Papers by Olalekan F . OLATUNJI
GUU Journal of Humanities, 2024
The Nigerian theatre has widely developed since its evolution. However, in contemporary times, th... more The Nigerian theatre has widely developed since its evolution. However, in contemporary times, the proliferation of media technology has necessitated a change in the modus operandi of the Nigerian theatre. These changes which include the use of the media-sound amplification, mediation and mediatisation, digital scenery, interactive costumes, lighting, and digitization, to mention a few have become prerequisites for creating contemporary theatre performances. Therefore, the art of theatre directing in the media-dominated world becomes questioned as the theatre director is saddled with the responsibility to search out viable techniques to accommodate media elements in performance. Hence, this study examines the possibilities of incorporating media technology into live theatre performance and also recommends a viable technique to enable theatre directors to give performances a technological feel. This study engages Fred Davis' 'Technology acceptance model' and Oreofe Williams' 'Artotech' as a theoretical framework. It identifies the shift in dispensation as a primary deciding factor for change in the play-making process; identifies a number of contemporary trends in directing the contemporary theatre and encourages directors to embrace these changes as a means to enhance artistic interpretation and performance. This study presents the mixed-media technique as a potential method to create a seamless connection between media and live performance elements towards the creation of a robust and media-dominated theatre capable of sustaining audience attention and boosting theatre-going culture in contemporary times.
Integral Research, 2024
Effective communication in today's contemporary world is a herculean task as audiences have trans... more Effective communication in today's contemporary world is a herculean task as audiences have transitioned beyond the traditional means of accepting information through verbal and non-verbal communication to the level of aesthetic communication. The bible for one, is a phenomenal religious book that contains sacred truths and deep meanings capable of yielding its readers to repentance and salvation. However, contemporary society has become excessively familiar with the wordings of the scriptures, and they hardly generate new meaning or understanding from the written words or spoken texts. For some others, the scripture is a compilation of esoteric messages that must be expounded into simpler contexts. Hence, in the similitude of the medieval era, dramatists have sought to dramatize the scriptures into pictures and audio-visuals using the channels of adaptation to aesthetically present the gospel message without watering down its essence and sacred meaning to ensure effective communication and understanding of the scriptures. This study engages Ole Thyssen’s theory of aesthetic communication as a theoretical framework which identifies aesthetics as a quintessential factor in communication with contemporary audiences. It explores the channels of adapting scriptures for today's audiences. Thus, the study recommends that aesthetics should be prioritized for biblical messages to be communicated effectively to contemporary audiences. Hence, it proposes adapting biblical stories into cultural contexts or theatrical modernization to fit into the culture or mindset of the receiving audience and enhance interpretation.
The European Conference on Arts & Humanities, 2024
Sequel to the outlaw of theatre from the church in the Medieval era, Christian theatre moved from... more Sequel to the outlaw of theatre from the church in the Medieval era, Christian theatre moved from the church to the trade guilds and even beyond but never ended. In Nigeria, the same cycle had been repeated following the introduction of Christian theatre into the church through the window of the Church Missionary Society, followed by early dramatists such as Hubert Ogunde, who temporarily succeeded to infuse theatre into Cantatas but soon deviated from the church centred themes and secularised Christian theatre. Hence, the emergence of Mike Bamiloye and his others in the later parts of the 20 th century with Christian theatrical productions which toured around the country under the umbrella of the Mount Zion Faith Ministries (MZFM) which would soon become the household name for Christian theatre and film productions in Nigeria. Although the MZFM diverted into film a few years later, the 21 st century saw the inauguration of her Christian theatre arm named Zion Royal Theatre (ZRT) targeted at churning out phenomenal Christian theatrical productions on the contemporary stage. This is a descriptive study which chronicles the events leading to the emergence and progressive practice of Christian theatre in Nigeria by the ZRT. It identifies the point of departure from the old and the styles of practice for the new. In-depth interviews were conducted with stakeholders in Christian theatre practice in Nigeria coupled with other secondary sources to enhance the literature review. ZRT proves to draw a viable connection to the rebirth of regular Christian theatre in Nigeria with regards to Christian themes, techniques and method of dramatising biblical stories to contemporary audiences.
International Journal of Religious and Cultural Practice, 2024
Biblical prophets have served a pivotal function in the process of communicating God’s divine mes... more Biblical prophets have served a pivotal function in the process of communicating God’s divine messages to others to whom the messages are intended using various methods. Significantly, these prophets have had to live as dramatists who spontaneously act as symbols according to the script of an ultimate symbolist to present a dramatic enactment of divine messages with their lives before the prying eyes of a spectating audience. This study engages Maurice Maeterlinck’s ‘Emotional Symbolism’ as a theoretical framework. It examines prophets in the bible and the instances where they served as symbols in the hands of God while communicating God’s messages. This study examines the symbolisation of Prophets Ezekiel, Agabus, Hosea and Zechariah; significant samples, who functioned as symbols and actors while dramatising divine messages under God’s divine direction and supervision. It identifies the supremacy of God in using his prophets as symbols, especially in ways that look dramatic to ensure effective communication of the intended
message. It also highlights how the prophets understudy functioned as symbols by tracing the divine instructions they were acting which forms the basis for the script, the entire story and their symbolisation as directed by the ultimate symbolist. Therefore, this study documents the laudable acts of biblical prophets as they offered themselves as actors, who functioned as symbols under the direction of the divine symbolist in the process of conveying divine messages and announcing the need for redemption to capture the attention of the audience to generate an emotional but effective response.
Academia Journal of Humanities & Social Sciences, 2024
In contemporary times, the sophistication of media gadgets coupled with the development of the me... more In contemporary times, the sophistication of media gadgets coupled with the development of the media-savvy audience has necessitated the theatre to devise alternative ways to sustain audience attention and interest. This has required theatre directors to revisit their approach to interpreting contemporary performance by engaging several elements of aesthetic communication to enhance the overall outlook of the performance and boost show business. Contemporary theatre directors, as the example of Olumide Oki (2023) illustrates, have identified this need by establishing a deliberate use of media elements and thus birthing techniques essential for the creation and interpretation of the contemporary performance. This paper engages Hans-Thies Lehmann's post-dramatic theatre as a theoretical framework. It is a descriptive study that secures its data through participant observation of the 2023 production of Night of Ijalo by the Zion Royal Theatre. Based on the perception that the media has become an intrinsic part of the daily routines of the contemporary audience, Oki prioritizes the need to create a media-intensive theatre experience for the media-savvy audience. Hence, he adopts a mixed-media technique to boost his directorial interpretation and provide a seamless connection with the audience's demand through the deliberate use of aesthetic communication, intermediality, sound prerecording, mediation and mediatisation, and spectacle. With the mixed-media technique which includes the use of several media elements, Oki presents the media as a quintessential part of the contemporary performance and recommends it to theatre directors as a valuable technique for enhancing directorial interpretation and creating a media-oriented theatre experience.
Global Academic Journal of Humanities and Social Sciences, 2024
The proliferation of media technologies has redefined theatre performance in contemporary times. ... more The proliferation of media technologies has redefined theatre performance in contemporary times. This modification which includes mixed-media and mediatization; interactive media; social media; aesthetic communication and spectacle have resulted in a high level of change. As audiences visit the theatre with an increased level of aesthetic taste and newer lens to view performance, theatre directors and designers struggle to find newer methods to tell the dramatic story and create performances to meet the high demand. Sadly, for Christian theatres, especially in Nigeria, the handful of theatre directors and designers actually embracing these new developments have barely scratched the surface of the ongoing renaissance in theatre performance. And this is due to a dearth of documentation on the modus operandi necessary for the creation of these contemporary Christian theatre performances. Sight & Sound Theatres (USA), is a faith-based Christian Theatre in the league of Broadway Theatre with several biblical stories presented on sophisticated stages. This paper engages Ole Thyssen's 'Aesthetic Communication theory' as theoretical framework. It is a descriptive study which engages a content analysis of Sight & Sound's performance of "Joseph", and documents the technical details of creating contemporary Christian performances with the example of "Joseph". Observably, Sight & Sound Theatres prioritizes the inclusion of media and technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight & Sound Theatres provide a template for the creation of performance in contemporary times, indeed, Christian theatrical productions around the globe.
The media in Nigeria has weathered many storms. These challenges, which range from distrust; inse... more The media in Nigeria has weathered many storms. These challenges, which range from distrust; insecurity; misinformation; donor fatigue; toxic government policies, to mention a few, have not only debilitated the operations of the media but have also questioned the sustainability of the Nigerian media in the long run. This has prompted media organisations, like the Wole Soyinka Centre for Investigative Journalism (WSCIJ), to provide viable currencies for media sustainability in Nigeria against the existing odds through the inauguration of The Collaborative Media Engagement for Development, Inclusivity and Accountability (CMEDIA) project. This paper engages Walter Lippmann's Agenda Setting Theory and the concept of Media Advocacy as a theoretical framework. It studies the project strategy of the CMEDIA flagged off in January 2022 as a stratagem for sub-national reporting and collaborative media. It is a descriptive study that secured its data through participant observation of the lecture held via Zoom commemorating the 88th birthday of Prof. Wole Soyinka, the grand patron of WSCIJ. The CMEDIA project, a symbiotic model with 26 partner organisations across Nigeria, aims to promote media independence and foster government accountability especially at sub-national levels; defend media rights; create an alternative for national/government stories through sub-national reportages; amplify the voices of the underrepresented and also function as watchdogs to unmask institutional and regulatory failures via reportages on under-reported issues in the Nigerian society. Therefore, the CMEDIA project-WSCIJ's brainchild, presents a feasible model for media sustainability through the currencies of collaborative sub-national reporting and media interdependence, among others.
SCHOLARS: Journal of Arts & Humanities
The theatre functions as a platform for communication; however, the surge in audiences' level... more The theatre functions as a platform for communication; however, the surge in audiences' level of media literacy and aesthetic taste caused by the exposure to media elements has warranted a review of the medium of communication to include a critical use of aesthetics in performance. Therefore, directors like Festus Dairo have identified the use of special effects make-up and mixed-media as currencies for creating contemporary performances with an aesthetic essence. This paper engages Ole Thyssen’s aesthetic communication theory as a theoretical framework as it examines Dairo’s art of aesthetic communication using special effects make-up and mixed-media techniques. It is a descriptive study that secured its data through participatory observation of the 2023 production of Darkest Night by the Zion Royal Theatre. As Dairo seeks to create an aesthetic theatre experience capable of sustaining audience attention through visual elements and media technology, he uses special effects of m...
International Journal of Humanities Social Science and Management (IJHSSM), 2024
Every dramatic text is written from an ideal creative world that exists exclusively in the mind o... more Every dramatic text is written from an ideal creative world that exists exclusively in the mind of the playwright. This world contains a constellation of ideas that cannot be trapped in its entirety as a single thought on the pages of a dramatic text. However, in some cases, playwrights in order to exhaust the communication of their ideas, duplicate their thoughts in multiple texts yet sustaining a singular line of thought. In “Journey to Jungle” and “Bloodthers” Olumide Oki creates deliberate points of intersection between the two texts to amplify thoughts, communicate meaning, and place emphasis by connecting the worlds of the two plays. Thus, making the first a foundation for the other, and then, the latter, a continuation of the first. This study engages Julia Kristeva’s concept of ‘Intertextuality’ as theoretical framework. It is a descriptive study that x-rays the interplay of intertextuality between the two texts considering the similitude of elements contained in both plays. It engages a content analysis of the two texts to establish the elements of connection. The study identifies and documents the singularity in opinion of the two texts from the characterization to thematic preoccupation. It also identifies that while “Journey to Jungle” establishes the primary thought, “Bloodthers” not only followed the same plotline but amplifies the thematic preoccupation of the previous and unties the cliff hangers left in “Journey to Jungle”. Hence, with the phenomenal linkage of texts, the playwright uncovers the possibility of sustained communication between two dramatic texts while still paying attention to originality.
The Scholar Artist and His Métier in a Glocal Context: Festschrift in Honour of Professor Mathew Mevayerho Umukoro, 2021
The Theatre Arts have eminently succeeded in producing culture from the classical to the post-mod... more The Theatre Arts have eminently succeeded in producing culture from the classical to the post-modernist era. However, the influx of media forms across the epochs has probed the relevance of theatre, and thus led to the various campaigns for the rejuvenation of the stage. While the arguments for the aliveness and uniqueness of the theatre over the mixed-media remains, some other practitioners have rather created a shift, to embark on a dialogue with these mixed-media forms in enhancing productions. This paper attempts to propose, the sustainability of the theatre in this age of mixed-media and advancing technology to hinge on its consciousness of the mixed-media as a veritable apparatus; the collaboration of which will not un-skin the the theatre of its unique form.
Niger Delta Journal of Gender, Peace and Conflict Studies, 2022
Aside from the basic role of providing a working document for creative interpretation, the playwr... more Aside from the basic role of providing a working document for creative interpretation, the playwright functions in many capacities and this has attracted him many monikers. Ola Rotimi is a classical Nigerian playwright whose magnum opus speaks volumes of his commitment to the growth of the indigenous Nigerian society, promotion of culture and tradition, and recommendations towards a utopian future. This study explores the classical text The Gods Are Not to Blame (1971), which was deliberately used as a tool of influence on the larger Nigerian society. Hence, this study identifies the playwright's position on the effective use and prospects of traditional medicine as alternative medicine in the treatment of all sorts of maladies. This highlights the playwright's recommendation on tradomedicine as applicable beyond the world of the play, with an extension to recent occurrences in the contemporary world especially at the outbreak of the COVID-19 pandemic. Africa is blessed but oftentimes we underestimate our potentials. It is against this background that this study examines the play text as a posthumous prophecy for the consideration of traditional medicine at a time the universe failed to provide a foreign cure, and as the trailblazer which sustained immunity before the arrival of vaccination. Therefore, this study echoes the playwright's perception on the effectiveness and healing tendencies of trado-medicine and its necessary acceptance as a potent form of remedy within and beyond African society.
International Journal of Religious and Cultural Practice, 2024
This study investigates the relationship between Old Testament prophecies and their fulfillment i... more This study investigates the relationship between Old Testament prophecies and their fulfillment in the life, ministry, and crucifixion of Jesus Christ. Anchored on the theoretical framework of biblical theology, particularly influenced by the work of Geerhardus Vos, the research meticulously examines how specific prophetic scripts find precise realization in various events surrounding Jesus. It explores Vos' emphasis on tracing overarching themes and motifs to illuminate the interconnectedness of Old Testament prophecy and New Testament fulfillment, shedding light on the unity and coherence of Scripture. Through indepth analysis, the study reveals how Jesus embodies the fulfillment of divine promises, validating his identity as the long-awaited Messiah. Contributing to the ongoing dialogue surrounding the nature of Jesus's earthly ministry, this research provides valuable insights into the theological implications of prophecy fulfillment. By showcasing the seamless connection between prophecy and fulfillment, it underscores the power of prophecy in affirming Jesus' divine mission. Moreover, the study enriches theological discourse by offering a deeper understanding of God's providence, the significance of Jesus' role in salvation history, and its implications for faith, theology, and spiritual growth. It invites scholars, theologians, and believers alike to engage with the profound implications of prophecy fulfillment, fostering a deeper appreciation for the divine orchestration of events surrounding Jesus' life and ministry.
Art, is a universal concept. And the relevance of art, cannot be underrated. As such, it can pige... more Art, is a universal concept. And the relevance of art, cannot be underrated. As such, it can pigeonholed to be interlocked with life; if not the source of life. Every individual believes there is a certain force behind the creation of the world. Either materialistic, unmaterialistic, rational, amidst other speculations, if not God. An emphasis to draw from this, is the presence of creation. A creative process that transcends the space of time in unimpeded relevance. Now therefore, the classification of art as belonging to a specific realm will always prove futile. Though scholars continuously strive to categorize art into strata; Arts for Art’s sake (Aestheticism) on one hand, functional art on the other. Thus, it will remain valid to say that art is a master institution that cuts across areas, serving every function(s). M.C. Albrecht in his paper “Art as an institution” expounds on the quintessential values of art, within and without the labyrinths of every society, an institution allied to every sphere.
South-South Journal of Humanities and International Studies , 2021
The place of dance as metalanguage for communication between man and man cannot be overemphasized... more The place of dance as metalanguage for communication between man and man cannot be overemphasized. However, beyond the artistic creation of bodily movements for self-expression, choreographers have taken conscious steps to create dances with meaning-passing undertones. Therefore, in communicating thematic concerns, choreographers engage various elements as meaning-passing techniques. Thus, this study examines the use of aesthetics and kinaesthetics as viable elements of infusing meaning into movements. This study engages Hans Robert Jauss' Reception theory, Ferdinand de Saussure and Charles Sander Peirce's Semiotics, and the semiotic models of Kinesics and Proxemics as theoretical framework. It is a descriptive study which secured its data through keen observation of the dances performed at the occasion of the 34 th National festival for Arts and Culture (NAFEST) hosted in Ekiti State in November 2021. Indepth interviews were also conducted with Dan Kpodoh, kinaesthetics practitioner, lead choreographer and lead researcher. Video recordings of the dancers were also collected and subjected to content analysis. Aesthetics perception served as a basic tool to trap audience attention while kinaesthetics as a complementary technique to present and magnify the messages in a unified perspective. The use of these techniques were captured in the floor patterns, movements, space, rhythm, and colour, in order to display the central idea of the dance choreography. Thus, the use of aesthetic and kinaesthetic techniques in the dances understudy is a deliberate effort to create a peculiar language of communication coupled with the certainty that the messages are well received.
Soyinka makes a successful attempt in presenting the African world, in a critical and richer perc... more Soyinka makes a successful attempt in presenting the African world, in a critical and richer perception. Debunking the European notion that literature, in the African context, does not exist. His argument and expositions, draw similitudes with the relativist school of thought which displayed a counter revolt against the evolutionists’ argument that the African world is void of literature, and indeed drama. Soyinka punctures these themes with works of literature (African); history; ritual and Myth, with tentacles on ritual and drama.
Benin Journal of Music and the Arts (BENJMA), 2023
This research examines the influence of exchange between Falz the Bahd Guy and his fans in the Ni... more This research examines the influence of exchange between Falz the Bahd Guy and his fans in the Nigerian society. Through focus group discussions and analysis of the findings, the study explores how Falz's music frames social issues and influences audience perceptions and actions. The research reveals that Falz's music effectively addresses significant social issues prevalent in Nigerian society, including religious and political corruption, inequality, gender roles, leadership incompetence, and other societal vices. Participants offered diverse interpretations of his music, reflecting the subjective nature of art and the varied perspectives of the audience. The study highlights the empowering impact of Falz's music, as it inspires some individuals to engage in social activism and initiate change. However, societal response to his music is mixed, with both praise and criticism from different people based on individual ideological leanings. Participants recognised the influence of societal factors, such as the political climate, economic reality, and the prevalent social movements on the themes and messages conveyed in Falz's songs. Based on the findings, recommendations are made to encourage continued social commentary in music, foster dialogue and critical engagement, support artists' freedom of expression, enhance media literacy, promote collaborations, and invest in music education and mentorship programs. Ultimately, this study provides valuable insights into the intricate interplay between Falz's artistic expression and the Nigerian society, illuminating the transformative potential of music as a catalyst for societal reflection and transformation.
The wide spread of media-technologies has demanded a change in the modus operandi of human and bu... more The wide spread of media-technologies has demanded a change in the modus operandi of human and business operations in the contemporary world. By implication, theatre practice today has gone beyond mere interpretation of the dramatic text to create performances with a contemporary feel. For the theatre, indeed Christian theatre, this proliferation has necessitated a modification in the process of creating and delivering the live performance. Sight and Sound theatres, USA, a
leading light for Christian theatre productions in the United States has provided a template for contemporary performances by introducing technical elements into performance of bible stories on stage. However, there is a lack of documentation on the technical elements used by Sight and Sound theatres in the creation of their remarkable productions which have constantly commanded audience attention and patronage. The study engages Hans-Thies Lehmann’s ‘Postdramatic theatre’ and Ole Thyssen’s ‘Aesthetic communication theory’ as theoretical framework. It engages
the mixed method of data gathering and a content analysis of the performances of Joseph (2010) and Noah (2008). It documents the technical details of theatrical productions at Sight and Sound theatres by examining the elements embedded in the production of the performances understudy. Observably, Sight and Sound Theatres, prioritizes the inclusion of technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight and Sound theatres provide a template for the creation of performance in contemporary times, and most especially Christian theatrical productions around the globe.
Thesis Chapters by Olalekan F . OLATUNJI
The proliferation of western theatre conventions, including the art of directing, is a major chal... more The proliferation of western theatre conventions, including the art of directing, is a major challenge to the development of theatre practice and practitioner in Nigeria. This problem has been enabled by issue of poor documentation that has continuously undermined the development of home grown inventiveness that besets the African society. Hence, the fantastic Nigerian directors who are demised or retired do not have a rich documentation of their approaches, techniques and styles for textual interpretation on stage, documented. This is a qualitative study that documents the directorial art, approaches, techniques and style of textual interpretation deployed by Rasaki Ojo Bakare in the performance of his Drums of War. The study captures data through observation by participation and also through in-depth interview, and the data are thereby analyzed qualitatively. This study captures the realistic and non-realistic performance theories to establish basis for the eclectic directing style of the director under study. The findings of the study include the justification for the Directors art in the task of casting, rehearsal procedure, performance attributes and audience response to the textual interpretation of the selected performance. Among other things, the study encourages and recommends the documentation of the African arts of the theatre, even in contemporary times. This is specifically important for the art of directing in Nigeria, so that the home-grown attributes and peculiarities of performance can be imbibed for the development of theatre practice in Nigeria.
Theatre directing in Nigeria has witnessed several technological modifications including mixed-me... more Theatre directing in Nigeria has witnessed several technological modifications including mixed-media which has been found relevant by contemporary directors to enhance performance and aid
the text interpretation. Though Bolanle Austen-Peters and Tayo Isijola have successfully engaged mixed-media elements in performance there has been no comparative analysis involving the
approaches of these directors to mixed-media as a theatrical technique. This study, therefore, examined "Wakaa the Musical" and Julie Okoh's The Trials directed by AustenPeters and Isijola respectively, in order to document their approaches and establish the mixed-media aesthetics as a viable device in contemporary Nigerian theatre directing.
This study engages Hans -Thies Lehmann's Postdramatic theatre and Oreofe William's 'Artotech' as theoretical framework. It is a descriptive study which secured its data by previewing the video
recordings of the 2016 London production of "Wakaa the Musical" and 2017 PortHarcourt production of The Trials. In-depth interviews were also conducted with Tayo Isijola, who directed The Trials and Mawuyon Ogun, one of the lead actors in "Wakaa the Musical". Data collected was
subjected to content-analysis.
Austen-Peter's desire is to create performances with a technological feel. As such, her engagement of mixed-media in "Wakaa the Musical" was consciously targeted at showmanship, glamour and performance enhancement, through the use of media elements like sound amplifiers, scenic interplays from the projector screen together with interactive costumes, lights and music, which were harmonized with the dramatic story. Contrarily, Isijola's inclusion of the technique in The Trials, rather than being premeditated,was only made possible by the availability of media facilities at the performance venue. This then led to a robust theatre experience which included
film elements in live performance via projector screens, sound amplifiers and the synchrony of lights with live actions to elicit special effects. Comparatively, Austen-Peters engaged the screen, as a primary element to project scenery and environment while the actors performed against its background. Isijola used the screen interactively to complement the actors and other basic elements on the stage. Also, asides the display of the prerecorded TV show, Isijola at intervals, engaged the screen as a tool to mediate the stage performance to the audience who are seated faraway from the stage, while Austen-Peters engaged it majorly as backdrop for the actions. Both Austen-Peters and Isijola engaged mixed-media elements like sound amplifiers to enhance the actor's natural voice, and lights to illuminate the stage, communicate emotions, elicit special effects and enhance performance.
The use of mixed-media elements in performance as exemplified by Austen-Peters and Isijola in "Wakaa the Musical" and The Trials respectively could be based on different objectives in the interpretation of the dramatic text. However, whether deliberate or coincidental, mixed-media in
performance could be advantageous to the director's approach when properly mastered or could be harmful when used shabbily.
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Papers by Olalekan F . OLATUNJI
message. It also highlights how the prophets understudy functioned as symbols by tracing the divine instructions they were acting which forms the basis for the script, the entire story and their symbolisation as directed by the ultimate symbolist. Therefore, this study documents the laudable acts of biblical prophets as they offered themselves as actors, who functioned as symbols under the direction of the divine symbolist in the process of conveying divine messages and announcing the need for redemption to capture the attention of the audience to generate an emotional but effective response.
leading light for Christian theatre productions in the United States has provided a template for contemporary performances by introducing technical elements into performance of bible stories on stage. However, there is a lack of documentation on the technical elements used by Sight and Sound theatres in the creation of their remarkable productions which have constantly commanded audience attention and patronage. The study engages Hans-Thies Lehmann’s ‘Postdramatic theatre’ and Ole Thyssen’s ‘Aesthetic communication theory’ as theoretical framework. It engages
the mixed method of data gathering and a content analysis of the performances of Joseph (2010) and Noah (2008). It documents the technical details of theatrical productions at Sight and Sound theatres by examining the elements embedded in the production of the performances understudy. Observably, Sight and Sound Theatres, prioritizes the inclusion of technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight and Sound theatres provide a template for the creation of performance in contemporary times, and most especially Christian theatrical productions around the globe.
Thesis Chapters by Olalekan F . OLATUNJI
the text interpretation. Though Bolanle Austen-Peters and Tayo Isijola have successfully engaged mixed-media elements in performance there has been no comparative analysis involving the
approaches of these directors to mixed-media as a theatrical technique. This study, therefore, examined "Wakaa the Musical" and Julie Okoh's The Trials directed by AustenPeters and Isijola respectively, in order to document their approaches and establish the mixed-media aesthetics as a viable device in contemporary Nigerian theatre directing.
This study engages Hans -Thies Lehmann's Postdramatic theatre and Oreofe William's 'Artotech' as theoretical framework. It is a descriptive study which secured its data by previewing the video
recordings of the 2016 London production of "Wakaa the Musical" and 2017 PortHarcourt production of The Trials. In-depth interviews were also conducted with Tayo Isijola, who directed The Trials and Mawuyon Ogun, one of the lead actors in "Wakaa the Musical". Data collected was
subjected to content-analysis.
Austen-Peter's desire is to create performances with a technological feel. As such, her engagement of mixed-media in "Wakaa the Musical" was consciously targeted at showmanship, glamour and performance enhancement, through the use of media elements like sound amplifiers, scenic interplays from the projector screen together with interactive costumes, lights and music, which were harmonized with the dramatic story. Contrarily, Isijola's inclusion of the technique in The Trials, rather than being premeditated,was only made possible by the availability of media facilities at the performance venue. This then led to a robust theatre experience which included
film elements in live performance via projector screens, sound amplifiers and the synchrony of lights with live actions to elicit special effects. Comparatively, Austen-Peters engaged the screen, as a primary element to project scenery and environment while the actors performed against its background. Isijola used the screen interactively to complement the actors and other basic elements on the stage. Also, asides the display of the prerecorded TV show, Isijola at intervals, engaged the screen as a tool to mediate the stage performance to the audience who are seated faraway from the stage, while Austen-Peters engaged it majorly as backdrop for the actions. Both Austen-Peters and Isijola engaged mixed-media elements like sound amplifiers to enhance the actor's natural voice, and lights to illuminate the stage, communicate emotions, elicit special effects and enhance performance.
The use of mixed-media elements in performance as exemplified by Austen-Peters and Isijola in "Wakaa the Musical" and The Trials respectively could be based on different objectives in the interpretation of the dramatic text. However, whether deliberate or coincidental, mixed-media in
performance could be advantageous to the director's approach when properly mastered or could be harmful when used shabbily.
message. It also highlights how the prophets understudy functioned as symbols by tracing the divine instructions they were acting which forms the basis for the script, the entire story and their symbolisation as directed by the ultimate symbolist. Therefore, this study documents the laudable acts of biblical prophets as they offered themselves as actors, who functioned as symbols under the direction of the divine symbolist in the process of conveying divine messages and announcing the need for redemption to capture the attention of the audience to generate an emotional but effective response.
leading light for Christian theatre productions in the United States has provided a template for contemporary performances by introducing technical elements into performance of bible stories on stage. However, there is a lack of documentation on the technical elements used by Sight and Sound theatres in the creation of their remarkable productions which have constantly commanded audience attention and patronage. The study engages Hans-Thies Lehmann’s ‘Postdramatic theatre’ and Ole Thyssen’s ‘Aesthetic communication theory’ as theoretical framework. It engages
the mixed method of data gathering and a content analysis of the performances of Joseph (2010) and Noah (2008). It documents the technical details of theatrical productions at Sight and Sound theatres by examining the elements embedded in the production of the performances understudy. Observably, Sight and Sound Theatres, prioritizes the inclusion of technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight and Sound theatres provide a template for the creation of performance in contemporary times, and most especially Christian theatrical productions around the globe.
the text interpretation. Though Bolanle Austen-Peters and Tayo Isijola have successfully engaged mixed-media elements in performance there has been no comparative analysis involving the
approaches of these directors to mixed-media as a theatrical technique. This study, therefore, examined "Wakaa the Musical" and Julie Okoh's The Trials directed by AustenPeters and Isijola respectively, in order to document their approaches and establish the mixed-media aesthetics as a viable device in contemporary Nigerian theatre directing.
This study engages Hans -Thies Lehmann's Postdramatic theatre and Oreofe William's 'Artotech' as theoretical framework. It is a descriptive study which secured its data by previewing the video
recordings of the 2016 London production of "Wakaa the Musical" and 2017 PortHarcourt production of The Trials. In-depth interviews were also conducted with Tayo Isijola, who directed The Trials and Mawuyon Ogun, one of the lead actors in "Wakaa the Musical". Data collected was
subjected to content-analysis.
Austen-Peter's desire is to create performances with a technological feel. As such, her engagement of mixed-media in "Wakaa the Musical" was consciously targeted at showmanship, glamour and performance enhancement, through the use of media elements like sound amplifiers, scenic interplays from the projector screen together with interactive costumes, lights and music, which were harmonized with the dramatic story. Contrarily, Isijola's inclusion of the technique in The Trials, rather than being premeditated,was only made possible by the availability of media facilities at the performance venue. This then led to a robust theatre experience which included
film elements in live performance via projector screens, sound amplifiers and the synchrony of lights with live actions to elicit special effects. Comparatively, Austen-Peters engaged the screen, as a primary element to project scenery and environment while the actors performed against its background. Isijola used the screen interactively to complement the actors and other basic elements on the stage. Also, asides the display of the prerecorded TV show, Isijola at intervals, engaged the screen as a tool to mediate the stage performance to the audience who are seated faraway from the stage, while Austen-Peters engaged it majorly as backdrop for the actions. Both Austen-Peters and Isijola engaged mixed-media elements like sound amplifiers to enhance the actor's natural voice, and lights to illuminate the stage, communicate emotions, elicit special effects and enhance performance.
The use of mixed-media elements in performance as exemplified by Austen-Peters and Isijola in "Wakaa the Musical" and The Trials respectively could be based on different objectives in the interpretation of the dramatic text. However, whether deliberate or coincidental, mixed-media in
performance could be advantageous to the director's approach when properly mastered or could be harmful when used shabbily.