1. art and entertainment
2. theatre

Course:
PFA 437 – African Directors and Directing Styles (3
Credits–Required)
Course Duration: Three hours per week for 15 weeks (45 hours)
Lecturer:
ADEOYE, A. AbdulRasheed
Ph.D. Theatre Arts (Ibadan), M.A. Theatre Arts (Ibadan), MPA
(Ilorin), B.A. Performing Arts (Ilorin).
Department of the Performing Arts,
University of Ilorin, Ilorin, Nigeria
E-Mail:
rasheedmus2001@yahoo.com
rasheed2007@unilorin.edu.ng
Office Location: Room 11, Department of the Performing Arts,
University of Ilorin, Ilorin, Nigeria
Consultation Hours: 3.00pm-5.00pm (Wednesdays and Fridays)
Course Content
Advanced study into the psychology and pervading sociological factors of the major
African theatre directors and their directing styles. A known African director and his
directing style. Practical demonstration of the proficiency of his chosen director’s style
(For Drama specialists). 15h (T), 45h (P); R
Course Description
The course provides comprehensive details on the psychology, environmental, and
sociological factors that influenced the works of major African theatre directors. Since it
has been confirmed that ‘the director is a stylist’, the course covers the various directing
styles of renowned African theatre directors especially within the literary and popular
theatre traditions. The content also covers a wide range of topics like psychology and
play directing, sociology and the play director, aesthetics and play directing and director
and directing style. Theatre directors such as Hubert Ogunde, Ola Rotimi, Wole Soyinka,
Femi Osofisan, Sam Ukala, Athol Fugard, Ngugi wa Thiong’o Muhammed BenAbdallah, Bayo Oduneye, Ayo Akinwale, Effiong Johnson, Tunde Awosanmi, A.A.
Adeoye, Emmanuel Emasealu, Jenks Zakari Okwori and Irene Salami-Agunloye, (the
female playwright-director) among others.
Course Justification
The essence of play directing cannot be over-emphasised in the theatre. Consequently,
the need to understand African theatre directors and their directing styles are important.
The course also offers potential graduates the opportunity of applying the technical
know-how and the experience of African theatre directors to advance their professional
directorial career.
Course Objectives
The main objective of the course is to ensure that students understand African theatre
directors and their directing styles. By the end of the course, our desire is that students
should be able to
(i)
understand the place of psychology in play directing
(ii)
explain the environmental and sociological factors that influenced the works
of some notable African theatre directors
(iii) appreciate the numerous directing styles in the African theatre
1
(iv)
understand staging and performance dynamics in the play directing process
(v)
create their own directing styles for use in their professional career
Course Requirements
75% attendance is an important requirement before students can sit for the examination.
Apart from this, students will be expected to read widely and participate in robust debates
during lecture hours. Students will also conduct interviews with some notable African
theatre directors and analyse some of their past productions. They are expected to write
term papers or reports on approved African theatre directors which they will present in
class as part of their continuous assessment.
Methods of Grading
S/n
Types of Grading
Score (%)
1.
Class Assignments/Test
10%
2.
Term Paper or Seminar Paper
20%
3.
Participation/Attendance in Class
10%
4.
Final Examination
60%
Total
100%
Course Delivery Strategies
Apart from face-to-face communicative lecture strategy, practical demonstration of the
directing styles of some renowned African theatre directors would be adopted to allow
students to appreciate the transposition of theory to practice, the consistent hub of theatre
scholarship and practice.
Lecture Content
Week 1:
Introduction to African Theatre Directors and Directing
Styles
Objectives: The main objective of the week is to describe the nature and overview of the
course. The goals of African Theatre Directors and Directing Styles will also be
clarified.
Description
First Two Hours
An overview of the course
Last One Hour
Nature and goals of African Theatre Directors and Directing Styles
Study Questions:
1.
Why is it necessary to undertake a study on African Theatre Directors and
Directing Styles?
2.
Can we talk about literary theatre directors in Africa without recourse to the
Western theatre directors?
3.
What is meant by the term “African Theatre Directors”?
2
4.
5.
Why are most African theatre directors not documenting their directing
experiments?
What are the goals of African Theatre Directors and Directing Styles to a
budding theatre director?
Reading list
1.
Emasealu2, Emmanuel. (2010). The theatre of Ola Rotimi: Production and
performance dynamics. Minna: Gurara Publishing. pp. 45-72. ISBN 978 – 978
– 49020 – 9 – 0.
2.
Hodge1, Francis. (1971). Play directing: Analysis, communication and style.
London: Prentice-Hall International. pp. 1-67. ISBN 13 – 682815-9.
3.
Johnson2, Effiong. (2003). Visions towards a mission: The art of interpretative
directing. Lagos: Concept Publications Limited. pp. 17-49. ISBN 978 2309
966.
4.
Lawal2, Hameed Olutoba. (2010). Fundamental of theatre arts. Ibadan: Glory
Land Publishing Company. pp. 54-97. ISBN 978 – 31064 – 7 – 0.
5.
Musa4, Rasheed Abiodun. (2000). Directing process on the Nigerian stage:
Dapo Adelugba’s creative process in Kongi’s harvest and ‘The onion skin’
considered. Unpublished M.A. Thesis, Department of Theatre Arts, University
of Ibadan. pp. 1-62.
Week 2: Psychology and Play Directing
Objectives: Students are expected to demonstrate and appreciate the place of psychology
in the play directing process.
Description
First Two Hours
Psychology as a factor in the play directing process
Last One Hour
The director as a psychologist
Study Questions:
1.
Define psychology.
2.
Why is psychology necessary in the play directing process?
3.
Why should the theatre director be a psychologist?
4.
Draw and review R.A. Musa’s “Diagrammatic Representation of the
Behavioural Pattern of the Theatre Director”.
5.
From the theatre director’s knowledge of psychology, how should he relate
with his performers and designers?
6.
Should the theatre director direct a play through his own vision alone?
Reading List
1.
Akwang2, Etop. (2007). Rembrandt consciousness: A study of the recession and
recovery of subjectivity in Yerima’s The bishop and the soul and Thank you Lord.
3
In: Making images, re-making life: Art and life in Ahmed Yerima (Eds.)
Uwemedimo Atakpo and Stephen Inegbe. Uyo: Modern Business Press. pp. 3059. ISBN 978 – 2676 – 47 – 0.
2.
Anunike2, W. Ogonna. (2007). Media drama. Enugu: Cecka Nigeria Limited. pp.
169-188. ISBN 978 – 8107 – 53 – 2.
3.
Camus4, Albert. (2000). The myth of Sisyphus. London: Penguin Books. pp. 90119. ISBN 13 978 – 0 – 14 – 102399 – 1.
4.
Frerer4, Llord Anon. (1996). Directing for the stage. Illionis: NTC. pp. 3-12.
ISBN 0 – 8442 – 5902 – 0.
5.
Musa2, Rasheed Abiodun. (2001). Psychology as a factor in play directing. The
performer: Ilorin journal of the performing arts, 3: 92-106. ISSN 1595 – 0972.
Week 3: Sociology and the Play Director
Objectives: The objectives of the week are to explain the nature of sociology and its
meeting point with play directing and the play director.
Description
First Hour
Nature of Sociology
Last Two Hours
Sociology and play directing
Sociology and the play director
Sociological factors that can influence the work of a play director
Study Questions:
1.
Conceptualise sociology.
2.
What is the relevance of sociology to the theatre as a discipline?
3.
Examine the meeting point between sociology and play directing.
4.
Why is the play director a sociologist?
5.
What are the sociological factors can influence the work of a play director?
Reading List
1.
Akinwale2, Ayo. (2000). Production styles on the Nigerian stage: A historical
review. In: Theatre and stage-craft in Nigeria (Ed.) Iyorwuese Hagher. Abuja.
Supreme Black Communications. pp. 1`15-141.
2.
Akinwale1, Ayo. (2010). “And the journey begins: The travails of a theatre
sociologist”. Ilorin: University of Ilorin. pp. 1-72. ISBN: NP. ISBN 978 – 2827 –
13 – 14.
3.
Johnson2, Effiong. (2003). Visions towards a mission: The art of interpretative
directing. Lagos: Concept Publications Limited. pp. 17-49. ISBN 978 2309 966.
4
4.
Musa4, Rasheed Abiodun. (2001). Sociology and play directing: The meeting
point. Ibom journal of social issues, 6(2): 107-116. ISSN 1117-4110.
5.
Roose-Evans, James. (1989). Experimental theatre: From Stanislavsky to Peter
Brook. London: Routledge. pp. 1-219. ISBN 0-415-00963-4.
Week 4: Aesthetics and Play Directing
Objectives: Students will describe and locate the place of aesthetics in play directing.
They will also identify some socio-cultural factors responsible for the use of traditional
aesthetics in African historical and traditional plays.
Description
First Hour
Aesthetics and play directing
Last Two Hours
Socio-cultural factors and the use of aesthetics
Traditional aesthetics in African historical and traditional plays
Study Questions:
1.
Define aesthetics.
2.
Why is aesthetics necessary in the play directing process?
3.
List and enumerate four socio-cultural factors responsible for the use of
traditional aesthetics in the African historical and traditional plays.
4.
Examine traditional aesthetics in any performance of your choice that you
have watched.
5.
Using a popular festival of your choice, review the use of aesthetics therein.
Reading List
1.
Adeoti2, Gbemisola. (2010). Aesthetics of adaptation in contemporary
Nigerian drama. Lagos: CBAAC. pp. 7-74. ISBN 978 – 978 – 8406 – 57 – 0.
2.
3.
Akwang2, Etop. (2006). Code transcendence and the collapse of motifs in
contemporary directing: The example of Effiong Johnson’s Not without bones.
The performers: Ilorin journal of the performing arts, 8: 83 – 95. ISSN 1595
– 0972.
Arinde2, Tayo Simeon. (2005). Aesthetics: The oil on the canvass of play
directing. The performers: Ilorin journal of the performing arts, 7: 150-163.
ISSN 1595 – 0972.
4.
Hodge1, Francis. (1971). Play directing: Analysis, communication and style.
London: Prentice-Hall International. pp. 1-67. ISBN 13-682815 – 9.
5.
Kofoworola2, O. Ziky. (2004). Aesthetics of performance: An examination of
concepts in African theatre. The performer: Ilorin journal of the performing
arts, 6: 1-19. ISSN 1595 – 0972.
5
Weeks 5:
Directors and Directing Styles
Objectives: The objectives of the week are to explain the general perspectives of
directing styles prevalent in the literary and popular theatre traditions.
Description
First Two Hours
Individualism and the play directing style
Factors that can influence a play director’s style
Directing styles in the literary theatre tradition
Last One Hour
Directing styles in the popular theatre tradition
Study Questions:
1.
Can a performance be divorced from the individual vision of the theatre
director?
2.
Why is directing style necessary in the performance process?
3.
Should the theatre director be a stylist?
4.
List and discuss four experimental directing styles that you know in the
theatre.
5.
What are the factors that can influence a play director’s style?
6.
Can style be located in conventional play directing?
7.
Review directing styles in the popular theatre tradition of Nigeria.
8.
Examine the socio-political factors responsible for the directorial works of
theatre directors in the Nigerian literary theatre tradition.
Reading List
1.
Adelugba4, Dapo; Yerima, Ahmed and Adedokun, Remi Ademola. (2003). A
triptych to mark the retirement of Bayo Oduneye (Uncle B). Ibadan: Lagemo
Nigeria Limited. pp. 1-43. ISBN: NP.
2.
Ademola2, Dasylva (Interviewer). (2003). Dapo Adelugba on theatre practice in
Nigeria. Ibadan: Ibadan Cultural Studied Group. pp. 3-297. ISBN 978 354 54 26.
3.
Akinwale2, Ayo. (2000). Production styles on the Nigerian stage. In: Theatre and
stage-craft in Nigeria (Ed.) Iyorwuese Hagher. Abuja: Supreme Black
Communications. pp. 115-141. ISBN 978 – 2827 – 13 – 4.
Musa4, Rasheed Abiodun. (2002). Directing styles and the Nigerian theatre. In:
Performing identities: Theatre and the state in Nigeria (Ed.) Jenks Zakari
Okwori. Zaria: SONTA. pp. 27-40. ISBN 978 – 36657 – 0 – 7.
4.
5.
Musa4, Rasheed Abiodun. (2002). Play directing and directors: An evolutionary
documentation in the Nigerian theatre. Humanities review journal, 2(1): 446-56.
ISSN 1596 – 0746. also available at http//www.inasp.infolajol.
6.
Musa2, Rasheed Abiodun. (2005). Deconstructionist approach to play directing.
The Abuja communication: A journal of culture and media arts, 2(1): 50-80. ISSN
1596 – 7263.
6
7.
Musa4, R.A. (2007). Directing Wole Soyinka’s comedies on the Nigerian stage.
Unpublished Ph.D. Thesis, Department of Theatre Arts, University of Ibadan. pp.
18-50.
8.
Wilson4, Edwin. (1994). The theatre experience. New York: McGraw-Hill, Inc.
pp. 125-145 and pp. 297-315. ISBN: NP.
Week 6:
Hubert Ogunde and Kola Ogunmola’s Directing Styles
Objectives: Students will explain and describe the directing styles of Hubert Ogunde and
Kola Ogunmola representing the Nigerian popular theatre tradition.
Description
First Two Hours
The directing style of Hubert Ogunde
Last One Hour
The directing style of Kola Ogunmola
Study Questions:
1.
Review the interconnection between the Alarinjo traveling theatre and the
modern Nigerian popular theatre of Yoruba tradition.
2.
Is the Nigerian popular theatre tradition an actor’s theatre or a director’s
theatre?
3.
Examine the directing style of Hubert Ogunde.
4.
Describe the style of Kola Ogunmola’s theatre.
5.
Write a proposal on how the live theatre of the Yoruba or popular tradition
can be revived.
6.
Respond to the criticism that “Hubert Ogunde has gone with his theatre”.
Reading List
1.
Adedeji2, J.A. (1981). Alarinjo: The traditional Yoruba traveling theatre. In:
Drama and theatre in Nigeria: A critical source book (Ed.) Yemi Ogunbiyi.
Lagos: Nigeria Magazine. pp. 221-248. ISBN 978 – 173 – 008 – 0.
2.
Adedeji2, J.A. and Ekwuazi, Hyginus. (1998). Nigerian theatre: Dynamics of
a movement. Ibadan: Caltop Publications (Nigeria) Limited. pp. 46-161. ISBN
978 31653 1 3.
3.
Adeoye2, A.A. (2010). Performance and cultural perspectives of women in
Yoruba popular theatre. In: Culture, identity and leadership in Nigeria (Eds.)
Emmanuel Samu Dandaura and AbdulRasheed Abiodun Adeoye. Ibadan:
SONTA/Kraft Books Limited. pp. 149-163. ISBN 978 – 978 – 8425 – 28 – 1.
4.
Clark4, Ebun. (1979). Hubert Ogunde: The making of the Nigerian theatre.
London: Oxford University Press. pp. 1-166. ISBN 978 154483x.
5.
Clark2, Ebun. (1981). Ogunde theatre: The rise of contemporary professional
theatre in Nigeria 1946-72. In: Drama and theatre in Nigeria: A critical
7
source book (Ed.) Yemi Ogunbiyi. Lagos: Nigeria Magazine. pp. 295-320.
ISBN 978 – 173 – 608 – 0.
6.
Jeyifo4, Biodun. (1984). The Yoruba popular traveling theatre of Nigeria.
Lagos: Nigeria Magazine. pp. 1-210. ISBN 978 – 173 – 101 – 2.
7.
Ogundeji4, Philip Adedotun. (1991). Friendship, housewife – Rivalry and
human lust in the plays of Kola Ogunmola. Ibadan: LACE Occasional
Publications/End – Time Publishing House Ltd. pp. 3-22. ISBN 978 – 2163 –
38 – 4.
Week 7: The Directing Style of Wole Soyinka
Objectives: The main objective of the week is to explain Wole Soyinka’s directing style
to students. This style is located within the playwright-director’s group.
Description
First Hour
A survey of Wole Soyinka’s theatre
Last Two Hours
Wole Soyinka’s directing style
Practical demonstration of some key concepts and approaches of Wole Soyinka in his
play directing
Study Questions:
1.
Examine Wole Soyinka’s ritual theatre.
2.
Explain some traditional aesthetics in any of Wole Soyinka’s play of your choice.
3.
Review any of Wole Soyinka’s play in the experimental form.
4.
List and enumerate the key concepts and approaches of Wole Soyinka in his play
directing process.
5.
Discuss Wole Soyinka as a playwright-director.
Reading List
1.
Bishop4, Norma. (1993). A Nigerian version of a Greek classic: Soyinka’s
transformation of The Bacchae. In: Research on Wole Soyinka (Eds.) James
Gibbs and Bernth Lindfors. Trenton: Africa World Press. pp. 115-126. ISBN
0- 86543 -218 - x.
2.
Booth4, James. (1993). Self-sacrifice and human sacrifice in Soyinka’s Death
and the King’s horseman. In: Research on Wole Soyinka (Eds.) James Gibbs
and Bernth Lindfors. Trenton: Africa World Press. pp. 127-148. ISBN 0 86543 – 218 - x.
3.
Fosudo2, Sola. (2006). Of influence, art and the artist (A personal experience).
In: Wole Soyinka @ 70 festschhrift (Eds.) Dapo Adelugba, Dan Izevbaye and
Egbe Ifie. Nigeria: LACE occasional Publications/Dat and Partners. pp. 67124. ISBN 978 – 978 – 082 – 430 – 3.
8
4.
Fraser4, Robert. (1993). Four alternative endings to Wole Soyinka’s a dance
of the forests. In: Research on Wole Soyinka (Eds.) James Gibbs and Bernth
Lindfors. Trenton: Africa World Press. pp. 93-106. ISBN 0 – 86543 – 218 – x.
5.
Gibbs4, James. (1993). The masks hatched out. In: Research on Wole Soyina
(Eds.) James Gibbs and Bernth Lindfors. Trenton: Africa World Press. pp. 5180. ISBN 0 – 86543 – 218 – x.
6.
Lindfors4, Bernth. (1993). Begging questions in Wole Soyinka’s Opera
Wonyosi. In: Research on Wole Soyinka (Eds.) James Gibbs and Bernth
Lindfors. Trenton: Africa World Press. pp. 149-162. ISBN 0 – 86543 – 218 –
x.
7.
Musa4, R.A. (2007). Directing Wole Soyinka’s comedies on the Nigerian
stage. Unpublished Ph.D. Thesis, Department of Theatre Arts, University of
Ibadan. pp. 94-250.
8.
Musa4, Rasheed Abiodun. (2007). Interpreting Soyinka’s comedies for
theatrical direction. Journal of language, literature and culture, 8: 58-70
ISSN 0972-9682.
9.
Yerima2, Ahmed. (2006). Soyinka, the director and the Nigerian stage. In:
Wole Soyinka @ 70 festschrift (Eds.) Dapo Adelugba, Dan Izevbaye and Egbe
Ifie. Nigeria: LACE Occasional Publications/Dat and Partners. pp. 39-66.
ISBN 978 – 978 – 082 – 430- 3.
Week 8: The Directing Style of Ola Rotimi
Objectives: Students will explain and describe Ola Rotimi’s directing style which housed
such approaches and concepts such as the pressure cooker, theatre-in-the-round,
simultaneous staging, functional chorus, rehearsal referee, foreshadowing, performeraudience relationship, ‘tomapep’ and other important interpretative addictives.
Description
First Two Hours
Ola Rotimi’s directing style
Last One Hour
Practical demonstration of some key concepts and approaches of Ola Rotimi’s directing
style.
Study Questions:
1.
Discuss Ola Rotimi as a playwright-director.
2.
Explain Ola Rotimi’s pressure cooker’s directorial concept.
3.
Critique Ola Rotimi’s rehearsal referee’s directorial approach.
4.
Review Ola Rotimi’s use of mime in Kurunmi.
5.
What are the methods employed by Ola Rotimi to sustain the performer- A
audience relationship?
6.
Support the notion that “Ola Rotimi is the maker of modern play directing in
the Nigerian theatre”.
9
Reading List
1.
Emasealu2, Emmanuel. (2010). The theatre of Ola Rotimi: Production and
Performance dynamics. Minna: Gurara Publishing. pp. 13-281. ISBN 978 –
978 – 49020 – 9 – 0.
2.
Nwadigwe2, Charles. (2007). Ola Rotimi: The techniques of an African play
director. In: Ola Rotimmi’s drama and theatre: Issues and perspectives (Eds.)
Bakare Ojo Rasaki. Abuja: Roots Books and Journals Nigeria Limited. pp. 114. ISBN 978 – 978 – 48263 – 2 – 7.
3.
Oyewo2, Kola. (2007). Ola Rotimi’s directorial and managerial philosophy:
An actor’s experience. In: Ola Rotimi’s drama and theatre: Issunes and
perspectives (Ed.) Bakare Ojo Rasaki. Abuja: Roots Books and Journals
Nigeria Limited. pp. 31-50. ISBN 978 – 978 – 48263 – 2 – 7.
4.
Uwatt2, B. Effiok. (2002). Playwriting and directing in Nigeria. Lagos: Apex
Books Limited. pp. 1-189. ISBN 978 – 2126 – 80 – 9.
5.
Uwatt2, B. Effiok. (2002). Theatre of feat: The dramaturgy of Ola Rotimi.
Ibadan: Sam Bookman Educational and Communication services. pp. 1-168.
ISBN 978 048 0196.
Week 9: The Directing Styles of Dapo Adelugba and Bayo Oduneye
Objectives: The objectives of the week are to explain Dapo Adelugba and Bayo
Oduneye’s directorial styles to the students.
Description
First Two Hours
Dapo Adelugba’s directing style
Last One Hour
Bayo Oduneye’s directing style
Study Questions:
1.
Explain Bayo Oduneye’s pre-blocking style in the play directing process.
2.
“A good stage manager is a good theatre director”. Do you agree?
3.
Examine Dapo Adelugba’s ensemble acting style.
4.
Discuss Dapo Adelugba’s directing style.
5.
Explain the directorial concepts that influenced Bayo Oduneye’s theatre.
Reading List
1.
Adelugba4, Dapo. (1986). Langbodo: The concept of theatre as exploration.
Nigeria Magazine, 54(2): 3-9. ISSN 0029-0033.
2.
Adelugba2, Dapo. (2003). Theatre arts studies: Old and new challenges.
Ibadan: University of Ibadan. pp. 1-39. ISBN 978 – 121 – 332 – 9.
10
3.
Adelugba4, Dapo; Yerima, Ahmed and Adedokun, Remi Ademola. (2003). A
triptych to mark the retirement of Bayo Oduneye (Uncle B). Ibadan: Lagemo
Nigeria Limited. pp. 1-43. ISBN: NP.
4.
Dasylva2, Ademola (Interviewer). (2003). Dapo Adelugba on theatre practice
in Nigeria. Ibadan: Ibadan Cultural Studies Group. pp. 3-297. ISBN 978
35454 2 6.
5.
Musa4, Rasheed Abiodun. (2000). Directing process on the Nigerian stage:
Dapo Adelugba’s creative process in Kong’s harvest and ‘The onion skin’
considered. Unpublished M.A. Thesis, Department of Theatre Arts, University
of Ibadan. pp. 1-214.
6.
Oni2, Duro and Adeyemi Sola (Eds.). (2011). Developments in the theory and
practice of contemporary Nigerian drama and theatre: A festschrift in honour
of Dapo Adelugba. United Kingdom: Alpha Crownes Publishers. pp. 27-368.
ISBN 978 – 0 – 9566837 – 0 – 0.
Week 10: The Directing Styles of Ayo Akinwale and Sam Ukala
Objective: Students will explain and describe Ayo Akinwale and Sam Ukala’s directing
styles housed in the festival theatre and folkist tradition respectively.
Description
First Hour
Ayo Akinwale’s directing style
Second Hour
Sam Ukala’s directing style
Last Hour
Practical demonstrations of some key concepts and approaches of Ayo Akinwale and
Sam Ukala’s directing styles.
Study Questions:
1.
Using any of Ayo Akinwale’s published or unpublished plays, explain his
notion of festival theatre.
2.
How has Sam Ukala made use of members of the Audience (MOA) in some
of his plays?
3.
With relevant examples, conceptualise folkism.
4.
Discuss Ayo Akinwale’s directing style.
5.
Review Sam Ukala’s directing style.
Reading List
1.
Akinwale2, Ayo. (2000). Production styles on the Nigerian stage: A historical
review. In: Theatre and stage-craft in Nigeria (Ed.) Iyorwuese Hagher. Abuja:
Supreme Black Communications. pp. 115-141. ISBN 978 – 2827 – 13 – 14.
2.
Akinwale1, Ayo. “And the journey begins: The travails of a theatre
sociologist”. Ilorin: University of Ilorin. pp. 1-72. ISBN: NP.
11
3.
Asagba2, Austin (Ed.). (2008). Sam Ukala: His works at sixty. Ibadan: Kraft
Books Limited. pp. 8-256. ISBN 978-978-48544-2-9.
4.
Ogude, Steve; Egede, Benji and Uhunmwangbe, Amen (Eds.). (1999). Eagles
in flight: The writings of Sam Ukala. Ibadan: Safmos Publishers. pp. 1-229.
ISBN 978-36047-7-5.
5.
Ukala2, Chinedum Samuel. (2007). African theatre: Beast of no gender?
Abraka: Delta State University. pp. 3-55. ISBN 978-33872-4-2.
Week 11: The Directing Style of Athol Fugard
Objectives: Students should be able to explain and describe the directing style of Athol
Fugard in the South African theatre.
Description
First Two Hours
Athol Fugard and his directing style
Last One Hour
Practical demonstration of some key concepts and approaches in the Fugardian directing
style
Study Questions:
1.
Write a documentary account on Athgol Fugard’s intervention in the South
African theatre during apartheid.
2.
Is Athol Fugard plays “actor’s centered” or “director” centered”?
3.
Discuss the role of the director during improvisation.
4.
Examine Athol Fugard’s directing style.
5.
Discuss Athol Fugard as actor-manager-director.
Reading List
1.
David4, Ker. (1986). An approach to pre-colonial African theatre. African theatre
review, 1(2): 1-20. ISBN: NP.
2.
Fugard4, Athol. (1993). Athol Fugard township plays. Oxford: oxford University
press. pp. ix-233. ISBN 0 – 19 – 282925 – 4.
3.
http://en.wikipedi.org/wiki/Athol_Fugard3.
4.
http:www.courtheatre.org/season/article/athol_fugard_biography3.
5
Mafela4, James Munzhedzi. (2001). Drama writing and politics in Milubi’s
drama: A tradition of hinderance to liberation. In: African languages literature in
the political context of the 1990s (Ed.) Charles Bodunde. Bayreuth: Bayreuth
African Studies Series. pp. 171-177. ISBN 3-927510-66-1.
12
Week 12: The Directing Style of Ngugi wa Thiong’o
Objectives: The main objective of the week is for the students to be able to explain and
describe the directing style of Ngugi wa Thiong’o.
Description
First Two Hours
The directing style of Ngugi wa Thiong’o
Last One Hour
Practical demonstration of some key concepts and approaches in the Ngugian directing
style
Study Questions:
1.
Review Ngugi wa Thiong’o’s theatrical intervention in the theatre of Kenya.
2.
Do you agree that “most of Ngugi wa Thiong’o’s plays are directorcentered”?
3.
Critique Ngugi wa Thiong’o’s open space/market square rehearsal.
4.
What are the factors to be considered while directing a protest play?
5.
Examine the directing style of Ngugi wa Thiong’o.
Reading List
1.
Eyoh4, Ndumbe Hansel. (1986). Theatre of relevance: An interview with Ngugi
wa Thiong’o. African theatre review, 1(2): 110-114. ISBN: NP.
2.
http://en.wikipedia.org/wiki/Ngugi_wa_Thiong’o3.
3.
http://www.ngugiwathiongo.com/contact/contact-home-htm3.
4.
Kuria4, Mike. (2001). Transcending boundaries: comedy in the streets of Nairobi.
In: African languages literature in the political context of the 1990s (Ed.) Charles
Bodunde. Bayreuth: Bayreuth African Studies Series. pp. 91-102. ISBN 3927510 – 66 – 1.
5.
Simatei4, Peter. (2001). Politics and gender in Kiswahili drama: The case of
Mazrui’s Kilo cha haki and Wamitila’s Wingu la kupita. In: African languages
literature in the political context of the 1990s (Ed.) Charles Bodunde. Bayreuth:
Bayreuth African Studies Series. pp. 103-118. ISBN 3-927510-66-1.
6.
Thiong’o2, wa Ngugi and Mugo, Githae Micere. (1976). The trial of Dedan
Kimathi. Nairobi: HEB Ltd. pp. 3-85. ISBN: 0 435 901915.
7.
Thiong’o4, wa Ngugi. (1981). Decolonising the mind. Nairobi: AEP. pp. 1-110.
ISBN 0-85255-501-6.
Weeks 13 and 14: Seminar Presentations and Practical Demonstrations
Objectives: The main objective of the two weeks is for the students to present seminar
papers on the directing styles of some selected African theatre directors not taught in
13
class. Also, there will be practical demonstrations of the key concepts and approaches of
the directing styles of these selected directors.
Description
First Two Hours in Week 13
Seminar presentations
Last One Hour in Week 13
Practical demonstrations
First Two Hours in Week 14
Seminar presentations
Last One Hour in Week 14
Practical demonstrations
Study Questions
1.
What problems did you encountered while carrying out the seminar paper of
your group?
2.
What are your contributions to the success of your group’s seminar paper?
3.
What are the inherent directorial qualities that are worthy of emulation from
the director that your group studied?
4.
What are the reasons why most African theatre directors do not document
their directorial works?
5.
Examine the directorial style of any African theatre directors of your choice.
6.
Propose a directing style and justify its applicability
7.
Can a directing style be timeless?
Reading List
1.
Aidoo2, Ama Ata. (1983). Anowa. Essex: Longman Group Limited. Pp. 64.
ISBn 0 582 64269 8.
2.
Aristotle2. (1997). Aristotle poetics (Dover Thrifls Editions). New York:
Dover Publications. pp. iii-60. ISBN 0-486-29577-X
3.
Bamidele2, Lanrele Oladele. (2001). Comedy: Essays and studies. Ibadan:
Stirling-Horden Publishers (Nig.) Ltd. pp. 1-106. ISBN 978-032-000-8.
4.
Fugard4, Athol. (1993). The township Plays: No-good Friday, Nongogo, The
coat, Sizwe Bansi is dead, The island. Oxford: Oxford University Press. pp.
14-233. ISBN 0-19-282925-4.
5.
Sutherland2, Efua. (1975). The marriage of Anansewa. Essex: Longman
Group Limited. Pp. v-82 ISBN 0 582 64260 4.
6.
Musa4, Rasheed Abiodun. (2006). The theatre of Ovonramwen: A reflection
on the dramaturgy and politics of historical reconstruction in the Nigerian
theatre. Babel: International journal of translation, 52(2): 153-171. ISBN
1569-9668.
14
7.
Sofola2, Zulu. (1980). Wedlock of the Gods. Ibadan: Evans Brothers (Nigeria
Publishers) Limited. pp. 1-56. ISBN 0 237 28867 2.
8.
Ukala4, Sam (1997). Two plays: The placenta of death, The last heroes.
Agbor: Oris Press pp. vi-78. ISBN 998-2146-00-5.
9.
Ukala4, Sam (2007). African theatre: Beast of no gender? Abraka: Delta State
University. pp. 3-55. ISBN 978-33872-4-2.
10.
Yerima2, Ahmed. (1998). The trials of Oba Ovonramwen. Ibadan: Kraft
Books Limited. Pp. 6-80. ISBN 978-3039-001-40
11.
Yerima2, Ahmed. (2003). Fragmented thoughts and specifics: Essays in
dramatic literature. Ikeja: Bookplus Nigeria Limited. pp. 1-90. ISBN 97836506-2-9.
12.
Yerima2, Ahmed. (2005). Ameh Oboni the great. Ibadan: Kraft Books Limited
pp. 5-63. ISBN 978-039-152-5.
13.
Yerima2, Ahmed. (2009). Discourse on tragedy. Minna: Gurora Publishing.
pp 13-94. ISBN 978-978-49020-2-1.
Week 15: Test and General Revision
Objectives: Students are expected to do a written test. This is to test their understanding
of the course. Also, ample time would be given to question and answer session. This is
for proper analysis and evaluation of the major highlights and topics treated in the course.
Study Questions:
1.
Offer suggestions on how play directing can be improved in the African
theatre.
2.
How has the Western theatre directing styles affected the African theatre
directing styles?
3.
It is possible to have an autonomous directing style?
4.
List and enumerate four reasons why you dislike Ola Rotimi’s directing style.
5.
What are the limitations of a playwright-director in the directing process?
6.
Can there be a performance without a directing style?
7.
Support the notion that “pre-blocking style is good for young performers”.
8.
Should a theatre director be a stylist?
9.
What are the likely problems that a total theatre play can pose to a theatre
director?
10.
Is play directing teachable?
11.
Review A.A. Adeoye’s neo-alienation style.
12.
Compare and contrast Femi Osofisan’s theatre with Jersy Grotowski’s poor
theatre.
15
Suggested General Reading List
1.
Adeoye2, A. AbdulRasheed. (2007). The director’s exploration of dance-in-drama
in the Nigerian theatre. Ibadan journal of theatre arts, 1(1): 157 – 171. ISBN: NP.
2.
Adeoye4, AbdulRasheed Abiodun. (2010). Cultural reconstruction and
experimental exploration for peace in Olu Obafemi’s dark times are over?. SinoUS English Teaching, 7 (10): 52-60. ISSN 1539-8072.
3.
Adeoye4, A.A. (2010). Between verbal and non-verbal theatricals: A directorhumanist approach to the theatricalisation of African national development.
ABIBSEM: Journal of African culture and civilization, 3: 46-65. ISSN 2026 –
5441.
4.
Adeoye2, A. AbdulRasheed. (2011). The crisis of intermissions in the African
theatre: A re-interpretation of recent performances in the Nigerian literary theatre.
Ilorin journal of linguistics, literature and culture, 2: 147-161. ISSN 2141-6176.
5.
Akinwale2, Ayo. (2000). Production styles on the Nigerian stage: A historical
review. In: Theatre and stage-craft in Nigeria (Ed.) Iyorwuese Hagher. Abuja:
Supreme Black Communications. pp. 115-141. ISBN 978 – 2827 – 13 – 14.
6.
Akinwale1, Ayo. (2010). “And the journey begins: The travails of a theatre
sociologist”. Ilorin: University of Ilorin. pp. 1-72. ISBN: NP.
7.
Atakpo1, Uwemedimo (2004). Theatre director and the quest for democratic
relevance in his society: The production of If… as a case study. The performer:
Ilorin journal of the performing arts, 6: 41-50. ISBN 1595-0972.
8.
Layiwola4, Dele. (1993). Aspects of theatrical circularity in Wale Oguniyemi’s
dramaturgy. In: Chief Wale Ogunyemi at fifty: Essays in honour of a Nigerian
actor-dramatist (Ed.) Dapo Adelugba. Ibadan: End-Time.
Publishing
House/LACE Occasional Publications. pp. 45-50. ISBN 978 – 2163 – 26 – 0.
10.
Musa4, Rasheed Abiodun. (2001). Psychology as a factor in play directing. The
performer: Ilorin journal of the performing arts, 3: 92-106. ISSN 1595 – 0972.
11.
Musa4, Rasheed Abiodun. (2001). Sociology and play directing: The meeting
point. Ibom journal of social issues, 6(2): 107-116. ISSN 1117-4110.
12.
Musa4, Rasheed Abiodun. (2004). Culture and the limit of the directorial power:
A reflection on the national question and the theatre of nudism in Nigeria.
Nigerian theatre journal, June: 171-197. ISSN 0189-9562.
13.
Musa2, Rasheed Abiodun. (2005). Deconstructionist approach to play directing.
The Abuja communicator: A journal of culture and media arts, 2(1): 56-80. ISSN
1596 – 7263.
16
14.
Musa2, Rasheed Abiodun. (2006). Democratic direction and the aesthetics of
military theatre in Nigeria. Ilorin journal of history, 1(2): 40-60. ISSN 1596-9525.
15.
Musa4, Rasheed Abiodun. (2007). Interpreting Soyinka’s comedies for theatrical
direction. Journal of language, literature and culture studies, 8: 58-70. ISSN
0972 – 9682.
16.
Musa4, Rasheed Abiodun. (2007). The director and the utilization of technical
aids in the Nigerian theatre. The Abuja communicator: A journal of culture and
media arts, 3 (1): 35-54. ISSN 1596-72-63.
17.
Musa4, Rasheed Abiodun.. (2007). The endless metaphor: Directors and the plays
of Ahmed Yerima. In: Making images, re-making life: Arts and life in Ahmed
Yerima (Eds.) Uwemedimo Atakpo and Stephen Iniegbe. Uyo: Modern Business
Press. pp. 209-229. ISBN 978 – 2676 – 47 – 0.
18.
Ogundeji4, Adedokun Philips. (1993). Duro Ladipo’s Eda and Wale Ogunyemi’s
Eniyan: Two Yoruba adaptations of the Medieval Everyman In: Chief wale
Ogunyemi at fifty: Essays in honours of a Nigerian actor-dramatists (Ed.) Dapo
Adelugba. Ibadan: End-Time Publishing House/LACE Occasional Publications.
pp. 29-44 ISBN 978-2163-26-0.
19.
Oke2, Olufemi. (2011). Technical designs in the eye of the director: The unifying
factor in pictorial representation in stage productions. In: Technical theatre and
the performing arts in Nigeria (Eds.) Duro Oni and Sunday Enessi Ododo. Lagos:
NANTAP/CBAAC. pp. 170-185. ISBN 978 – 978 – 914 – 337 – 5.
20.
Olugbemisola2, Margaret. (2011) Oluyare: The aesthetic and dramaturgical
significance of masquerade performance of Edi festival. In: Technical theatre and
the performing arts in Nigeria (Eds) Duro Oni and Sunday Enessi Ododo. Lagos:
NANTAP/CBAAC. pp. 54-68. ISBN 978 – 978 – 914 – 337 – 5.
21.
Roose-Evans, James. (1989). Experimental theatre: From Stanislavsky to Peter
Brook. London: Routledge. pp. 1-219. ISBN 0-415 – 00963 - 4
Legend
1 – Available in the University Library
2 – Available in the Local bookshops
3 – Available on the Web.
4 – Personal collection.
17