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TECHNICAL THEATRE FACILITIES
IN NIGERIA
COLLECTED ESSAYS
1
Adesina Adegbite
ISBN 978-978-48747-3-1
Cover Photograph by: Adesina Adegbite
Design Concept: Sina Digital Studios: 080-57205820 /
08060983583
Printed & Bound by:
Folly Press,
100 Emir's Road / lrewolede Estate Area,
Ilorin, Kwara State.
08035631358
DEDICATION
This work is dedicated to
The God Almighty.., the Lord of hosts!!!
And my immediate constituency..
Bidemi, my wife,
Our precious gifts: Ayomide Evidence, Testimony
Adesewa, Ebunoluwa Daniella and especially to
Emmanuel O'feyidemilade, who arrived on the 26th day
of January, 2009; when this work was already in the
press.
Also to my father;
Solomon Ajeigbe Akanni Adegbite ...of the blessed
memory
And..
My mother, who, since February,1988 has been
weathering the storms. Abigail Ejide Adegbite, you
will fulfill your years!!!
ACKNOWLEDGMENTS
Without you appearing at the right time to give meaning
to my calling in the Technical Theatre, vis-a-vis stage
designs and painting; this publication can not be a
reality!!! Dr. Sunnie Enessi Ododo, (now in Department
of Performing Arts, University of Maiduguri) you are
God sent. Thank you a million.
Professor Sam A.Adewoye..., sometimes in 2001, you
'picked' me up and worked together with Dr. Sunnie
Ododo.., so that I can continue from where you may
wish to stop in the academics, accept my gratitude!!!
If I forget to mention your input towards my scholarly
publications so far, posterity may hardly forgive me. I
mean, I am appreciative of your genuine interest in
young scholars - Professor R.O. Rom Kalilu, [Dept. of
Fine and Applied Arts, LAUTECH, Ogbomoso]. Thank
you. Professor Duro Oni, as a matter of fact, your
numerous publications have been instructive to
somebody like me. Thank God, we have somebody like
you still in the Technical Theatre/Design.
What of Drs. Oha Anthony of Ben Idahosa University,
Benin City and AbdulRasheed Abiodun Adeoye, of The
Department of the Performing Arts, University of Ilorin?
Both of you are wonderful!!
Mr. Austin Emielu, also of the Department of the
Performing Arts, University of Ilorin, I celebrate you,
because just a week to the end of the year 2008, your
brief comment on publication inspired me into this
project.
INTRODUCTION
esign, in the theatre is more than illusion, but a
careful ordering of all theatrical/technical
elements vis-a-vis set, sound, property,
costume, make-up, lighting, etc, that make a theatrical
experience a pleasing one. In the process of weaving
these elements together, some guiding canons are
observed, which further give credence to the final
design output. Perhaps, design in the theatre would
play a crucial role, if it is conceived in order to assist
these significant elements: the performance itself, cast
and the audience. But in a situation where the
expected assistance is being eroded by designers lack
of access to relevant facilities, or lack of adequate
fund, as well as inadequate technical facilities - which
are needed to facilitate wholesome aesthetics and
pleasant performance - then, urgent step must be
taken to curtail the menace. More importantly that it is
observed that the case of gross inadequacies of
technical theatre facilities, being witnessed in many
Nigerian University theatres had been with us for long.
Therefore, for our University theatre to perform her
roles effectively in the society, adequate provision of
needed equipment and technical facilities cannot be
jettisoned.
Although, these collected essays discuss
critically the utilization of set and lighting designs in
stage performances, a special searchlight is however
beamed on many factors that hitherto constitute a
major setback to experiencing tasteful performance in
the Nigerian theatre; while several ways of escapes are
proffered.
Adesina Adegbite,
Department of the Performing Arts,
University of Ilorin,
Ilorin, Nigeria.
January 2009
TABLE OF CONTENTS
Dedication ... .........................................................
iii
Acknowledgements . .............................................
iv
Introduction.................................................
CHAPTER ONE
Scenographic Conception in Mountain of Wealth:
Technical and Creative Interventions ...................... 1
CHAPTER TWO
Design and Inadequate Technical Facilities in the
Nigerian University Theatre: A Critical Review ...... 22
CHAPTER THREE
Design and Technical Concepts in Nigerian
Theatre Practice: A Postulation of Re-definitive
Approach towards a sustainable development....... 42
Summary and Conclusion.......................................... 63
Bibliography............................................................... 64
CHAPTER ONE
Scenographic Conception in Mountain of Wealth:
Technical and Creative Interventions.
25
3.
4.
5.
26
props are held by actors on and off the stage during the
course of performance.
6.
7.
8.
27
CHAPTER TWO
Design and Inadequate Technical Facilities in the
Nigerian University Theatre: A Critical Review
43
44
47
CHAPTER THREE
Design and Technical Concepts in Nigerian
Theatre Practice: A Postulation of Re-definitive
Approach towards a sustainable development
Design and technical concepts spice up
theatrical performance, especially when require to
contribute significantly to the overall success of
performance, whether on stage, television or in video
and celluloid. Therefore, any theatrical activity or
dramatic enactment without the synthesis of these
audio-visual elements is more or less a pseudo-theatre
meant for the glorification of animals in human skin - so
to say. In the African theatre environment; the
involvement of mostly visual elements normally adds
value to theatrical experience. Bodunde (2000:72 and
2001:32) captures theatre vividly as a concept that
provides an enabling platform for the articulation of
human aspirations. This implies that inasmuch as
there would be enactment of dramatic action whereby
informative; educative and entertaining nuances are
packaged, theatre also as a structure/place/location,
should be provided, without which the dramatics
become a mere gathering of people in an organised
discussion.
Since the concept of theatre is all-embracing,
further clarification is necessary. That is why Bodunde
(2000:72) again identifies other functionalities of
theatre: it functions as a reliable index of the
tendencies and movement of culture". Here, the
concept of design which is being collocated in technical
theatre usually ensures the' smooth transition/
transmission of peoples' cultural tendencies. This is
derived from one culture to another when their totality
is revealed via performances. In the process, this
48
67
68
5. The Ayota Mobile Youth theatre outfit made use of mobile set
designs during their performance at the University of Ilorin in
January, 1993. we believe, that the various mobile scenic
concepts being witnessed in Nigeria now are an improvement
on this set. Many production companies, in promoting of their
products, have now adopted the concepts. Hence, our
clamour for the sustenance of these concepts to enhancing
the aesthetics of African design and technical aids in theatre
performance is further established.
6. The same explorative concept of scenography with African
design aesthetics was noticed in 'Aruku Shanka', a production
at the drama courtyard of the Department of Performing Arts,
University of Ilorin. The production,'as written and directed by
Felix Okolo on February 15, 1996.
69
BIBLIOGRAPHY
Adegbite, Adesina. 2005. Theatre patronage on
Nigerian Campus and the Task of Building:
University of Ilorin as a Paradigm, The Performer:
Ilorin Journal of the Performing Arts: Vol. 7: pp 4760.
Akinwale, A. (2001). "Mountain of Wealth" - working
script.
Akinwale, A. O. (2001). "Theatrical elements and the
plays of Femi Osofisan" Nigerian Theatre Journal
6 (1): pp. 15-21.
Akinwale, A. O. (2004). "Traditional theatre practice in
Kwara State: Moro Local Government as a case
study" a paper presented at the Departmental
Seminar; Ilorin: Department of Performing Arts,
University of llorin, February, 18th.
Asomba, D. (2000). Scene Design: Art and Craft Ibadan:
Caltop Publications.
Asomba, D. (1990). "Lighting as an expressive theatrical
medium in African dance theatre" Nigeria
Magazine (3 & 4): pp. 33-46, July - December.
Atakpo, U. E. (1998). "Aesthetics and mood creation:
The theatre experience" Journal of Humanities 6:
pp. 79-84.
Awofeso, Peju. 2002. Theatre on the Road, The
Guardian; p.41, June 15.
Axworthy, G. J. (1972). "The Stage version of 'The
Palmwine Drinkard' in The Palmwine Drinkard:
Opera by Kola Ogunmola. Ibadan: Institute of
African Studies; University of Ibadan, pp. Ix-x.
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