Ibadan Journal of Theatre Arts

EXPERIMENTAL-POLITICAL THEATRE IN EUROPE AND AMERICA

EVA BRENNER — Thu, 05 Mar 2026 00:00:00 +0000

This work explores the contributions of the pioneers of Experimental and Political Theatre in Europe and other parts of the world. It highlights the contributions of Richard Schechner, Jerzy Grotowski Bertolt Brecht, Augusto Boal, Mary Overlie, and the likes of Robert Wilson, Lee Breuer, Judith Malina, and Julian Beck (The Living Theatre), the Wooster Group, French director Ariane Mnouchkine, Peter Brook Heiner Müller, Einar Schleef. The impacts of these forerunners in the experimental-political theatre on the works of Eva Brenner and her Project Theatre Studio are articulated to stimulate further discussion on the practicality and functionality of Experimental-political theatre on the modern stage.

ANALYSIS AND METAPHORICAL INTERPRETATION OF TRADERS FUND DISTRIBUTION AND APPROPRIATION OF RELIEF MATERIALS IN DIPO KALEJAIYE'S ESSENTIAL COMMOTION.

TOYIN OGUNSINA — Thu, 05 Mar 2026 00:00:00 +0000

From the early days of colonialism to contemporary times, Nigerian theatre practitioners use their art to comment on and critique corruption, gender inequality, and human rights violations. This paper examines and metaphorically interprets Dipo Kalejaiye's Essential Commotion intellectualising the myth behind the misappropriation of traders' funds and the distribution of relief materials in its representative facts. Due to its sociocultural interactions and interpretations, the paper adopts Michel Foucault and Louis Althusser's Cultural Materialist theories as the framework to examine the themes of bad leadership cum bad followership; poverty, squalor, disease and underdevelopment. The discourse revealed that if Nigeria would get her elections right and put true leaders in place, there would be a multiplier effect on other sectors of the polity and the wellbeing of the citizenry would improve. The paper opines that the failure of Nigerian leaders to manage their affairs should not be blamed only on colonialism, both the leadership and followership have a duty not to fail. The paper concludes that Nigerian theatre is more than just entertainment; it reflects a unique style deeply rooted in Nigerian culture and modern-day concerns relevant to global audiences.

THEATRICALITY IN MODERN PERFORMANCE

BUKUNMI AJITONI — Thu, 05 Mar 2026 00:00:00 +0000

In recent years, the idea of theatricality has taken centre stage in studies of theatre and performance. It is necessary to distinguish theatre from a number of other creative forms, such as multimedia, performance, and dance, in order to define the term. We must contrast the character of theatre with other forms of art. Over the course of the 20th century, the theatre's fundamentals underwent a dramatic upheaval. In light of the development of new media, academics reevaluate theatrical aesthetics that were established at the end of the 19th century. Additionally, modern theatrical practice gave the text a new location and started to separate it from the theatrical activity.

The word "contemporary performance" in this context refers to an aesthetic history that begins in the 1880s with early Dada experiments and Alfred Jarry and continues through the American avant-garde movement. Currently, the phrase is used to refer to hybrid performances and artists who move freely between the genres of experimental theatre, video art, multimedia, and performance art without conforming to the practices of any one particular field. As contemporary performance continues to take on new shapes and subgenres, it necessitates a language that is more and more varied. According to Artaud, the limitations imposed by the linguistic model are what make it difficult to theoretically explain the physical language of the theatre.

This essay looks into how modern theatricality should be defined, the impact it has on audience' perceptions across genres, thec ontemporary performance concepts, as well as the connections between' live performance; concert, music videos and its mediation.

TAXONOMY OF SOYINKA'S THE ROAD, AND BRECHT'S A GOOD WOMAN OF SETZUAN SITUATING THEM IN THEIR HUMANISTIC SOCIOCULTURAL MILIEU

AYOBAMI APONMADE — Thu, 05 Mar 2026 00:00:00 +0000

Generally, theatre has dual representation. It could mean a building where performance takes place. On the other hand, it could mean performance itself. Theatre is seen as an image of the world; a proper representation of real-life events. It is a place where the populace is educated, enlightened, entertained and informed via dramatic presentations. The theatre attempts to take men back to sanity and also heals the madness of inhuman nature in their mind. Many established playwrights and directors have dedicated themselves to using theatre as a tool for promoting and preserving culture especially the first-generation Nigerian playwrights such as Wole Soyinka, Ola Rotimi, John Pepper Clark, Zulu Sofola and a host of others. Culture on its own simply put is the total way of life, a definition coined from E. B Taylor's definition that "culture is the totality of people's way of life". This work is thus concerned with the categorization of Soyinka's The Road, and Brecht's A Good Woman of Setzuan situating them in their humanistic sociocultural milieu. To this end, the researcher will also go deep into the types, cultural values and sociological effects of the above-named plays on the society. This paper is very important because it establishes theatre as an important and integral factor în the overall sociocultural wellbeing of the society at large via the creative writing of playwrights.

COSTUME AS A BENCHMARK FOR AESTHETICS IN STREET CARNIVALS. AN ANALYSIS OF THE 2018 CALABAR CARNIVAL

EMMANUEL EBERE UZOJI, TOLUWALOPE MOFOLUWASO AJAYI — Thu, 05 Mar 2026 00:00:00 +0000

Costume design is the creative process of producing garments and attires to be worn by performers, in a theatrical production. Carnival costumes are therefore the regalia worn by the participants of a carnival created by the costume designer, specifically for spectacle and glamour. Various Nigerian festivals possess these qualities and the Calabar Carnival is no exception. The 2018 Calabar Carnival exhibits the basic qualities of a large street parade. Sundry scholars have critically examined this carnival. However, only little consideration has been given to the aesthetic dimension of the costumes. Employing Immanuel Kant's theory of Aesthetics, this research explores the use of costume in Calabar Carnival and its significance in respect of culture and the carnival theme. This study uses Gillette's concept of some of the elements and principles of design as a yardstick for an aesthetic analysis of the costume designs: Line, Shape, Colour, Texture, Repetition, Contrast, Variation, Harmony and Balance. The study employs the qualitative method of research, using observation, interviews of some costume designers, dancers and audience members at the carnival and also, content analysis of related books, published journals and electronic articles. This research finds that even though the carnival costumes are visually appealing, deficiencies such as heaviness of costumes, nudity and poor fabric quality were evident.

NAVIGATING CHILDREN'S DRAMA INTO INSTILLING DISCIPLINE ON CHILDREN, WITHIN THE FAMILY AND SOCIETY

HANNAH MODUPE AKPODIETE, ESTHER CHISOM NWEFFI — Thu, 05 Mar 2026 00:00:00 +0000

There is a popular parlance that says train a child in the way it should go when it is old it will not depart from it. A well nurtured and groomed child will grow up to become a good parent and leader of tomorrow. Many children were introduced to different vices and bad characters by their peers without their parents' knowledge, which has led to a social malady in the society. However, all efforts aimed at instilling discipline and morals in the family which is the first school children were exposed to has met with a stiff objection because of modernisation and civilisation. Hence, the neglect and inability to inculcate moral discipline that will build up children's value system has birthed a large-scale juvenile delinquency, violence, disrespect and other vices. It is in solving this societal problem that children's theatre is advocated as an entry point into early ideology formation and mindset development from childhood. To address the root causes of this unacceptable behaviour and propose solutions, we adopted qualitative responses focusing on family. The findings elicited that parents pay more attention to material things than their children's upbringing.
Conclusively. Parents must make a concerted effort into investing in the moral development of their children from childhood.

THE INTERPLAY OF POSITIVE AND NEGATIVE SPACE IN FILM PRODUCTION DESIGN

ADEBAYO JOHN BADEJI , MONSURU OLADOTUN OLAJIDE, SAMSON O. EBE — Thu, 05 Mar 2026 00:00:00 +0000

The role of positive and negative space in the domain of film production design is of paramount significance, as it exerts a profound influence on both the visual composition and narrative construction within cinematic works. The paper elucidates the pivotal role played by positive and negative space in shaping the impact of cinematic or film experiences. Positive space, in this context, pertains to those areas within the frame that are actively occupied by primary subjects, objects, and visual elements, thus serving as focal points that not only seize the viewer's attention but also act as narrative drivers. Production designers, through strategic placement and accentuation of positive elements, establish a discernible visual hierarchy that effectively guides the viewer's gaze towards pivotal facets of the scene, thereby augmenting the storytelling process. Conversely, negative space, a complementary component, refers to the unoccupied or vacant regions that envelop the principal subjects or objects. This spatial emptiness imparts equilibrium, contrast, and visual intrigue to the composition. Moreover, negative space aids in the delineation of shapes and forms, harmoniously complementing the presence of positive elements and ultimately elevating the overall aesthetic composition. The deliberate manipulation of negative space, therefore, emerges as a potent tool through which filmmakers can imbue a scene with mood and contribute to the narrative by accentuating the import of positive elements.

The interplay of positive and negative space within the wielding a profound influence over the visual resonance and narrative efficacy of cinematic creations. The judicious arrangement of positive elements within the domain of positive space and the thoughtful harnessing of negative space are techniques that possess the capacity to captivate audiences, evoke nuanced emotional responses, and enrich the holistic cinematic experience.

NIGERIAN FILM TRAINING AND PRACTICE UNIVERSITY OF IBADAN AS MIDWIFE

CHUKWUMA ANYANWU, JOVI OKPODU — Thu, 05 Mar 2026 00:00:00 +0000

The Nigerian Theatre has come a long way, spanning well over a century. On the other hand, this year, 2023 marks exactly 120 years of the first film exhibition in Nigeria, an event which first occurred in August 1903, at the Glover Memorial Hall in Lagos. Film scholars have argued that film is not indigenous to any country. Nigeria is not an exception. Film came into Nigeria on the heels of colonialism as one of the agents needed to actualise the process. This means that literacy and formal education in film production and all they entail are products of colonial interference. The University of Ibadan is not only the first University in Nigeria; it is also a product of colonial interference as well. It equally pioneered the first Theatre Arts Department in the country. This paper adopts the historical approach to interrogate the evolution of the film industry in Nigeria from its cine era to the advent of Nollywood with emphasis on the training of practitioners. Its objective is to showcase the role the Department of Theatre Arts, University of Ibadan, played and is still playing as a pioneer trainer in Theatre and Film Studies and as a catalyst to how far the industry has come to its present position. It concludes that Nollywood has achieved a commendable feat in its practice, professionally and academically.

REFLECTING THE METAPHORICAL USE OF RAPE IN KUNLE AFOLAYAN'S OCTOBER 1ST FILM

OMOLOLA TOSAN AKINWOLE, MAUREEN NGOZIKA NDU — Thu, 05 Mar 2026 00:00:00 +0000

Accounts of trauma date back as early as 2000 BC. Trauma can manifest in different ways depending on one's psychological makeup, cultural background, and the nature of the traumatic event. Before Nigeria's independence, the nation was ripped of personality, culture, and pride by the invasion of the colonial masters. Giving an account of such trauma experienced by people who were deceptively ripped of their values and cultures by the coming of the colonial Europeans to the country requires the use of strong and heart-rendering images that can vividly present the experiences to create the emotions and an in-depth understanding of the effect of the loss and violation of the people in the mind of the audience. This is what Kunle Afolayan did by adopting the use of rape as a metaphor to drive home the unsuspected act of the violation of peace, culture, and dignity perpetrated by colonialism in the country especially the Yoruba race before independence on October 1st. This work answers the questions of the true intentions of the colonial masters' invasion and the effects of the invasion on the colonized by reflecting on the use of rape in the film as a method of narrating the people's story. The traversals between 'male' and 'female' to discourse the stories of colonialism and the valences of traumatic sexual symbolism of colonialism is indubitably implied in Afolayan's Nigeria independence story in his October 1st (2014) film written by Tunde Babalola. This paper adopts George Lakoff 's conceptual metaphor theory to reflect on the metaphorical use of rape in narrating the effect of colonialism in Nigeria as represented by Akote a Yoruba race as an act of violation of the country before independence.

MANAGEMENT PRACTICES IN THEATRICAL PRODUCTIONS: OGUN STATE COUNCIL FOR ARTS AND CULTURE AS A STUDY

OLUSEYI ABIODUN OGUNGBESAN — Thu, 05 Mar 2026 00:00:00 +0000

The quintessence of management practices in theatrical productions is to complement the various production elements in a well thought-out and proficient manner, so that the purpose for establishing an organization can be achieved especially as it affects its theatrical productions. It is believed that one of the most durable contributions of administrative theorist is the study of management. As a set of functions, one of the best ways to understand an organization is to study its administrative apparatus which is its management. Management can be described as the art of achieving the aim of an organization by enlisting capable hands to do the job. It is a process of designing an environment where individuals working together efficiently accomplish selected aims. Extant studies in Theatre Management have focused on the business, facilities, and audience aspects of the theatre with little attention on its productions or outputs. This paper therefore focused on how theatrical productions are determined and managed at the Ogun State Council for Arts and Culture (OGSCAC). Henri Fayol's Administrative Theory was adopted as framework, Archival and ethnographic designs were used. Data were collected through a review of production books, and in depth interview with staff of the council and cast and crew members of the production. Data was subjected to descriptive and thematic analysis. Consequently, findings showed that in management practices at OGSCAC, the Council aligned with five out of her ten objectives of productions, workshop ensemble was the most common type of productions at the Council as opposed to publish scripts, Drama, dance and music performances were common with the troupe but dance was the most common amongst the lot.

EVENT MANAGEMENT IN AN ACADEMIC INSTITUTION: A REVIEW OF THE DEPARTMENT OF THEATRE ARTS UNIVERSITY OF IBADAN NIGERIA 60TH ANNIVERSARY CELEBRATION

BASHIRU AKANDE LASISI — Thu, 05 Mar 2026 00:00:00 +0000

Event management has become systematic and procedural in recent times with different templates and frameworks being postulated by event management scholars and practitioners alike. However, there is scant attention paid to assessing the effectiveness of some of the proposed models particularly concerning events managed in academic institutions in Nigeria. The objective of this study, therefore, is to document the management of the 60th anniversary event of the Department of Theatre Arts, University of Ibadan Nigeria and assess the operational modalities utilised in managing it in line with the Tum, Norton, and Wrights' Event Operations Management Model of achieving strategic objectives, satisfying customers wants and efficient utilisation of resources. This is with the view to determine the extent of success of the anniversary celebration.