Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Conference Centre,U.I, Ibadan, Oyo State,

DIRECTORIAL CONCEPTS AND TECHNIQUES ON THE NIGERIAN STAGE IN THE 21ST CENTURY

OGUNGBESAN, OLUSEYI ABIODUN Department of Performing Arts, Olabisi Onabanjo University, Ago-Iwoye, State, Nigeria

Abstract The Nigerian stage is an arena where human beings are presented in a cosmic totality, acting and reacting to forces around them and within them perceiving and being preceded by those interacting with them and by those in the audience who experience the enigma that is the common lot of humanity. It is not an ideal situation which is a very rare occurrence in the theatre where representations of what life should be is re-enacted. Since this ideal situations are not possible, the position of the director then becomes prerogative especially when his directorial styles and techniques are put into recognition for sustainable development on the Nigerian Stage in the 21st Century. As the Nigerian stage is inseparable from the Nigerian theatre so is there no stage without theatre. As play scripts differ, so also the concepts and techniques of each director. It is based on all these that this paper reviews the directorial concepts and techniques of directors on the Nigerian stage especially in the 21st century with the aim of comparing and analyzing their directorial skills and approaches. For the expression of the relationship between man, society and nature, the Nigerian theatre arose out of fundamental human needs in the dawn of human civilization and has continued to express those needs ever since, which is to say Nigerian theatre and drama originated with Nigerians themselves. Thus this paper further takes an insight into the future and prospects of the Nigerian director on the Nigerian stage.

Introduction In an increasing ideological world like Nigeria, we are often confronted with how to measure the theatre in the 21st century; the theatre has been robbed of its aesthetic description as it is now confronted with less or rather no more artistic engagement, porous structure undeveloped character types, unduly large and barely managed casts. The Nigerian stage is no longer what it used to be in the early 60`s, 70`s and 80`s. The Nigerian theatre also is in a deplorable and indeed lamentable state. The noble legacy from the relics of colonial education which includes the introduction of the proscenium theatre presentations is dying day by day and the government is not as much as battling an eyelid. The uncaring attitude betrays the national recognition of the artist, which has been exhibited in the last Nine years by honoring artists with National Honors Award by former president Umaru Musa Yaradua. As much as this recognition of Award is quite appreciated one cannot help but wonder how a body can be honored and yet stand aside to watch it crumble, when the cure is up to our sleeves. This nation is endowed with great artistic talents that can build the most lucrative entertainment industry in the world and draw in currencies from the world over. The noble professionals have held their heads up high over the years and have done it through individual’s efforts. It goes to show therefore that with government support and encouragement this industry can be restructured into a giant show business industry that can spin top world currencies and rebrand the nation, in the direction we desire but regrettably theatre halls and venues are now shadows of its old self and the few ones still managed till today have been turned into playing multiple roles as Centre for social and religious gatherings. The Glover hall, National theatre though until recently given a new face are still a far cry from what they used to look like in the past. It is no longer fashionable in academic parlance literary and social gatherings to discuss about the theatre or the Nigerian stage of certain aesthetic configurations. However theatre of today or rather theatre of the 21century in Nigeria in a non-academic setting is now suddenly hyped and made ceremonious like that of the Royal theatre or the Roman period. It is now being declared or rather classified for a secluded class of the society by the modern day theatre director who believes he can only survive in the theatre only through the patronage of the rich and affluent and so takes the theatre to the elites of the society who can afford to appreciate the theatre with their resources even though some of these so called elites barely appreciate the theatre with their time. What then is the role of the directors in all these? How can they excel in their artistic ingenuity despite these gaps? It is important to inform here that the uniqueness of every art lies in skill and the art of directing is no exception. This ‘skill’ as it were is the approach a director employs in the interpretation of his work. Every work intended for performance on stage involves directing. Since there are various types of drama, there equally should be various directing styles and method corresponding to each of these types and within a given type to the specific nature of each individual work. That is to say that for every director, there is a style or techniques and concept that make him or her distinct from the other. The director`s style and concept can only be what he is as a man, the strength of his artistic perception and taste, the strength of his capabilities in being a leader, the strength of his skill in theatres techniques and above all in using quiet, unassuming communication. The individual thing that he wants, that is the style of his production, can only emerge out of these qualities. Talent in a director then possesses some part of each of them at the base but then in building them extensively through hard work and determination. The director’s concept and technique is the general idea or notion guiding the production. Apart from the genre of the play which determines whether it is a tragedy, comedy, satire or farce, the director decides on the school of thought that will best portray the message he is trying to relay. It is the director`s duty to choose whether the play will be naturalistic, realistic or absurd. In terms of techniques or style, like earlier stated, every director has its own unique way of doing his art. Francis Hodge (1971:4) defines style as the “most significant aspect in the definition of art itself; something unique and highly individualized”. Against the background of the definitions of directing, directorial concept and techniques it is important to note that an artiste’s environment affects his skills and approach to things. In Nigeria, despite the growth of the theatre, there are still basic deficiencies that are prevalent in directing for the Nigerian stage in Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria the 21st century. However, the ability to thrive in one`s art despite the setbacks is a sign of great craftsmanship. The Nigerian stage; a comparative analysis Yemi Ogunbiyi (1981: 5-6): The origin of Nigerian theatre lie in the numerous traditional, religious and functional rituals to be found in practically every Nigerian society.

Adedeji (1981:6) further argued that: The theatre was taken outside the court and became known, first as Egun Alare and eventually Alarinjo, the first professional travelling theatre among the Yoruba`s but while the Alarinjo performers have not supplanted the ritual ceremonies of the Egungun society from which they initially transpired, they have deployed an almost independent entertainment oriented style, different in emphasis from the essentialist act of the original Egungun performance, even as they remain adjoined to its act so Alarinjo has remained an integral part of ritual.

The most acceptable belief about the real origination of theatre in Nigeria by different theatre scholars is believed to be the birth of “the Nigerian travelling theatre” which was also known as the Ogunde theatre in 1946. The Nigerian travelling theatre was created by Hubert Ogunde who was born in 1916 in Ososa, four miles from in Ogun State. He worked first as a teacher before joining the . His theatre career began under the patronage of the church. In 1944, he produced his first opera “The Garden of Eden” and the “Throne of God” commissioned the cherubim and seraphim church of the lord based in . The performance was in aid of the church building fund. The huge success of the production spurred Ogunde on to writing more operas. Ogunde began the rise of Modern professional theatre in Nigeria, a movement in which he remains the supreme artist and father figure. Theatre in Nigeria before the 60`s was synonymous with ‘concert’ in spite of British and western culture, the British had little understanding of the concept of the theatre as an organic development which has strong link to the culture that creates or produces it. It is strange but true to know that the British council which seeks to ensure that the best of British drama, music and visual arts is displayed overseas at the most effective places and time was also the agency that initiated the idea of festival of Arts in 1949 to enable the Nigerian artistes display their arts to the public as an annual event. These artistes therefore set out to establish a cultural centre that would in essence replace the role of the British council in the promotion of the culture of the country, thus the birth of the Mbari Club. In 1960, launched another idea of the Nigerian theatre in 1960, he presented “A dance of the forest”. This bold venture opened up a new vista on the history of the theatre in Nigeria but in ignorance of this fact, the independence celebration committee rejected the play in spite of its earlier commission and overlooked the heroic endeavor made by its author to concentrate a theatre that we may fairly call our own. Soyinka`s A dance of the forest however was not just a play for entertainment but also meant as an endeavor to symbolize the authors idea of the Nigerian theatre.

The Mbari Club A Mbari house is a place of rites and performance and a centre of great beauty for a specified deity. It was an inspiration for all, embracing cultural centre that would preserve and interpret the African culture and these was found in Owerri. Mbari house were erected to the deity Ala (Mother Earth) usually referred to as mother of creativity. The Mbari house in Owerri which was the name of a shrine for ritual activities became in Ibadan a place to see and know works by Nigerian and Foreign writers and artistes and it was also the place to meet them. Mbari became a centre for the development of Nigerian theatre. Two Mbari playwrights and dramatists Wole Soyinka and J.P Clark used the facilities and inspiration provided by the centre for their developmental work. In December 1961, Duro Ladipo started a similar club at , he used Mbari as a platform for his artistic activities. In 1962, he later converted his father`s house into a cultural centre with an art gallery and a court yard- theatre which became the basis of a new experiment in Yoruba Operatic theatre in Osogbo. It was a place that later created “Oba Koso” and “Eda”. Another Mbari centre was established in in 1963 at the instance of John Ekwere and became the base for the revived Ogui players. The Mbari centres, inspite of its merge resources has contributed to a large extent to the developing consciousness for a national theatre movement. It set the basis for a thriving National theatre and fostered an atmosphere for the formation of the Drama Association of Nigeria. The association aimed at advising the Nigerian Arts council on all theatrical activities and work immediately on the idea of a National theatre. The emerging Nigerian theatre, however prospered more under the stabilizing influence of the universities such as the Arts theatre of the university of Ibadan and the then University of Ife now Obafemi Awolowo University. Ile Ife, Nigeria.

The National Arts Theatre The National Arts Theatre is the primary centre for the performing arts in Nigeria. The monument is located in Iganmu, . The construction of the National Theatre was completed in 1976 in preparation for the festival of Arts and culture (FESTAC) in 1977. The collection of National Gallery of Modern Nigerian Art is housed in a section of this building. Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria

This edifice was built during the military regime of Chief Olusegun Obasanjo. Its exterior is shaped like a military hat. It has a 5,000 seater main Hall with collapsible halls of which are equipped with facilities for simultaneous translation of 8 languages among others. The National Arts Theatre was designed and constructed by Bulgarian construction companies and resembles the palace of Culture and Sports in Varna, Bulgaria (completed in 1968), the National Arts Theatre Lagos being the bigger of the two.

The Directors: A comparative Analysis Paul Kozelka (1968:15): A great play does not just happen on stage but is the wearing together in an artistic unit, the talents, visions and skills of many workers under the intelligent, planned and skilled guidance or leadership of one artist, the director Wole Soyinka: Directing is such a complex business. It is a sociological phenomenon. It relates to the environment, the cast in hand, how much time one has, how many actors there are, how to balance the amount of time given to each actor in view of just how much time one has to put a play on stage and of course the overall theatrical images which one wants to represent, the dynamic tensions of the various special images which one wants to create on stage.

Bayo Oduneye: For me, directing is like cooking. You add a little spice here, a little spice there, with flavour. You stir it all and you have a good meal.

Hubert Ogunde: Hubert Ogunde was born on May 31st 1916 in Ijebu Ososa, Ogun State, Nigeria. Chief Hubert Adedeji Ogunde is an investor, a playwright, actor, theatre director and musician. He founded the Ogunde Concert Party in 1945, the first professional theatrical company in Nigeria. He is often described as the father of the Nigerian theatre or the father of contemporary Yoruba theatre. He is also regarded as the doyen of traditional Nigerian drama. In 1991, the National Troupe of Nigeria was formally included in the policy as a formal arm of Government. It was initially run as a branch of the performing Arts Division within the Federal Department of Culture under the supervision of the then Sole Administrator Col- Tunde Akogun (Rtd). During this same period, government approved the appointment of Chief Hubert Ogunde the theatre doyen as the first Artistic Director cum Consultant for the National Troupe of Nigeria. Chief Ogunde was to assist the government in formally establishing a National Troupe after the successful run of an experiment which Chief Ogunde facilitated. That experiment was known as the “Ososa Experiment”. Thus Ogunde could be credited as the pioneer Artistic Director of the National troupe. After his death in 1990, a new Artistic Director, Mr Bayo Oduneye (MON) was appointed in 1991.

Duro Ladipo: Born in the year 1931, Duro Ladipo was one of the best known and critically acclaimed Yoruba dramatists that emerged from post-colonial Africa, writing solely in the , he captivated the symbolic spirit of Yoruba mythologies in his plays, which were later adapted to other media such as photography, television and cinema. His most famous play, “Oba Koso” (The King did not hang), a dramatization of the traditional Yoruba story on how Sango became the God of Thunder, received international acclaim at the first commonwealth Arts Festival in 1965, and on a European tour, where a Berlin critic , compared Duro ladipo to Karaja. Ladipo usually acted in his own plays. He died in the year 1978.

Kola Ogunmola : He was born on the 11th of November, 1925 at Okemesi Ekiti, Ekiti State. He was a Nigerian dramatist, actor, director and playwright. He developed Yoruba culture, especially folk opera i.e. Drama that combines Christian themes with traditional Yoruba folklore, music and dancing, and music popular in urban culture into a serious theatre form through his work with his Ogunmola Travelling Theatre founded in 1947. They produced an early stage musical version of `s The Palm Wine Drinkard, which was performed at the first pan-African Cultural Congress. (Algiers, 1969). Ogunmola is regarded as one of the most brilliant actors in Africa in the 1950`s and 60`s. he produced the Ife Owo in 1965. It was a satire on marriage and wealth. He used mime and singing as well as drumming to convey his message. He also produced the dramatic version of Amos Tutuola`s The Palmwine Drinker. He also exhibited great ability in acting and directing.

Bayo Oduneye: Adebayo Adetokunbo Adisa Oduneye was born to Alhaji Tijani Oduneye and Mrs Sadiq Oduneye on November 4th 1936 at Badagry. As a novice in the theatre, his involvement with some local groups around some European counties was minimal. The recognition accorded him by these groups was unprofessional and this affected his remuneration and invariably his social status. In 1960, he was admitted into the Royal Academy of Dramatic Arts (R.A.D.A) London for a formal training in the theatre and he specialized in Stage Management. He was appointed as stage manager/Technician with the University Of Ibadan School Of Drama in 1964. He was actively involved in productions at the theatre both with the School of Drama, Wole Soyinka`s Orisun Theatre Company and other amateur groups between 1964 and 1969. In 1969, he left on the Ford Foundation Fellowship Award to further his education at Carnegie Mellon University, United States of America where he registered first for Technical Theatre. An Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria area of the theatre which he confesses still fascinates him till today. After a few months of attending technical theatre classes, he discovered his compelling interest in, and flair for, directing. On arrival in 1972, he was immediately asked to direct a play titled Hassan by Elroy Flecker as the Department of Theatre Arts entry to the National Arts Festival in Kaduna. Since then Bayo Oduneye has established himself as a giant of the stage, directing, supervising or co-coordinating productions and leading theatre groups and cultural representatives for Arts Festivals both within and outside Nigeria. He has served directly under the Nigerian Federal Government on matters relating to Arts, culture and Human relations in various capacities as Chairman Nigeria Film Corporation in 1982, Chairman Review Panel on Government owned film and Theatre Institutions in 1984 and participant –All Nigerian Conference on Foreign Policy Jos in 1986. He was a Senior Arts Fellow at the University of Ibadan teaching stage management, acting and directing for over 20 years where he retired before he become the Artistic Director of PEC Repertory Theatre (Nigeria`s First non-profit performing company) and Artistic Director of Diamond Productions. Bayo Oduneye popularly known as “Uncle B” became the Artistic Director of the National Troupe of Nigeria in November 1991. During his tenure, Bayo Oduneye promoted performing arts beyond dance ensemble. He expanded the artistic scope of the National Troupe by producing and promoting classical works which include dance, drama and music. He retired in August 2000.

Ahmed Yerima: Ahmed Yerima is an erudite playwright, theatre director, scholar and Professor of Theatre Arts and Cultural studies. Yerima a multi-literary Award winner, a former Director General of the National Troupe of Nigeria and the National Theatre Lagos. He is a colossus in his own field writing, directing and producing. Yerima has published over 10 books and about 27 plays. As a playwright and director he has written and directed beyond his immediate ethnic group and brought to light the role of culture in the lives of both men and women in the society. Some of his plays include Idemili, The Wives, Akuabata, Mojagbe, The Lottery Ticket, Igabiti, Hard Ground, Little Drops, Ipumu, Aetu, Discourse on Tragedy, Yemoja, Trials of Oba Ovonramwen, Ameh Oboni, Attahiru, Dry leaves on Ukan Trees, Silent gods among others. He has also co-edited a book Theories, Concept and Practice of Cultural Studies with Professor Olu Obafemi. Yerima was born in Lagos to Saidatu and Musa Yerima, his father was a police officer and originally intended Yerima to study law. He had his education at the Baptist Academy, Obanikoro, Lagos where he was involved in a theatre group made up of students. He enrolled at the Obafemi Awolowo University in 1978 where he earned his degree in Theatre Arts in 1981. He later attended the University College, Cardiff, Wales between 1981 and 1982 and the Royal Holloway, University of London between 1982 and 1986 where bagged his PhD. In 1991, he got into the administrative division of Nigeria`s cultural edifice as deputy artistic director of the National Troupe. In 2000, he was made the Artistic Director as he took over from Bayo Oduneye (MON). He presently teaches at the Performing Arts Department of the Redeemers University, Mowe in Ogun State. Osaro Pedro Agbonifo- Obaseki: Popularly known as Don Pedro Obaseki, is the Chairman /CEO of the African Content Company. ACC Broadcast Multimedia Ltd the operators of ACCMobileTv and WaWooTV and the Don Pedro Media Group, and former Managing Director of DAAR Communications PLC multi-channel Television Service, DAARSat. .. A multi award winner, Don Pedro Obaseki is a two time recipient of the converted Oba Erediauwa Award for Excellence, and the Nollywood Veteran`s Award (2013) as one of the founders of Nollywood. He was formally the president of the filmmaker’s cooperative of Nigeria (FCOON), Born on the 25th of April, 1967, to the influential Midwestern Nigeria family of Obaseki, Don Pedro Obaseki grew up variously in Warri and Agbor (Delta State), and Benin City. He attended high school at the Unity School Agbarho near Warri in Delta State, Nigeria. He was educated both at the University of Benin and the University of Ibadan and holds a Doctorate degree in Performance Theory and Praxis. He is a prolific play wright, a poet, producer and film maker. His most popular stage play Obaseki is presently on high school curricula in parts of Nigeria and in Nigerian Universities. Other plays are Azagidi used to celebrate the 25th Anniversary of the Muson centre in October 2003. Queen Idia was mounted as command performance for the presidency as part of Nigeria`s Independence celebrations. Don Pedro Obaseki has written, produced and directed numerous home video films, television dramas and documentaries. Obaseki`s the bridge ran at the Ovalhouse Theatre in Kenington London between the 6th to 31st October 2004 and was Nigeria`s entry for the World International Experimental Drama Festival in Cairo, Egypt which held September, 2006.

Wole Oguntokun: Wole Oguntokun`s career as a major producer, director and playwright has spanned for more than a decade. He is a recipient of the Mervyn Stutter ‘spirit of the fringe’ Award at the 2014 edition of the Edinburgh Festival Fringe for his production of “The Tarzan Monologues” and awards for artistic Excellence from the National Association of Nigerian Theatre Arts Practitioners in 2012 and 2013, he directed his play, “The waiting Room” as Nigeria`s first –ever entry at the Edinburgh Festival Fringe in Scotland from the 1st to the 26th of August 2013 and “The Tarzan Monologues” as Nigeria`s second entry from the 31st of July to the 24th of August 2014. Wole also directed Renegade Theatre`s production of “The Winter`s Tale” as part of The Globe Theatre`s Shakespeare Olympiad in the United Kingdom on the 24 th and 25th of May 2012. In this once-in-a- life time theatre fiesta, 37 international theatre companies from all over the world presented a Shakespearean play each in his own home language at the Globe in London. “The Winners tale” the only West African entry was presented in the Yoruba Language. Wole was selected as one of the five Nigerian Directors in the United Kingdom in May 2011 and as a British Council Residency for Nigerian Theatre Director`s in the United Kingdom in May 2011 and as a British council delegate to the Edinburgh Festival Fringe in August 2011 and 2013. He was consulting producer to the British Company in the production of “The Animals and Children took to the streets at the Muson Centre, Lagos in November 2011. Wole is the founding producer and artistic director of Theatre@Terra, a project he initiated in July 2007 in collaboration with the Arts Centre. Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria

In respective of the above highlighted dramatists and directors and their era of existence, it is important to note here that the art of directing is not the same even though they all bear the same name as so called, their concepts, techniques at achieving the end product of a total production are unique and distinct. A lot has been written about director`s and directing, however, a detailed analysis of how these generation of Nigerian directors operate will be analyzed especially as it robs on the 21st Century. The most important thing in a production is the play itself. The play determines who, what, how, and where the production will take place. It also determines the period and for whom the play will be performed. The play opens up the playwright’s treasure house. In the words of Georgi Tovstonogov The play is just like a key with which the director opens the playwright`s treasure house. The key to every production is always found in the play itself. Every author of every play finds a particular system of conventions, the `rules of play`. If the director does not like them then he should not stage the play, but if he likes the play then he should take the trouble to find the rules the author provides and follow them. Indeed it is finding the `rule of play` for each given work that constitutes the director`s main task

The above statement explains the role of the director in the realization of his directorial prowess. The choice of play, most times determines the concept as to whether it is going to be naturalistic, realistic or absurd. Once a play is chosen, the next important thing is to find out the possibility of staging the play. This involves research and sourcing of funds. The director needs to understand the history and background of the script. He also has to find out where the play can be performed and the cost of performance. It is important to state here that while choosing a script for directing, the director must take the audience he is producing for into consideration, then the availability of actors that will be perfectly suited to the roles in the play. He should also consider the economic prospects of the play especially if it is for commercial purposes. One sole concern must be to find the ideological and artistic objective, the reason why it is necessary to produce this particular play. Every director must do a thorough research before he can perform a play. The facts involved in the script must be exact and true so that people do not question the authenticity of the script. It also helps them to relate to situations. Casting is another very important aspect to be considered in a play production process. The style of a production will depend, significantly on how a play is cast. Casting is such a delicate matching of weights and qualities, partly subjective, partly objective, that there can be no sure ways to go about it. In casting various styles and methods are employed. The most usual is the open tryout. Another common approach is the closed or invitational tryout. A play needs actors, a stage manager, a technical crew, a publicity and house management crew. Apart from actors, crews are an important part of the play production process for four reasons. Firstly, so many tasks must be performed that no one person is capable of doing them all. Hence the jobs must be divided and crews appointed to do them. Secondly, a system of working crew linked by good communication can be an important factor in maintaining morale. Thirdly, many people who are drawn to the theatre either do not like to act or are afraid to try but they can contribute to the success of the play by working in relative anonymity on a crew. And finally, is to insure that all the work is done in time for the dress rehearsal. A well-organized system of backstage crew is the best insurance a director can acquire. In preparing schedules, lists of deadlines by which various parts of the production must be completed including tentative performance dates are outlined. The director`s most important obligation is that of play analysis. Only he can decide how the play is to be interpreted. After deciding what the author`s intention might be, the directors next studies the play to discover the dramatic and theatrical values. What are the events or moments that make a theatrical experience rather than a short story? Is it suspense, characterization, spectacle or situation? One of the main qualities a director must possess is a strong sense of spectacle. When a director undertakes a play from the past, he must make sure it will be comprehensible, moving and entertaining to a present day audience. The director should divide the play into acting units to be sure that the audience understands each parts of the play as it progresses. The short segments called French scenes mark the entrance or exit of characters. In this way, he becomes aware of the strengths and weaknesses of the script and the problems he must solve. The director has to work on the transitions between units so that one unit flows smoothly into the next. The expository part usually gives the information about who, what where, when and why, in which we discover the character relationship. A necessary and time consuming part of the director`s process of analysis is research. The director should be ready to help the cast with information about the author, the leading characters and the period of play in reference to settings, properties and costumes. Apart from the actors, it enables him talk intelligently and persuasively with the designers and technician about anything in his conception that depends on design. A final step in the intellectual analysis of a play is to discover what each character does in the play and what he does for the play. The director needs to identify the crises in the play and keep them in mind all through rehearsals so that they stay sharp, distinct and recognizable because actors tend to blunt the climaxes when they play them repeatedly. The actor should be made aware of the importance of these dramatic moments and taught how to project them such as the tempo, pauses, movements or other definite techniques. With a sound analysis of the play, a rehearsal schedule can then be prepared. This schedule is distributed to both cast and crew after which the first rehearsals start. It is important to note here that the rehearsal schedule varies from one director to another and the play script determines how Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria the schedule will run. It is usually necessary to call a short break for relaxation after every hour of rehearsals. The intense concentration required can be very exhausting therefore it is advisable that rehearsals do not run longer than two and half hours to three hours. Blocking is the giving entrances, exits, movements and specific stage business from the director to the actors. The blockings are always guidelines as to what to do on stage. It is the most important part of the rehearsals and the most tasking for the director, the stage-manager and the actor. In the areas of blocking, Gordon Craig believed that the director has the final say as to who is to move and to where. Some directors pre-block. To them before the rehearsal start, they have the movements of each actor and just read it out to the actors before any movement start on stage. Emphasis is placed on play reading. Other directors however believe that no director should be too set in his ideas of the way he wants a scene to be played if he is to stimulate and receive ideas for business and interpretation from the actor`s themselves and that the actor should be given a chance to create his own movements and that pre-blocking the whole play does not allow for much creativity for the actors. Nevertheless, since the director is responsible for the artistic success of the play, his vision, interpretation and judgment must prevail. At the same time he is engaged in a creative process depending on the most subtle and powerful form of interpersonal relationships, so he cannot afford to be too autocratic. When the actors are line and blocking perfect, there is thorough costume rehearsal or parade. This is followed by a technical rehearsal which is the first attempt to blend acting and the purely technical elements of scenery, properties, lighting and sound effect. A dress and technical rehearsal also precede the opening night of the production. A run-through of the play from the beginning to the end with all sound cues, lighting cues, props, costumes, scene changes, entrances and exits is done. At the dress and technical rehearsals, every director expects to see, if not exactly what the production would be like, something close to what he expects.

Conclusion The Nigerian Stage and the Future The job of directing as ascertained in this paper calls for the imagination and sensitivity of an artist, the skill and patience of a teacher and the efficiency and organization of an executive. Though a director`s background and environment can affect him, premium is however placed on training because it is the pruning ground for the basic concepts and techniques that will be used by any director. Whichever these may be, the watchword here is eclecticism, the ability to choose and accept freely from various sources in a bid to improve the Nigerian Stage. However what then is the future of the Nigerian Stage? Bayo Oduneye believes that the future of the Nigerian Stage lies in the hands of the artiste. He insists that only good training like they had can keep the legacy they have tried to uphold. Furthermore, the purest art have come from the impoverished and that means finding ourselves in a circumstances where we have to be committed to something. Only those people who recognize that theatre has relevance to society, only the most committed can keep the Nigerian Stage. Also there has to be an institution outside the walls of the university that teaches theatre. Those who do not have to depend on government for funding should be established. Certain considerations must be made in establishing these training grounds and this includes the fact that certain basic concepts and techniques that are not progressive for the Nigerian Stage should be withheld from the curricula of such institutions. Education agreeably is expensive but the economy of the people should be put into consideration as regards the fees at this private theatre institutions. A strong case for Theatre for Development should be made since that is one of the basic needs of the common man in Nigeria today. That way, even if the remunerations are not as gratifying as they should be, a sense of satisfaction and consolation will come from the lives that have been changed through theatre. Good leadership is also a pre-requisite for progress, therefore more theatre directors who will show the light for others to follow is a must for the survival of the Nigerian Stage. Finally as a director, you cannot succeed in something in which you do not believe it is possible. It is therefore pertinent that for the Nigerian Stage to survive especially in the 21 st century, every director or artist who owes some of his success and achievements to the theatre of the past also owes something to the now and the future.

References Brawn Edward (1982), The Director and the stage, (from Naturalism to Grotowsky), London: Methuen London Limited. Brockett, Oscar G. (1976), The essentials Theatre, Holt, Rinehart and Winston. Cole and Chinoy (1963), Directors on Directing. Macmillan Publishing Company. Corrigan Robert (1979), The world of Theatre, IIinous Scott Foresman and Company. Daily Comet Newspaper (1947), 30th January Dean and Carra (1974), Fundamentals of Play Directing (3rd Edition) Holt, Rinehart and Winston Inc. Dulman and Knaub (1973), The Art of Play Production (3rd Edition), New York. Harper and Row Publishers Hodge Francis (1971), Play Directing. New Jersey, Prentice Hall Inc Ogunbiyi Yemi (1981), Drama and Theatre in Nigeria, Pitman Press The Arts Matter (1997), Gower Publications Limited The Nigerian Magazine (1946), Daily Service, 3RD October. Tovstonogov, Georgi (1971), The Profession of the Stage Director. Young, John Wray (1972), Directing the play, Port Washington. Kennikat Press