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The set built with sculptural effects during installation, before the application of colour, for Wale Ogunyemi's Langbodo in February 2014, at the Federal University, Oye-Ekiti, Nigeria.
Source publication
The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀ . 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theat...
Contexts in source publication
Context 1
... effects such as contours, fissures, vales, curves and crannies were also achieved on the set with the use of materials such as sponge, muslin, cotton canvas and velvet (initially white before priming or painting). These were used to cover the set (Figure 1). ...
Citations
Nollywood governs Nigerian movie productions within and outside Nigeria. However, Hollywood also produces beyond America but derived its name from America. The problem of this study is the disconnect, in terms of cultural contexts, between the Nigerian movie industry and the American movie industry, in spite of feigned superficial and nominal imitation of the latter by the former. The objective of the study is to demonstrate that Hollywood has a direct reference to a scenographic space from which it derived its name and where drama, scenography and practitioners can meet, experiment, produce and market their arts. Theatrical activities in Hollywood are however governed by the American culture. The nominal conception of Nollywood commands an imaginary sense of space which has no application to physical, cultural or natural scenography in Nigeria. From the theoretical approach of “Deconstruction” by Jacques Derrida (1930–2004), with accessory contributions from the Neo-Hegelian Marxist thoughts on formalism, this study advocates intellectual dissection of artistic phenomena such as Nollywood, with a view to constructive criticism. Data were collected via non-participant observation and Key Informant techniques and analyzed through qualitative method. The study concludes that Nollywood should have deeper considerations for cultural contexts that derive more from Nigerian environment as observable in the American model which it seems to follow.
Keywords: Nollywood, scenography, cultural contexts, deconstruction.
The popular travelling theatre is recognized as a major category in the Nigerian theatre practice, having flourished during the colonial period as a combination of traditional themes on the Western-oriented stage. This type of performance, which relies on peripatetic performances, brings theatre closer to the audience and enhances effective audience engineering. The Department of Theatre and Media Arts of the Federal University, Oye-Ekiti (FUOYE) has recently revisited travelling theatre as an experimental itinerant training platform for students, with the performance of Wale Ogunyemi’s Langbodo, at OAU, Ile-Ife in March, 2014. The objective of this study is to establish that itinerant nature of this type of production poses a great problem to the theatre designer because the requirement of stagecraft under this mode of production is uncertain and inconsistent whereas the series of itinerant performances at different venues would have to rely on the same script. Relying on Kant’s theory of Subjectivity versus Universal Validity, as the theoretical framework, with participant observation method of data collection and ethnographic method of data analysis, this study concludes that; the sustainability of audience interest in the travelling theatre experiment depends on the subjective responsibility and creativity of the theatre designer, who is confronted with the challenge of elastic adjustment of available space into appropriate landscapes required at different levels of the production.
Keywords: Travelling theatre, Stagecraft, Aesthetic judgment.
The popular travelling theatre is recognized as a major category in the Nigerian theatre practice, having flourished during the colonial period as a combination of traditional themes on the Western-oriented stage. This type of performance, which relies on peripatetic enterprise, brings theatre closer to the audience and enhances effective audience engineering. The Department of Theatre and Media Arts of the Federal University, Oye-Ekiti (FUOYE) has recently revisited travelling theatre as an experimental itinerant training platform for students, with the performance of Wale Ogunyemi's "Langbodo," at OAU, Ile-Ife in March, 2014. The objective of this study is to establish that itinerant nature of this type of production poses a great problem to the theatre designer because the requirements of stagecraft under this mode of production is uncertain and inconsistent whereas the series of itinerant performances at different venues would have to rely on the same scripts. Relying on Kant's theory of Subjectivity versus Universal Validity, as the theoretical framework, with participant observation method of data collection and ethnographic method of data analysis, this study concludes that; the sustainability of audience interest in the travelling theatre experiment depends on the subjective responsibility and creativity of the theatre designer, who is confronted with the challenge of elastic adjustment of available space into appropriate landscapes, required at different levels of the production.
Keywords: Travelling theatre, Stagecraft, Aesthetic Judgement.
