanding of both intersecting areas of operation. The resort to alternative means of dispute settlement was also recommended.