1. No category

Course:
PFA 240 – Introduction to Play Directing (2 Credits –
Compulsory)
Course Duration: Two hours per week for 15 weeks (30 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:
[email protected]
[email protected]
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
Basic concepts in play directing and the historical development of play directing in the
African and World Theatre. 30h (T), C.
Course Description
The course is aimed at providing comprehensive definitions and conceptual clarifications
on play directing, play director and technical language and code in the play directing
process. The course covers the functions and duties of the play director in the production
process especially in the literary theatre tradition. The historical development of play
directing during the Greek and Elizabethan periods are expected to be discussed. The
content also covers a wide range of topical issues in the historical development of play
directing in the African theatre.
Course Justification
Given the importance of the art of play directing in performance articulation, it becomes
necessary that undergraduates are trained to be creative and resourceful in the art of play
directing. A course of this nature aimed at resolving the major problems and challenges
hindering performance making, offer potential graduates the opportunity of applying the
introductory knowledge acquired for future directing courses in order to widen the scope
of the play director, the muse in the play directing process.
Course Objectives
By the end of course, our expectation is that students should be able to
(i)
define play directing from various scholarly perspectives
(ii)
describe and use technical language and code in the play directing process
(iii) explain the functions and duties of the play director in the directing process
(iv)
acknowledge historical facts in relation to the development of play directing
in the Greek and Elizabethan periods
(v)
identify the factors that led to the historical development of play directing in
African
1
Course Requirements
75% attendance in classes is an important minimum requirement that would qualify
student who offers the course to write the examination. Students are expected to read
widely and participate actively in class debates. Also, analysis of the works of some
directors and constant assignments will be expected as part of the requirements aimed at
simplifying the course.
Methods of Grading
S/N Types of Grading
Score %
1.
Class Assignments/Tests
25%
2.
Participation/Attendance in Class
15%
3.
Final Examination
60%
Total
100%
Course Delivery Strategies
Considering the essence of the course on students’ academic career and performance
skills, effective communicative teaching strategy through face-to-face lectures would be
adopted for the course. Also, students would be expected to carryout assignments on
directors working on final year project performances.
Lecture Content
Week 1: General Introduction and Goals of Play Directing
Objective: The objectives of the week are to discuss and describe the overview of the
course, explain the goals of play directing and X-ray the current directions and
perspectives of play directing in the African and the World Theatre.
Description
First Hour
An overview of the course
The goals of play directing
Second Hour
Current directions and perspectives of play directing in the African and the World
Theatre.
Study Questions
1.
Why is it necessary to study play directing?
2.
What are the current directions and perspectives of play directing in the
African theatre?
3.
What are the current directions and perspectives of play directing in the
European theatre?
4.
What are the goals of play directing in the theatre?
5.
Are the goals of play directing successful in the Nigerian theatre?
Reading List
1.
Barranger4, S. Milly. (1995). Theatre: A way of seeing. Belmont: ITP Wadsworth
Publishing Company. pp. 246-270. ISBN 0 534 24024-0
2.
Hodge1, Francis. (1971). Play directing: Analysis, communication and style.
London: Prentice-Hall International. pp. 1-16. ISBN 13-682815-9
2
3.
Huberman4, H. Jeffrey: Pope, L. Brant and Ludwig, James. (1993). The theatrical
imagination. Fort Worth: Harcourt Brace College Publishers. pp. 229-267. ISBN
0-03-030832-1
4.
Lawal2, Hameed Olutoba. (2010). Fundamentals of theatre arts. Ibadan: Glory
Land Publishing Company. pp. 54-97. ISBN 978-31064-7-0.
5.
Musa4, Rasheed Abiodun. (2002). Play directing and directors: An evolutionary
documentation in the Nigerian theatre. Humanities review journal? 2(1): 46-56.
ISSN 1596-0749. Also available at
http//www.inasp.info/ajol3
Weeks 2 and 3:
Definitions and Conceptual Clarifications on Play
Directing
Objective: Students will describe and define the meaning of play directing from various
scholarly perspectives. Also, students should be able to appreciate the arguments
between what play directing should be, and what it should not be.
Description
First Hour in Week 2
Definitions of play directing from Alexander Dean and Lawrence Carra, Robert Cohen
and Francis Hodge.
Second Hour in Week 2
Definitions of play directing from Agust Staub, Jeffery H. Huberman, Brant L. Pope and
James Ludwig.
First Hour in Week 3
Definitions of play directing from Wole Soyinka, Ayo Akinwale and A.A. Adeoye
Second Hour in Week 3
Arguments between what is good directing and what is bad directing.
Study Questions
1.
From a general perspective, define play directing.
2.
Is play directing a mysterious art?
3.
Is play directing teachable?
4.
Why is play directing a complex theatrical business?
5.
What is good directing?
6.
What is bad directing?
7.
Using three scholarly opinions from African scholars, conceptualise play
directing.
8.
Using three scholarly opinions from Western scholars, conceptualise play
directing.
9.
“Directing is communicating as it is analyzing” Do you agree?
10.
Support the notion that “directing is what we do but seldom talk about”.
Reading List
1.
Adeoye4, AbdulRasheed Abiodun (2008). Interdisciplinary dialogue and the
future of play directing in the Nigerian theatre education and practice. Journal of
arts and education, 2(2): 1-12. ISSN 2006-280X.
3
2.
Dean4, Alexander and Carra, Lawrence (1965). Fundamentals of play directing.
New York: Holt, Rinehart and Winston, Inc. pp. vii-viii. ISBN 65-12080-217840215.
3.
Lawal2, Hameed Olutoba. (2010). Fundamentals of theatre arts. Ibadan: Glory
Land Publishing Company. pp. 54-97. ISBN 978-31064-7-0.
4.
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.
5.
Musa1, Rasheed Abiodun. (2001). Psychology as a factor in play directing. The
performer: Ilorin journal of the performing arts, 3: 92-106. ISSN 1595-0972.
6.
Musa4, Rasheed Abiodun. (2001). Sociology and play directing: The meeting
point. Ibom journal of social issues, 6(2): 107-116. ISSN 1115-4110
7.
Tynan4, Kenneth (1977). Director as misanthropist: On the moral neutrality of
Peter Brook. Theatre Quarterly, vii (25): 20-28. ISBN: NP.
8.
Morrison4, Hugh. (1984). Directing in the theatre. London: Adam and Charles
Black. pp. 1-12. ISBN 0-7136-2596-1
Week 4: Definitions and Clarifications on the Play Director
Objective: The main objective of the week’s topic is to explain to students, some
important definitions and clarification on the essence of the play director.
Description
First Hour
Definitions and clarifications on the play director from five scholarly opinions
(Alexander Dean and Lawrence Carra, Edwin Wilson, Robert Cohen, Tyrone Cruthrie,
and Suzan Letzler Cole).
Second Hour
Definitions and clarification on the play director from two scholarly opinions (Ayo
Akinwale and AbdulRasheed A. Adeoye).
Study QUESTIONS:
1.
Who is a play director?
2.
What is the role of individualism in the person of the play director?
3.
Using three scholarly opinions from the Western theatre, define and clarify the
artist called play director.
4.
“The play director is a parasite feeding on the works of other artists”. Do you
agree?
5.
Support the notion that “style” makes the play director.
6.
Review the place of psychology in the conceptualization of the play director.
7.
Who should the play director be a rounded-artist?
4
Reading List
1.
Dean4, Alexander and Carra, Lawrence. (1965). Fundamentals of play directing.
New York: Holt, Rinehart and Winston, Inc. pp. 22-31. ISBN 65-12080-217840215.
2.
Johnson2, Effiong. (2003). Visions towards a mission: The art of interpretative
directing. Lagos: Concept Publications Limited. pp. 17-49. ISBN 978 2309 966.
3.
Kernodle4, George; Kernodle, Portia and Pixley, Edward. (1985). Invitation to the
theatre. New York: HBJ pp. 339-353. ISBN 0-15-546924-x.
4.
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.
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 5: Functions and Duties of the Play Director in the Theatre
Objective: The objectives of the week are to explain and discuss the functions and duties
of the play director in the theatre to the students.
Description
First Hour
Functions of the play director in the theatre.
Second Hour
Duties of the play director in the theatre
Study Questions:
1.
List and discuss four functions of a play director in the theatre
2.
What are the responsibilities of a play director?
3.
List and discuss four negative attributes and four positive attributes of a play
director.
4.
Review the arguments behind the director-designers’ responsibilities.
5.
Do you agree to the fact that play selection is an important function of the
play director?
6.
Who is the boss in the theatre between the play director and the producer?
7.
Examine the director’s visions in the theatre.
Reading List
1.
Frerer4, Llord Anton. (1996). Directing for the stage. Illinois: NTC. pp. 3-12.
ISBN 0-8442-5902-0
2.
Hodge1, Francis. (1971). Play directing: Analysis, communication and style.
London: Prentice-Hall International. pp. 1-67 ISBN 13-682815-9.
5
3.
Kernodle4, George; Kernodle, Portia and Pixley, Edward. (1985). Invitation to the
theatre. New York: HBJ. pp. 339-353. ISBN 0-15-546924-X.
4.
Lawal2, Hameed Olutoba. (2010). Fundamentals of theatre. Ibadan: Glory Land
Publishing Company pp. 54-97. ISBN 978-31064-7-0.
5.
Morrison4, Hugh. (1984). Directing in the theatre. London: Adam and Charles
Black. pp. 1-12. ISBN 0-7136-2596-1.
6.
Musa4, Rasheed Abiodun. (2006). The director and production philosophy: The
thesis and synthesis. In: An encyclopaedia of arts (Ed.) Adeleke Fakoya. II (3):
230-238. Lagos: Faculty of Arts. Also available at
www.cardinetnigeria.com/lasu/arts/publications3.
Weeks 6 and 7:
Preliminary Clarifications on Some Directorial Terms
and Concepts
Objective: Students will describe and define some directorial terms and concepts such as
style, movement, rehearsal, blocking, conflict structure, dialogue, Character Mood
Intensity (CMI), characterisation, casting, audition, play analysis, the cameo part,
mise-en-scene, mise-en-actor and other important directorial terms and concepts.
Description
First Hour in Week 6
Directorial style, movement and rehearsal
Second Hour in Week 6
Blocking, conflict structure, dialogue Character Mood Intensity (CMI) and
characterization
First Hour in Week 7
Casting, audition and play analysis
Second Hour in Week 7
The cameo part, mise-en-scene, mise-en-actor and other important directorial terms and
concepts
Study Questions
1.
Explain the essence of directorial style in the play directing process.
2.
List and discuss four types of rehearsals that you know in the theatre.
3.
Enumerate four factors that can influence an actor’s movement in a performance.
4.
What are the advantages and the disadvantages of conducting rehearsal in the
open?
5.
Support the notion that blocking is a complex business in the play directing
process.
6.
How can conflict be heightened in a performance by the director?
7.
What is casting?
8.
Define audition and relate this to your personal experience as a budding actor or
actress in the theatre.
9.
Conceptualise play analysis.
10.
Examine Francis Hodge’s “The Overview of play-analysis”.
6
11.
12.
As a director, how will you handle the cameo part for effective dramatic
communication?
Distinguish between mise-en-scene and mise-en-actor.
Reading List
1.
Adeoye4, A. AbdulRasheed. (2010). Between verbal and non-verbal theatricals: A
director-humanist approach to the theatricalisation of African national
development. ABIBSEM: Journal of African culture and civilisation. 3: 46-65.
ISSN 2026-5441.
2.
Adeoye2, A. AbdulRasheed. (2011). The crisis of intermission 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.
3.
Barranger4, S. Milly. (1995). Theatre: A way of seeing. Belmont: ITP Wadsworth
Publishing Company. pp. 246-270. ISBN 0. 534 24024-0.
4.
Frerer4, Llord Anton. (1996). Directing for the stage. Illinois: NTC. pp. 1-236.
ISBN 0-8442-5902-0.
5.
Hodge1, Francis. (1971). Play directing: Analysis, communication and style.
London: Prentice-Hall International pp. 1-67 and pp. 291-351. ISBN 13-68281599.
6.
Johnson2, Effiong (2001). Play production processes. Lagos: Concept
Publications Limited. pp. 60-82 and pp. 107-113. ISBN 978 2309 43 5.
7.
Kernodle4, George; Kernodle, Portia and Pixley, Edward. (1985). Invitation to the
theatre. New York: HBJ. pp. 339-353. ISBN 0-15-546924-X.
8.
Morrison4, Hugh. (1984). Directing in the theatre. London: Adam and Charles
Black. pp. 31-43 and pp. 80-109. ISBN 0-7136-2 596-1.
Week 8:
Preliminary Clarifications on Stage Geography and Tonal
Qualities
Objective: The main objective of the week is to describe stage geography and how
students can effectively make use of tonal qualities. Also, the tonal qualities developed
by Alexander Dean and Lawrence Carra will be discussed.
Description
First Hour
Stage geography
Second Hour
Tonal qualities and actor’s placement on stage
7
Study Questions:
1.
Draw stage geography and explain their uses in the proscenium stage.
2.
Why are kingly characters placed at upstage?
3.
Centre stage is most appropriate for what types of scenes?
4.
Draw stage geography and describe the tonal qualities of the nine important
parts of the proscenium stage.
5.
Are tonal qualities implementable in the theatre-in-the-round kind of stage?
6.
Explain the rationale behind the use of tonal qualities.
Reading List
1.
Dean4, Alexander and Carra, Lawrence. (1965). Fundamentals of play directing.
New York: Holt, Rinehart and Winston, Inc. pp. 180-188. ISBN 65-12080-2174 –
0215.
2.
Johnson2, Effiong. (2001). Play production processes. Lagos: Concept
Publications Limited, pp. 107-112, ISBN 978 2309 43 5
3.
Johnson2, Effiong. (2003). The art of interpretative directing. Lagos: Concept
Publications Limited. pp. 153 – 170. ISBN 978 – 309 96 6
4.
Musa2, Rasheed Abiodun. (2003). Technical language and code in the play
directing process, MAJAC: Makurdi Journal of arts and culture. 5:17 – 28. ISSN
1117-3440.
5.
Nelms2, Henning, (1950). Play production. New York: Barnes and Noble Books.
pp. 13-21 and pp. 106-111. ISBN : NP.
Week 9: Historical Development of Play Directing in the Greek Theatre
Objective: Students will explain the play-director and directing style of the Greek
theatre. The objective also includes the discourse on four great Greek Dramatists.
Description
First Hour
The four great Greek Dramatists
Second Hour
The Greek stage, play director and directing style.
Study Questions:
1.
Examine the structure of the Greek stage.
2.
List the four great Greek Dramatists and review the directing style of one of
them.
3.
Support the notion that “the directors did not exist during the formative period
of the Greek theatre”.
4.
Critique the notion that “the Greek theatre in the formative period is the
playwright’s theatre”.
5.
What are the basic advantages of the playwright-director’s theatre?
8
6.
What are the disadvantages of the playwright-director’s theatre?
Reading List
1.
Barranger4, S. Milly. (1995). Theatre: A way of seeing. Belmont: ITP Wadsworth
Publishing Company. pp. 24 – 37. ISBN 0 534 24024 - 0
2.
Bharucha4, Rustom. (1980). Directing the Greeks. Theatre II(3): 65-71. ISBN:
NP.
3.
Huberman4, H. Jeffrey; Pope, L. Brant and Ludwig, James. (1993). The theatrical
imagination. Fort Worth: Harcourt Brace College Publishers pp. 229-232. ISBN
0-03-030832-1.
4.
Morrison4, Hugh (1984). Directing in the theatre. London: Adam and Charles
Black. pp. 1-12. ISBN 0 – 7136 – 2596 - 1
5.
Musa4, Rasheed Abiodun. (2002). Play directing and directors: An evolutionary
documentation in the Nigerian theatre. Humanities review journal 2(1): 46-56.
ISSN 1596 – 0749. Also available at http:/www.insp.info/ajol3
6.
Oyewo2, Kola. (2007). Ola Rotimi’s directorial and managerial philosophy: An
actor’s experience. In: Ola Rotimi’s drama and theatre: Issues and perspectives
(Ed.) Bakare Ojo Rasaki. pp. 31-50. Abuja: Roots Books and Journals Nigeria
Limited.
Week 10:
Historical Development of Play Directing in the European
Theatre
Objective: The main objective of the week is to explain the historical development of
play directing in the European theatre to students. Particular emphasis will be placed on
the Elizabethan theatre, the actor-manager-director’s period, and the period of the
director’s theatre.
Description
First Hour
Play directing in the European theatre
Playwright-director’s period in the Elizabethan period
Second Hour
The actor-manager-director’s period
The director’s theatre’s period
Study Questions:
1.
Describe the general outlay of performance in the European theatre
2.
Critique William Shakespeare’s notion and essence of play directing in his
Hamlet and A Midsummer Night’s Dream.
3.
Review the actor-manager-director’s period in the Elizabethan theatre
4.
“Director’s theatre gave birth to professionalism in the European theatre”. Do you
agree?
5.
Enumerate the achievements of William Shakespeare as a playwright-director.
9
Reading List
1.
Brockett4, G. Oscar. (1992). The essential theatre. New York: Harcourt Brace
Jovanovich College Publishers. pp. 299-328. ISBN: NP.
2.
Cohen4, Robert. (1988). Theatre: Brief version. California: Mayfield Publishing
Company. pp. 145-175. ISBN: NP.
3.
Musa4, Rasheed Abiodun. (2002). Play directing and director: An evolutionary
documentation in the Nigerian theatre. Humanities review journal, 2(1): 46-56.
ISSN 1596-0749. Also available at http/www.inasp.info/ajol3
4.
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.
18-33.
5.
Whiting4, M. Frank. (1961). An introduction to the theatre, New York: Harper
and Row Publishers. pp. 147-172. ISBN: NP.
6.
Wilson4, Edwin. (1994). The theatre experience. New York: McGraw-Hill, Inc.
pp. 125-145 and pp. 297-315. ISBN: NP.
Week 11 and 12: Historical Development of Play Directing in the
Nigerian Theatre
Objective: The objectives of the two weeks are to explain the place of the director and
the history of play directing in the various theatre traditions prevalent in the Nigerian
theatre. Also, various forms and styles of directing in the Nigerian theatre will be
discussed.
Description
First Hour in Week 11
Survey of the Nigerian theatre
Second Hour in Week 11
The makers of the Nigerian indigenous/traditional theatre and the argument regarding the
presence of the director in the Nigerian indigenous/traditional theatre or otherwise.
First Hour in Week 12
History of play directing in the Nigerian theatre
Second Hour in Week 12
Directing styles on the Nigerian theatre
Study Questions
1.
Discuss the presence or otherwise of the director in the Nigerian theatre.
2.
Using a popular festival that you are familiar with, support the notion that “the
director is present in the African traditional theatre”.
3.
Using some examples, disagree with the notion that “the director is present in
the African traditional theatre”.
4.
Trace the historical evolution of play directing in the Nigeria theatre.
10
5.
6.
7.
8.
9.
10.
Write extensively on two Nigerian theatre directors of your choice.
How can you evolve a directing style?
Write on three directing styles on the Nigerian stage that you know.
“The play director is underpaid in the Nigerian theatre”. Do you agree?
Offer suggestions on how the art of play directing can be improved in the
Nigerian stage.
List and discuss four things that you dislike about play directing in Nigeria.
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 Studies Group. pp. 3 – 297. ISBN 978 35454 26.
3.
Adeoti2, Gbemisola. (2010). Aesthetics of adaptation in contemporary Nigerian
drama. Lagos: CBAAC. pp. 7-74. ISBN 978 – 978 – 8406 – 57 – 0.
4.
Adeoye4, AbdulRasheed Abiodun. (2011). On the art of play directing:
Conversation with Dapo Adelugba. In: Development in the theory and practice of
contemporary Nigerian drama and theatre: A festischrift in honour of Dapo
Adelugba (Eds.) Duro Oni and Sola Adeyemi. United Kingdom: Alpha Crownes
Publishers. pp. 284 – 294. ISBN 978 – 0 –
5.
Adeoye4, AbdulRasheed Abiodun. (2010). On theatre scholarship and
controversy: The case of the director in the traditional African theatre. African
symposium: An online journal of educational research network, 10(2): 84-93.
Carolina-USA:
Northern
Carolina
State
University
–
www.ncsu.edu.aern/archives.htm
or
http.www.ncsu.edu.aern/TASIO.2/TASIO.2.htm / ADEOYE pdf. ISSN # T x 6 –
342-323.
6.
Akinwale4, 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.
7.
Fosudo2, Sola. (2006). Of influence and the artist. In: Wole Soyina @ 70
festschrift (Eds.) Dapo Adelugba, Dan Izevbaye and Egbe Ifie. Lagos: LACE
Occasional Publications and Dat and Partners Logistics Ltd. pp. 69-124. ISBN
978 – 978 – 082 – 430 – 3.
8.
Gbilekaa4, Saint. (2000). The position of the director in indigenous African
theatre. In: Theatre and stage-craft in Nigeria (Ed.) Iyorwuese Hagher. Abuja:
Supreme Black Communications. pp. 28-38. ISBN 978-2827-13-4.
11
9.
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.
10.
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.
11.
Ukala4, Samuel Chindebum. (2007). African theatre: Beast of no gender? Abraka:
Delta State University. pp. 3-55. ISBN: 978 – 33872 – 4 - 2
12.
Yerima2, Ahmed. (2006). Soyinka, the director and the Nigerian stage. In: Wole
Soyinka @ 70 Festschrift (Eds.) Dapo Adelugba, Dan Izevbaye and Egbe Ifie.
Lagos: LACE Occasional Publications and Dat and Partners Logistics Ltd. Pp.
39-66. ISBN 978 – 978 – 082 – 430 – 3.
Week 13:
Historical Development of Play Directing in the South
African Theatre.
Objective: Students should be able to explain the history of play directing in the preapartheid, apartheid and post- apartheid South Africa. Focus will be on Athol Fugard and
two other directors within the divides.
Description
First Hour
Play directing in pre- apartheid South Africa
Second Hour
Play directing in apartheid South Africa with focus on Athol Fugard and his team
Play directing in post- apartheid South Africa
Study Questions:
1.
2.
3.
4.
5.
6.
What are the general features of play directing in South Africa?
What are the roles of the play director in pre- apartheid South Africa?
Enumerate the changing pattern of play directing during apartheid South Africa.
Discuss Athol Fugard as a playwright-director.
What are the functions of the play director in an actor-centered performance?
“Support the notion that “play directing in post- apartheid South Africa is a
radical departure from play directing during the apartheid South Africa”.
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.
3.
http://en.wikipedi.org/wiki/Athol_Fugard3.
12
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.
Week 14:
Historical Development of Play Directing in the Kenyan
Theatre
Objective: The main objective of the week is for the students to be able to understand
the historical development of play directing in the Kenyan theatre. The experience of
Ngugi wa Thiong’o and the Kamiriithu indigenous Kikuyu theatre project will be the
main point of focus.
Description
First Hour
General overview of play directing in pre-colonial and post-colonial Kenya.
Second Hour
Ngugi wa Thiong’o and the Kamiriithu play directing theatre experiment.
Study Questions:
1.
What are the features of the Kenyan theatre?
2.
Review the historical development of play directing in the pre-colonial
Kenyan theatre.
3.
Examine the plights of the artists, especially the play directors during the
regime of Arap Moi of Kenya
4.
Support the notion that “ Ngugi wa Thiong’s and Micere Mugo’s The Trials of
Dedan Kimathi can best be realized through the director’s theatre approach”.
5.
Examine Ngugi wa Thiong’o as a playwright-director.
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.
13
6.
Bodunde. Bayreuth: Bayreuth African Studies Series. pp. 103-118. ISBN 3927510-66-1.
7.
Thiong’o2 wa Ngugi and Mugo, Githae Micere. (1976). The trial of Dedan
Kimathi. Nairobi: HEB Ltd. pp. 3-85. ISBN: 0 435 901915.
8.
Thiong’o4, wa Ngugi. (1981). Decolonising the mind. Nairobi: AEP. pp. 1-110.
ISBN 0-85255-501-6.
Week 15:
Revision
Objectives: Students are expected to seek explanation on any difficult issue, concept or
topic treated during the course.
Study Questions
1.
Why is theory necessary in play directing?
2.
Why do you want to be a play director?
3.
Is play directing elitist?
4.
List and discuss the functions of a play director in the theatre.
5.
Compare and contrast ‘bad play directing’ and ‘good play directing’.
6.
Who is a play director?
7.
Examine the difference between play director and theatre director.
8.
Why is style necessary in the play directing process?
9.
Design what can be considered good tonal qualities for three scenes in a
published play of your choice.
10.
Discuss three directing styles that you are familiar with.
Suggested Further 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.
Akinwale1, Ayo. (2010). “And the journey begins: The travails of a theatre
sociologist”. Ilorin: University of Ilorin. pp. 1-72. ISBN: NP.
14
6.
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.
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.
9.
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.
10.
Musa4, Rasheed Abiodun. (2001). Psychology as a factor in play directing. The
performer: Ilorin journal of the performing arts, 3: 95-106. 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. (2006). Democratic direction and the aesthetics of
military theatre in Nigeria. Ilorin journal of history, 1(2): 40-60. ISSN 1596-9525.
14.
Musa4, Rasheed Abiodun. (2007). Interpreting Soyinka’s comedies for theatrical
direction. Journal of language, literature and culture studies, 8: 58-70. ISSN
0972 – 9682.
15.
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.
16.
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.
17.
Ogundeji4, Adedokun Philips. (1993). Duro Ladipo’s Eda and Wale Ogunyemi’s
Eniyan: Two Yoruba adaptations of the Medieval Everyman. In: Chief wale
15
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.
18.
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
19.
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.
20.
Roose-Evans, James. (1989). Experimental theatre: From Stanislavsky to Peter
Brook. London: Routledge. pp. 1-219. ISBN 0-415 – 00963 - 4
Legend
1.
2.
3.
4.
Available in the University Library
Available in local Bookshops
Available on the Web
Personal collection
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