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ACTING AND DIRECTING SOLO DRAMA: A STUDY OF SELECTED NIGERIAN SOLO ACTORS AND DIRECTORS
ABSTRACT
Solo drama as a theatrical sub-genre has remained silent in Nigerian theatre. It is an issue which is supposed to have been given utmost attention now that the economic situation in Nigeria is not booming. Lack of adequate attention has been attributed it to negligence and lack of keen interest to develop solo drama in Nigeria. Solo drama playwrights such as Mbajiorgu and Binebai whose works constitute my area of investigation have made conscious efforts to write solo plays with which solo directors such as Mbajiorgu and Kansese will use as instrument to develop Mbajiorgu, Kaka and Tuodonye as solo actors. Solo drama practitioners such as Sotimirin and Alabi did not have their solo drama practice on paper or in print materials. Though, there (Sotimirin and Alabi) contributions in developing solo drama served as motivational factors to these solo drama practitioners both in acting and directing solo drama. Thus, the researcher tends to explore the techniques of acting and directing solo drama using Majiorgu’s The Prime Minister’s Son and Binebai’s My Life in the Burning Creeks. And to further evaluate the different styles and approaches employed by these two solo directors knowing fully that, Mbajiorgu happens to be the solo playwright, director and actor in The Prime Minister’s Son while Binebai is the solo playwright, Kansese the solo director, and Kaka the solo actor in My Life in the Burning Creeks. The researcher through interview and observational methods was able to ascertain the techniques of acting and directing solo drama. Though, there are source materials on solo drama but not on the techniques of acting and directing solo drama. Other source materials are from the library and internet. In the end, the researcher made recommendations that will help further develop solo drama in Nigerian theatre practice.
TABLE OF CONTENTS
Title Page = = = = = = = = = i
Certification = = = = = = = = = ii
Approval = = = = = = = = = iii
Dedication = = = = = = = = = iv
Acknowledgements = = = = = = = = v-vi
Abstract = = = = = = = = = vii-viii
Table of Contents = = = = = = = = ix-xi
CHAPTER ONE = = = = = = = = 1
Background of the Study = = = = = = = 1
- = = = = = = = 1-4
- Statement of Problem. = = = = = = = 4-5
- Objective of the Study. = = = = = = = 5-6
- Significance of the Study. = = = = = = 6-7
- Scope of the Study. = = = = = = = 7-8
- Research Methodology. = = = = = = = 8
CHAPTER TWO = = = = = = = = 9
Review of Related Literature = = = = = = = 9
2.1 Origin of Solo Drama. = = = = = = = 9-10
2.2 Acting in Solo Drama. = = = = = = = 10-14
2.3 Directing in Solo Play = = = = = = = 14-20
CHAPTER THREE = = = = = = = 21
3.1 Brief Professional Background of the Selected Directors. = = 21-22
3.2 Factors Responsible for the Choice of the Two Unconventional
Plays by the Two Solo Directors. = = = = 23-24
3.3 Synopsis of the Selected Solo Plays = = = = 24-27
3.4 Examining the Directorial Metaphor Employed
by the Selected Solo Directors. = = = = 28-29
3.5 Rehearsal Techniques in Solo Drama. = = = = = 29-31
3.6 The Directors’ Principal Production Tools = = = = 31-32
3.7 The Directorial Techniques for Engaging the Solo
Actors to the Audience. = = = = = 32-34
CHAPTER FOUR = = = = = = = 35
4.1 Brief Professional Background of the Selected Solo Actors. = 35-38
4.2 Basic Prerequisites for Acting Solo. = = = = = 38-39
4.3 Distinguishing Between Solo Acting and Solo Performance. = 39-41
4.4 The Actors Principal Production Instruments in Solo Drama. = 41-47
4.5 The Performance/Acting Techniques Solo Actors
Employ in Solo Drama. = = = = = 47-48
CHAPTER FIVE = = = = = = = = = 49
5.1 Comparative Analysis of the Production Techniques Employed by
Greg Mbajiorgu in ThePrime Minister’s Son and Rudoulf
Kansese’s Production Benedict Binebai’s My Life in The
Burning Creeks. = = = = = = = 49-50
5.2 The Theatrical Benefits of Going into Solo Play Production. = 50-53
5.3 Limitations of Solo Play Production. = = = = 53-54
CHAPTER SIX = = = = = = = = 55
6.1 Summary. = = = = = = = = = 55-56
6.2 Recommendations. = = = = = = = 56-57
6.3 Conclusion. = = = = = = = = 57-58
Works Cited
CHAPTER ONE
BACKGROUND OF THE STUDY
- INTRODUCTION
According to Harwood, solo drama based performance has a long and rich history in the United States, encompassing everything from serious and political oratory to sales pitches and medicine show hucksterism (1984:7). Solo drama is any entertainment that falls within one actor impersonating or embodying many characters on stage. People (theatre audience) may perceive stand-up comedies, vaudeville, self standing monologues, short sketches, among others as solo drama pieces but they are not. Because, in solo drama, one actor embodies all the roles in either a short solo drama or full length solo play.
However, solo drama as an art form has a historical origin that goes beyond the Classical Greek period as many theatre practitioners perceive it (solo drama). But, Mbajiorgu maintains that, despite its prehistoric pedigree that has inspired and fuelled the practice of this art in Europe and America, it has remained the neglected jewel in post-colonial Nigeria (2013:10). Theatre practitioners have not been able to make this art form a popular one at least to give it formidable position in theatrical practice in Nigeria. With this neglect some theatre practitioners who are supposed to have chosen this theatrical sub-genre as their area of concentration don’t know what it takes to engage in solo drama.
Most theatre professionals think that solo drama could be traced back to the Greek era in theatre, because of Thespis’ contributions to the development of theatre. But, I give him credit for that for embracing the techniques of solo drama by embodying different roles in one character. The Greek audience enjoyed his performance very much despite the fact that he was just alone on stage. He was able to engage his audience artistically and aesthetically throughout his career as an actor. But this does not mean that solo drama was made known to us by Thespis. According to Mbajiorgu, the origin of solo drama goes beyond the Greek period (2013:10 ).
Solo drama continued to expand both in number of artiste making solo drama based theatre and audience demand for such work some centuries back. This sudden shift and demand for solo drama productions was orchestrated by the economic situation of most theatres in the world in which solo dramas are all that they can barely afford to produce. According to Duerr, he asserts the above statement as he says that why so many theatre artistes chose to make solo drama pieces rather than creating ensemble works or plays is because of its economic viability (1962:29).
The central question for anyone planning to perform his or her own solo drama is how best the solo actor and solo director will be able to explore all the solo production tools and acting and directing techniques embedded in solo play productions. The solo director must in his creative ingenuity know the possible directorial approaches and techniques to employ in order to have a successful solo play production by exploring the solo actor who is alone on a solitary stage. The solo actor on his own should be able to explore all the principal production tools and acting techniques to which the solo actor has to decide which face or faces will best serve his creative objectives before his audience. Even if one wants to present solo drama piece drawn directly from personal experience, the task is still to find an appropriate representational strategy by which to do this.
Potter in his contributions maintains that, even if one presents a wholly fictitious character onstage, just as one might in any dialogue-based play, the decision to perform solo drama will nonetheless mean that an audience will tend to see the character presented as an expression of something very personal to the writer-performer (1984:42). After all, this is not simply an actor playing a part, but an artist presenting him or herself as the art. To buttress the above statement, Bonny posits that, solo drama constitutes a kind of Extreme Exposure when an individual confronts the audience alone, the exterior mask that he presents is widely assumed to offer a refracted expression of some aspect of his interior subjectivity ( 2000:xii).
Furthermore, being fully aware of the intense scrutiny they (solo actors) place themselves under, most contemporary solo actors use direct audience address as a means of taking on the audience gaze and acknowledging its presence rather than being permitted to pretend that they are mere flies on the wall. Audiences find themselves interpolated directly into the theatrical exchange, as figures to be conversed with, questioned, and even harangued. Such tactics according to Matthews result in the distinction between solo drama practitioners and stand-up comedians often being somewhat blurred, but whereas the conventions of comedy permit vocal responses and even heckling from spectators, audiences at anything framed as theatre or art will tend to assume that their only options for audible response are laughter and applause(2001:67).
Rather than expecting comebacks as Matthews stated above, solo actors will instead engage spectators by inviting them to take on dramatic roles of one sort or another. This work predicated on the attempt to present the performer’s self to the audience, as directly as possible, by minimizing any sense that he is playing a role, or presenting an act (2001:75). This strategy also frequently implies an attempt to minimize the distance between actor and audience. The performer recounts ostensibly true personal narrative as if he were addressing concerned friends, rather than a group of strangers sitting in the dark.
- STATEMENT OF THE PROBLEM
This theatrical genre (Solo drama) seems to have been neglected in Nigerian theatre practice. Most theatre practitioners and audience are familiar with the popular ensemble theatre in Nigerian theatrical practice. But, because of this negligence in solo drama in contemporary Nigerian theatre practice, I decided to base my research on the acting and directing techniques of solo drama. It became necessary for me to find out whether the cause of its negligence is based on the strenuous approaches of realizing solo play productions or based on focusing on ensemble theatre owning to the fact that live drama performances are going into extinction.
- AIM AND OBJECTIVES
The objective of this study is to point out the techniques of acting and directing in solo drama, but from the appraisal of acting and directing in the selected solo actors and directors in their various solo plays, the reasons for the lack of interest and negligence, and for further development of this theatrical experience or sub-genre will also be pointed out. And sustainable or lasting remedies for the factors responsible for the negligence and apathy will be proffered adding to what scholars in this field have contributed. Though, some of these acting and directing techniques in solo drama are not only applicable to solo drama but also applicable to ensemble theatre practice. These techniques will be addressed in this research exercise to examine their relevance in solo drama. Some contemporary Nigerian theatre scholars have not been able to look inwards in order to help further develop this theatrical sub-genre. It will also address the importance of actors and directors being trained on the basis of acting craft and techniques which will help them in using their instruments efficiently and effectively in interpreting their roles.
- SIGNIFICANCE OF THE STUDY
The topic under investigation will be of great importance or value to every theatre practitioner who wants to develop his acting and directing skills in the sense that a solo actor masters all the techniques through which he engages the audience and makes his solo production a success. This will be a guide and of great help on how to develop these techniques by both solo actors and directors who are in this field. They will also learn from it, the importance of solo drama play production beginning with writing a solo play because; it is through creative development of characters and characterization that solo actors and directors will have less job to do. It will also guide the solo actors and directors on how to do their characters’ analysis or interpretation, how to trace the motivational factors and objectives of their characters in the solo script knowing fully that it is difficult for one actor or performer to be on solitary stage for more than forty minutes and above and still sustain the interest of his audience. It will show the importance of actors being trained on the basics of acting craft and techniques which will help them in using their instruments efficiently and effectively in interpreting their roles. Above all, if properly harnessed and developed will replace the popular ensemble theatre or live drama performances which are almost dead considering the economic background or status of every organisations, departments, schools, countries etc. People researching or writing on acting and directing solo drama or related research work will find it worthy as a relevant resource material for reference.
- SCOPE OF STUDY
Acting and directing solo drama constitute the scope of this research work. The researcher will discuss the acting and directing techniques of realising solo drama. The scope of this research is broken down into six chapters. Chapter one covers the introductory part, statement of problem, objective of the study, significance of the study, scope of the study and research methodology. Chapter two covers the review of related literature which has the origin of solo drama, acting in solo drama and directing a solo play. Chapter three covers brief professional background of the selected solo directors, the factors responsible for the choice of the two unconventional plays, synopsis of the selected solo plays, examining the directorial metaphor employed by the selected solo directors, the rehearsal techniques of solo drama, the directors principal production tools employed in their solo drama and the directorial techniques the selected solo directors employed in their solo productions. While chapter four covers brief professional background of the selected solo actors, the basic prerequisites for acting solo, distinguishing between solo acting and solo performance, the actors principal production instruments in solo drama, and the acting techniques solo actors employed in their solo productions. Chapter five has the comparative analysis of the production techniques employed by Greg Mbajiorgu’s The Prime Minister’s Son and Rudolph Kansese’s production of Benedict Binebai’s My Life in the Burning Creeks, the theatrical benefits of going into solo play production, and challenges associated with solo play production. Chapter six which is the final chapter covers summary, recommendations and conclusion.
- RESEARCH METHODOLOGY
The research methodology will involve interview/field observation. This research methodology will avail the researcher the opportunity for face to face interactions with professionals and practitioners in this field of study. Materials will also be sourced from the library which covers textbooks, articles and reviews on journals, magazines, newspapers, and internet sourced materials are also inclusive.
ACTING AND DIRECTING SOLO DRAMA: A STUDY OF SELECTED NIGERIAN SOLO ACTORS AND DIRECTORS
