Ibadan Journal of Theatre Arts

PERFORMING ILLUSION: VISUAL SEMIOTICS AND TECHNOLOGICAL MEDIATION IN CONTEMPORARY NIGERIAN THEATRE

Bukunmi Deborah AJITONI — Sun, 21 Jun 2026 00:00:00 +0000

The technological adoption in theatrical performance has essentially changed the parameters of artistic expression, especially in the stage makeup design. The Igbojaye stage performance at the Wole Soyinka Theatre, University of Ibadan, was a rather strong case study which could be used to consider the way Special Effects (SFX) makeup methods can be used to help the characters become more embodied, the storyline become clearer, and the audience pays more attention to the production. Although the use of SFX in theatre and cinema has spread across the globe, stage productions in Nigeria tend to heavily depend on the traditional methods of makeup, which restrict the visual and emotional representation of the performance. The main issue covered by this research is the question of how technological innovation should be combined with indigenous theatrical art in order to boost the expressiveness of Nigerian stagecraft. The qualitative case study method was employed in the research investigating the process of makeup design of the Igbojaye performance, particularly, the use of SFX to alter characters and thematically convey them. The method used in the collection of data was the direct observation of rehearsals and performances, photographs, costume records, and extensive interviews with the makeup team and performers. The paper has examined the materials, technological devices, and creative decision-making that informed character transformation, and how the practical and aesthetic aspects of SFX led to the quality of performance.

Among the important results, it was revealed that SFX makeup contributed greatly to the character differentiation, thematic impact, and the spectators’ immersion. Characters with supernatural, grotesque, or very stylised aspects were reproduced with accuracy, showing that the level of modern makeup technology can support the narrative needs without losing any authenticity. Its practical advantages, such as production efficiency, reproducibility of complex character appearances, and responsiveness to dynamic stage lighting conditions, which promoted an easier performance, were also given by the research.

The study’s impact is twofold. In practice, it offers a guideline to incorporate SFX makeup in the Nigerian theatre, demonstrating how art and technology can be together. Theoretically, it contributes to performance scholarship because it demonstrates how contemporary technologies in theatrical production can contribute to indigenous storytelling traditions in providing a model that could be followed in future productions. The Igbojaye performance, with its technological innovation combined with cultural authenticity, captures a new frontier in Nigerian stagecraft, with an increase in aesthetic possibilities, but a preservation of narrative richness and performance power of traditional performance.

‘‘WE ARE NOT RECRUITING’’: DISCLAIMER STRATEGIES FOR FACE-SAVING IN SELECTED REJOINDERS BY THE NIGERIA POLICE FORCE

Sun, 21 Jun 2026 00:00:00 +0000

This study investigated face acts and disclaimer strategies in selected rejoinders by the Nigeria Police Force (NPF). Drawing on Brown and Levinson's Politeness Theory (specifically the concept of Face), and van Dijk's model of Critical Discourse Analysis, this study reports that legitimisation, refutation, deresponsibilisation and dispelling of rumours are the core disclaimer strategies evident in the rejoinders issued by the NPF. The NPF relies on these rejoinders to perform face-saving acts amid criticisms and serious allegations levelled against them by the Nigerian public. These findings underscore the strategic use of language by the Nigeria Police Force to manage public perception, preserve institutional credibility, and navigate the delicate terrain of accountability in the face of societal scrutiny.

FEMALE AUTONOMY IN DECISION-MAKING: AN EXPLORATION OF HOMERIC EPIC AND AKINWUMI ISOLA’S EFUNSETAN ANIWURA (IYALODE IBADAN)

Bosede Adefiola ADEBOWALE — Sun, 21 Jun 2026 00:00:00 +0000

Generally, women who live in patriarchal societies have been portrayed as incapable of making informed and realistic decisions, as revealed in some literary texts, both ancient and modern. With this, over the years, many scholars of gender studies have focused on gender roles and discrimination against women, without paying attention to how women are capable of making informed decisions without patriarchal interventions. This study aims to examine women’s decision-making power as female agency in the Homeric and Yoruba cultural societies with two selected texts, namely Odyssey of Homer and Efunsetan Aniwura– Iyalode Ibadan of Akinwumi Isola. While some ancient epics have not quite brought to light women’s political inclination or roles that they play in society, others give them no credit for all their socio-political affairs. However, Homer and Akinwumi Isola both present Penelope and Efunsetan as female agents capable of decision making, though not without preconception. This study,
using the comparative qualitative research method, analyses female agency in women's autonomy and decision-making power as presented in Homer and Akinwumi Isola’s Odyssey and Efunsetan Aniwura: Iyalode Ibadan, respectively. The selected texts constitute the primary data, while recent related journal articles and books serve as grist for the mill of this study and constitute secondary data.

PSYCHOLOGICAL AND EMOTIONAL WELL-BEING OF UNDERGRADUATE THEATRE ARTISTS IN A NIGERIAN UNIVERSITY

Abimbola Adetola STEPHEN-ADESINA — Sun, 21 Jun 2026 00:00:00 +0000

Undergraduate theatre artists are performers in an academic discipline with psychological and emotional rigourthat sets them apart from other undergraduates and performing artists. This study examined the psychological and emotional well-being of
undergraduate theatre artists at the University of Ibadan, Nigeria. A cross-sectional survey design was employed, involving 134 students (56 males, 78 females) from 100–400 levels. Data were collected using a structured questionnaire incorporating a 14-item psychological wellbeing scale measured on a 4-point Likert scale to assess disciplinespecific perceptions and psychological well-being indicators across the six thematic areas. Statistical analysis included descriptive statistics and independent samples t-tests to examine gender differences, with significance set at p<0.05. Majority (90%, n=121) recognised that theatre arts education demands concern over emotional health. Sixty-one percent (61%) reported having performance anxiety: "often" (48%) or "every time" (13%). Emotional exhaustion during rehearsals affected 57%, exceeding performancerelated exhaustion (47%). Therapy needs were reported by 35%, with males showing slightly higher rates than females. Work-life balance challenges affected 40% of students, while 32% experienced difficulties with emotional character separation. Females showed slightly higher mean scores for performance anxiety (2.77±2.36 vs 2.52±2.08). Prevalence of performance anxiety, emotional exhaustion, and therapy needs reveals gaps in mental health support systems within Theatre Arts education. Rehearsal-related emotional exhaustion exceeding performance-related exhaustion suggests that teaching methods may require restructuring to incorporate adequate recovery periods and emotional regulation training, showing an urgent need for specialised mental health support services, and integration of psychological wellbeing training into Theatre Arts curriculum.

TRAUMA OF RAPE VICTIMS IN THREE NOLLYWOOD MOVIES: MOSES INWANG & ESTHER EYIBIO’S ‘ALTER EGO’ (2017), MERCY AIGBE-GENTRY’S ‘VICTIMS’ (2015) AND EMEM ISONG'S CODE OF SILENCE (2015)

Olugbenga ELEGBE — Sun, 21 Jun 2026 00:00:00 +0000

The traumatic disorder associated with rape victims has attracted attention from some Nollywood producers and actors over the years. Therefore, this study examines how the movie industry portrays the persistence of trauma. Three selected films—'Alter Ego’ (Moses Inwang & Esther Eyibio), ‘Victim’ (Mercy Aigbe), and ‘Code of Silence’ (Emem Isong)—were examined. The purposively selected movies portray rape as a heinous crime, typically perpetrated by men against women, and emphasise its traumatic impact on victims. The associated consequences depicted include depression, loss of selfesteem, unintended pregnancy, sexually transmitted infections (STIs), unsafe abortion, premature death, as well as severe sociological and psychological trauma, which may, in extreme cases, lead to suicidal tendencies or homicide. The selected movies depict a range of adverse effects experienced by victims, including psychological disorders, selfblame, substance abuse, generalised anxiety disorder, behavioural disturbances, aggression, major depression, obsessive–compulsive disorder, eating disorders, and suicidal tendencies. The movies further
emphasise the importance of appropriate treatment and support for victims to prevent more severe long-term consequences. Additionally, they advocate for periodic psychological evaluation to safeguard victims’ mental well-being and mitigate the risk of severe psychological deterioration.

INDIGENOUS/CULTURAL ELEMENTS IN QUDUS ONIKEKU’S NIGERIAN CONTEMPORARY DANCE WORKS

Samson Sunday AKAPO — Sun, 21 Jun 2026 00:00:00 +0000

Dance, the movement of the body in time and space, is deployed for entertainment and communication purposes. This study, therefore, examines movement and expression in the dance performances of Qudus Onikeku, with a view to determining the structure, elements and influences. Maxine Sheets-Johnson’s Phenomenology of Dance Qudus Onikeku of Qdance Company, who constantly engages cultural nuances in the creation of his works, was purposively selected. Three dance performances of the contemporary Nigerian choreographer were purposively selected based on the infusion of indigenous idioms in them. Performance analysis was done, with particular emphasis on Qaddish, while also making references to Rainmakers, SpiritChild, all
choreographed by Onikeku. Spirituality, dynamics (force), music, chants, storytelling and audience participation are indigenous nuances that are predominant in the performances. Acrobatic movements echo the Igbo Atilogwu dance. Different spiritual practices are incorporated. There are substantial deployments of Bata dance styles: dynamics, body structure, and brisk movements. The infusion of Omele Bata as the dominant percussion intensifies the ambience of the performance alongside chants and poetic renditions. The music is mainly Nigerian drum compositions with some Western music accompaniments. The dominant dance movements are reminiscent of Tiv’s Swange dance. The performances tell stories in different ways but hinge mainly on dance movements as a means of communication. The study shows that Nigerian contemporary dance performances, targeted at entertaining and communicating, deploy Nigerian cultural nuances fused with Western ideas.

SPATIAL ANIMATION: AN ETHOS OF THEATRE DIRECTION

‘Tunde AWOSANMI — Sun, 21 Jun 2026 00:00:00 +0000

Modern Nigerian theatre’s advancement is verifiable through rigorous professionalism and a sturdy academy. While directing has evolved into a sophisticated interpretive cornerstone of Nigerian theatre practice, the training of students has remained incongruously yoked to western texts, theories and techniques. Consequently, the spatial animation directorial principle proposes an alternative pedagogical prism that exploits mythology-related creative techniques in modern theatre directing.
Conceptually positional in orientation, spatial animation’s impulse is humanity’s creation myth complexus. Adopting the practice-based experiential mode of enquiry, the paper accentuates the methodological import of Creative or Artistic Humanistic Reflection
(CAHR) – for research in creativity-inclined disciplines – in concert with comparative mytho-analytical procedures.

Majorly stimulated by creation myths’ primal spatial chaotism, spatial animation conceptualises modern theatre’s pre-performance stagespace as dead. The art of theatre directing is anchored in instinctual recreative spatial intercession, its origin, the dead primeval space’s archetypal spatial revivification enactment by the divine directorial impulse. Mytho-logically, then, modern theatre directors are the creator-deity-director’s professional descendants: thus, inheritors of a unique spatial animation gene. Central to this order-form-restoring technique is a tripartite trans-substantiational complex encompassing the ase creative accent; imole intexterior illumination; and atunda deconstructivist-(re)constructivist formula.

The spatial animation principle re-theorises theatre directing as an existential space-order restorative act and a stage-spatial aesthetic intercessory art. Sourcing its constitutive properties – constructivist assets and creative codes - from Yoruba meta-philosophy, the artistic compositional counter-ethos advances African theatres’ decolonial discourse.

RE-EXAMINING THE PORTRAYAL OF SLAVES AND FREEDMEN IN SELECTED PLAYS OF PLAUTUS AND TERENCE

Babatunde Etsri BLAVO, Israel Ayomide OLUBODE — Sun, 21 Jun 2026 00:00:00 +0000

This study re-examines the portrayal of slaves and freedmen in Roman comedy, focusing on Terence’s Adelphoe and Plautus’ Pseudolus and Menaechmi. Roman comedy, no doubt, reinforces and distorts societal structures through humour and exaggeration. By contextualising these portrayals within the broader socio-political realities of Rome, this study underscores the dual function of Roman comedy as both entertainment and indirect social commentary. Employing a qualitative research method, this study presents an analytical examination of Roman literature and plays to reveal the different roles of slaves and freedmen as portrayed in Roman comedy. While not introducing wholly new interpretations, this re-examination sheds light on aspects that have been under-explored, encouraging further discussion on how ancient literature selectively constructs and critiques social identity. This research contributes to the body of knowledge in Classical Studies by re-assessing familiar tropes within a framework that emphasises their performative and ideological significance.

THE DARK SIDE OF OLYMPUS: RAPE CULTURE AND MALE DOMINANCE IN ANCIENT GREEK MYTHOLOGY

Bosede Adefiola ADEBOWALE — Sun, 21 Jun 2026 00:00:00 +0000

Ancient Greek mythology has long been revered for its timeless themes, iconic characters, and insights into human nature. However, beneath the surface of Olympian grandeur lies a darker reality: a culture of rape, exploitation, and male dominance. The myths that have shaped Western civilisation are rife with stories of gods and mortals who commit acts of sexual violence, often with impunity. From Zeus’ serial abuses to Poseidon’s predatory pursuits, the gods themselves perpetuate a culture of rape and entitlement. Mortal men follow suit, emulating the behaviours of their divine counterparts. Meanwhile, female characters are frequently reduced to objects of desire, victims of violence, or mere pawns in the games of men. This paper explores the complex web of cultural, historical, and literary factors that contributed to the normalisation of rape culture in ancient Greece. By examining the mythological narratives and historical contexts, this study will analyse the pervasive rape culture which influenced the power dynamics and societal norms that enabled male dominance in Greek mythology. Through this critical analysis, the dark side of Olympus sheds light on the shadowy corners of Greek mythology, revealing the ways in which mythological narratives reflect and reinforce harmful attitudes toward women, marginalised groups, and sexual violence. This paper employs philosophical analysis to explain how Greek mythology perpetuates harmful gender stereotypes and reinforces patriarchal attitudes, contributing to a culture of rape and male dominance.