Forms and Concepts in the Scenery of Modern Contemporary Nigerian Theatre: Paradigms from Ntn Productions
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TOWARDS MODULAR CONCEPTS IN SCENIC DESIGN HEURISTICS: INFLUENCES FROM PRODUCTION SCENERIES IN THE CINEMA HALL 2 OF THE NATIONAL THEATRE OF NIGERIA. (1995-2001) ERNEST OBUKOHWO AGOBA PGA/UJ/0199/04 B.A. (HONS.) FINE-ARTS (1985); M.A. THEATRE ARTS (1989) A Thesis in the Department of THEATRE and COMMUNICATION ARTS, Faculty of ARTS, UNIVERSITY OF JOS, Submitted to the School of Post Graduate Studies, University of Jos, in partial fulfillment for the award of the degree of DOCTOR OF PHILOSOPHY (Ph. D) UNIVERSITY OF JOS August, 2008 - ii - DECLARATION I hereby declare that this work is the product of my own research efforts; undertaken under the supervision of Dr. Ema Ema and has not been presented elsewhere for the award of a degree or certificate. All sources have been duly distinguished and appropriately acknowledged. ERNEST OBUKOHWO AGOBA PGA/UJ/0199/04 - iii - CERTIFICATION This is to certify that this thesis has been examined and approved for the award of the degree of DOCTOR OF PHILOSOPHY in Theatre Arts. -------------------------------------------- Dr. Ema Ema SUPERVISOR ------------------------------------------------- Professor Irene S. Agunloye (Head of Department) - iv - ACKNOWLEDGEMENT This work may never have seen its steady completion without the caring and approachable attitude put up by my able supervisor Dr. Ema Ema. He taught me how to overcome the obstacles and concentrate on the goal, and helped, in immeasurable dimensions, in seeing that this work met the required academic standards. I am deeply indebted to the Dean of the Faculty of Arts, Professor John Egwugwu Illah who had been a major propelling force behind this academic adventure. His presence had been like a beacon. His contributions would not be forgotten even in pursuits beyond this academic harem. Professor Irene I. Salami-Agunloye’s headship of the Department of Theatre and Communications Arts at this time couldn’t have come at a better time. She helped to lift this work out from the sludge of delay to the brink of completion. I make haste to show my heart felt gratitude to the Co-Supervisor for this work, Dr. V.S. Dugga, who took time to put this work under uncommon scrutiny and made invaluable corrections. His ability in giving time and energy to this work attests to his God given penchant for academic pursuits. Professor Musa Enna’s advisory and exhortative role during this exercise cannot be over-estimated. His eventual role as the Internal Examiner to this work was greatly appreciated particularly in his insistence on employing - v - speed and yet achieving the desired results. I thank Professor Zanzan Uji who had taken time to pore over this work and made helpful critical comments. In another light, he removed from me, the myth and obfuscations that surrounded writing a doctoral work. Of immense assistance are the inputs made by Professor Cyril Imo of the Department of Religious Studies, in his open door style and in his readiness to assist even with practical details. I am greatly indebted to Professor Tab Nwufo, Deputy Vice Chancellor of the University of Jos, for his repeated emphases on the need for focus and speed. My gratitude goes to Professor Austin Ufua Enahoro whose big brotherly advice had always been to ‘keep faith’. Very noteworthy are the encouragements given to me by the founding fathers of the Department of Theatre and Communications Arts, Professor Shamsudeen Amali, and Professor Harry Hagher. Equally noteworthy are the efforts made by other members of staff, namely, Dr. Tor Iorapuu, Dr. Jacob Ajaku and Dr. Christy Best, not leaving out Mrs. Bose Tsevende, Mrs. Nancy King, Pomak Tengya, Ellison Domkap, Mike Nwobia, Odeh Otohi, and the entire staff of the Department of Theatre and Communications Art, University of Jos. I have kept this special corner for my friend and colleague in scenic design business, Dr Sunday Ododo, who took time to offer me copious - vi - materials on stage design and made valuable page by page comments and corrections on this work. Other people worthy of mention are, Soibifaa Dokubo, Martin Adaji and Hilary Elemi all of The National Troupe of Nigeria and Dr. Femi Shaka of the University of Port Harcourt. In this long list is Professor U.A. Ibanga, Dean of School of Post Graduate Studies, and Dr. Pam Sha, Deputy Dean of Post Graduate School, University of Jos. Other staff of the School of Post Graduate Studies acknowledged in this work are, Mrs. Georgia Enekwe, Badung Randung and Job Mangs. Dr. J.D. Gwamna of Department of Religious Studies, Professor Mcpherson Azuike of Department of English, and Professor V.A. Adetula of Department of Political Science, are close confidants I cannot afford to forget for their love and inspirations. Lastly I thank my beloved wife and companion, Madeline Omonigho Agoba, for being there with me throughout the thrills generated by the pain and torture of this exercise; and ultimately, God Almighty, who empowered me and ‘decreed’ that this experience would soon, someday, be over. - vii - DEDICATION This work is dedicated to Mama, my aged mother, who once taught me to believe that a billion fingers put together would never stop the stars from shining. - viii - TABLE OF CONTENTS TITLE PAGE……………………………………………………………………………..i DECLARATION………………………………………………………………………...ii CERTIFICATION PAGE………………………………………………………………..iii ACKNOWLEDGEMENT.................................................................................................iv DEDICATION………………………………………………………………………….vii TABLE OF CONTENTS................................................................................................viii LIST OF FIGURES……………………………………………………………………xiv PLATES……………………………………………………………………………......xix TABLES………………………………………………………………………………..xx ABBREVIATIONS……………………………………………………………............xxi ABSTRACT…………………………………………………………………………..xxii CHAPTER ONE INTRODUCTION 1.1 BACKGROUND TO STUDY…………………………………………………..……1 1. 2 SET DESIGN PRACTICES IN NIGERIA………………………………….………3 1.3 RESEARCH PROBLEM…………………………………………………………….12 1.4 OBJECTIVES OF THE STUDY…………………………………………………….16 1.5 SIGNIFICANCE OF THE STUDY……………..…………………………………..17 1.6 SCOPE AND JUSTIFICATION OF THE STUDY…………………………………19 1.7 METHODOLOGY…………………………………………………………………..26 - ix - 1.8 THEORETICAL FRAMEWORK…………………………………………………..29 1.9 ORGANISATION OF THE STUDY…………………………………………..........36 1.10 CONTEXTUAL DEFINITION OF TERMS............................................................37 CHAPTER TWO LITERATURE REVIEW 2.1 THE MEANING OF DESIGN….…………………..……………………………….38 2.2 THE VISUAL LANGUAGE OF DESIGN………………………………………….39 2.3 PRINCIPLES OF DESIGN………………………………………………….............44 2.4 THEATRE DESIGN AS A FORM OF EXPRESSION…………………………….47 2.5 SCENIC DESIGN…………………………………………………………………..49 2.6 THEATRE, DESIGN, AND SCENIC CONVENTIONS…………………………..52 2.7 CONSTRUCTIVISM AND THE STAGE…………………………………………55 2.8 INFLUENCE OF ADOLPH APPIA AND GORDON CRAIG…………………….57 2.9 AESTHETIC THEORIES AND STAGE DESIGN CONCEPTS………………….62 2.10 ASPECTS OF STAGE DESIGN…………………………………………………..72 2.10.1 The Proscenium………………………………………………………………….72 2.10.2 The Thrust Stage…………………………………………………………............75 2.10.3 The Arena Stage………………………………………………………………….78 2.10.4 The Non Formal Stage…………………………………………………………...81 2.11 THE QUALITIES OF A THEATRE STAGE……………………………………...81 2.12 BASIC ELEMENTS OF SCENERY………………………………………………82 - x - 2.13 MATERIALS OF SCENERY (WOOD)…………………………………………..85 2.14 MATERIALS OF SCENERY (METAL)………………………………………….88 2.15 MATERIALS OF SCENERY (PLASTICS)……………………………………….92 CHAPTER THREE THE NATIONAL THEATRE, THE NATIONAL TROUPE OF NIGERIA, AND THE CINEMA HALL 2 3.1 THE NATIONAL THEATRE OF NIGERIA..................................................95 3.2 THE NATIONAL TROUPE OF NIGERIA………………………………...102 3.3 THE CINEMA HALL 2 OF THE NATIONAL THEATRE……………….106 CHAPTER FOUR PRODUCTION SCENERIES IN THE CINEMA HALL 2 4.1 SET DESIGN FOR DEATH AND THE KING’S HORSEMAN……..........115 4.1.1 Set Listing for Death and the King’s Horseman………………………….117 4.1.2 Design Concepts in Death and the King’s Horseman…………………….117 4.1.3 Set Construction for Death and the King’s Horseman……………………121 4.1.4 Set Rigging in Death and the King’s Horseman……………………..........130 4.1.5 Surface Rendering for Sets………………………………………………..132 4.2. SET DESIGN FOR THE CONCUBINE…………………………………...133 - xi - 4.2.1 Set Listing for The Concubine…………………………………………….135 4.2.2 Design Concepts for The Concubine……………………………………...135 4.2.3 Set Construction for The Concubine……………………………………...139 4.2.4 Joinery for Sets in The Concubine………………………………………..142 4.2.5 Set Rigging in The Concubine…………………………………………….145 4.2.6 Surface Rendering…………………………………………………………147 4.3. SET DESIGN FOR TRIALS OF OBA OVONRAMWEN……………......148 4.3.1 Set Listing for Trials of Oba Ovonramwen……………………………….150 4.3.2 Design Concepts for Trials of Oba Ovonramwen………………………...150 4.3.3 Set Construction for Trials of Oba Ovonramwen…………………………155 4.3.4 Set Rigging in Trials of Oba Ovonramwen…………………………….....160 4.3.5 Surface Rendering for Flats……………………………………………….162 4.4. SET DESIGN FOR ATTAHIRU…………………………………………..163 4.4.1 Set Listing for Attahiru……………………………………………………165 4.4.2 Design Concepts for Attahiru……………………………………………..165 4.4.3 Set Construction for Attahiru……………………………………………...169 4.4.4 Joinery for Sets in Attahiru……………………………………..................173 4.4.5 Set Rigging in Attahiru……………………………………………………175 4.5. SET DESIGN FOR SONG OF A GOAT…………………………………..178 - xii - 4.5.1 Set Listing for Song of a Goat.....................................................................181 4.5.2 Design Concept for Song of a Goat……………………………………….181