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DIRECTING AND REVIVAL OF POPULAR THEATRE IN NIGERIA, A STUDY OF DURO LADIPO AND SEGUN ADEFILA
TABLE OF CONTENTS
Title Page ————————————————————————————————-i
Certification ———————————————————————————————-ii
Approval page ——————————————————————————————-iii
Dedication ————————————————————————————————iv
Acknowledgements ————————————————————————————-v
CHAPTER ONE Introduction ———————————————————————-1
1.1 Nigerian Popular Theatre- Historical Overview ——————————————4
1.2 Statement of the Problem ——————————————————————–6
1.3 Research Questions —————————————————————————7
1.4 Objectives of the Study ———————————————————————–7
1.5 Significance of the Study ———————————————————————7
1.6 Theoretical Framework ———————————————————————–8
1.7 Scope of the Study —————————————————————————-9
1.8 Research Methodology ———————————————————————–10
CHAPTER TWO: REVIEW OF RELATED LITERATURE——————————–12
2.2 Popular Theatre——————————————————————————–12
2.3 Theatre Directing and Different Directing Styles —————————————-18
CHAPTER THREE: STUDY OF DURO LADIPO AND SEGUN ADEFILA’S DIRECTING STYLES——————-————————————————————-28
3.1 Study of Duro Ladipo‟s Theatre Directing ————————————————28
3.2 Study of Segun Adefila‟s Theatre Directing ———————————————-39
CHAPTER FOUR: COMPARATIVE STUDY OF DURO LADIPO AND SEGUN ADEFILA’S DIRECTING
4.1 Comparative Study of Duro Ladipo and Segun Adefila‟s Theatre Directing ——–59
4.2 Major Keys to a Flourishing Popular Theatre Practice in Nigeria———————-64 vii
CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATIONS
5.1 Summary ————————————————————————————–70
5.2 Conclusion ————————————————————————————72
5.3 Recommendations —————————————————————————73
APPENDIX
WORKS CITED1
CHAPTER ONE
INTRODUCTION
Directing can be seen as the driving wheel in theatre production. For the growth of popular theatre in Nigeria, this important aspect of production should as a matter of fact be well handled in coordinating and integrating creative elements that will produce and project great artistic performances. This research shall focus on directorial practice of Nigeria‟s first generation popular theatre director (Duro Ladipo) and that of the present generation (Segun Adefila). Art, just like every facets of life is in phases, and each phase presents its peculiarity which is drawn from trends of that age. Popular theatre embraces practices like drama, dance, music, and comedy skits, performed for the masses for commercial, political and educational purposes by addressing issues bothering the society. According to Oliver J Harris, popular theatre started with the aim of creating an impact, or to provoke change or bring about agitational propaganda (https://OliverHarriswordpress.com/?s=popular+theatre). In Nigeria, this practice which emanated from cultural and religious practices took formal effect with people like Hubert Ogunde in 1946 with the aims of making profit, entertainment and political enlightenment. Other prominent ones that followed were Ogunmola and Duro Ladipo, tapping greatly from cultural, religious and festival performance practices.
A theatre director is a team leader who must collaboratively inspire others and paint properly the picture he intends to create to his team and take them through it for accurate artistic portrayal. He is a creative artist with high theatrical taste which must be diverse for different audience taste. The director is the eye of the audience during rehearsal and a chief critic of his work cum team and he has the final carving chisel to the script. A director is in fact, the spirit behind the production and the fuel of creative inspiration. He must perfect his job on all aspects of production before handing it over to the stage manager.
DIRECTING AND REVIVAL OF POPULAR THEATRE IN NIGERIA, A STUDY OF DURO LADIPO AND SEGUN ADEFILA
