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DEATH, NATIONALISM, LANGUAGE AND REVOLT IN J. M. SYNGE AND WOLE SOYINKA - A THEMATIC STUDY
Published 1990-03Call Number: Loading…
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Page will reload when a filter is selected or excluded.- Arts & Humanities 32 results 32
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- 'Theatre Arts' is essentially a visual arts discipline in which the elements of architecture, scenography and technology play very significant roles. However, these areas and aspects have suffered neglect, in the past, in the arena of Nigerian scholarship. Consequently, the present study aims at a historico-critical evaluation, analysis and documentation of the development and functions in the contemporary Nigerian theatre, as witnessed especially in and at Ibadan in the past twelve decades in broad terms and since 1948 (the founding year of the University of Ibadan) in particular. If there was in the pastan authentic African (especially Nigerian) theatre, then there ought to have been a corresponding typical and unique African theatre performance space form. Therefore there is a need to rediscover that form. But if the traditional African-particularly Nigerian theatre had had no unique and typical performance stage or space form, other than the village square, market place and the Kings' palaces, then it has to be accepted that the modern (present-day) architectural theatre forms of Africa and in particular of Nigeria have been imposed or have evolved from the cross currents of contacts with Western civilization and foreign influences and, therefore, they are basically foreign and of non- African origin. Consequently, the present search for a new theatre form, architecturally, would yield better results if the merger of the traditional and western modern architecture employing modern technology in equipping them to achieve flexibility, adaptability and timelessness could be pursued. In order to achieve that, what one has to do now is to critically examine the functionality of the present spaces and modify or refurbish them to suit the demands of the contemporary Nigerian theatre. However, most ideal would be the conception, design and realisation of new structures along the lines of new and long attested aesthetic principles and the results of technological researches arising from age-old experiments, new aspirations, current trends and future speculations. Since the arts and the sciences have always been the bedrock of human spiritual, psychological and economic development, and since technology has always aided the attainment of socio-political growth, technology, borrowed or developed, invented or transferred, has a great role to play in the development of Nigerian theatre. Hence, the investigation of its impact in the Nigerian theatre is a necessary and perhaps an inevitable task. The objects of the study are contained in an Introduction covering the purpose, scope, limitation, Overview of Literature, Methodology and Definition of Terms: while the findings in the three respective areas are presented in nine Chapters. Chapters One to Three contain review of literature, overviews of studies and projects in the three areas of study. Chapters Four and Five present, in chronological order, the historical development of theatre in Europe, America, Asia and Africa, especially Nigeria. Chapter Six looks at the genesis of theatre education, scholarship and practice, especially in the western world and recommends a model of training and desirable lines for the future development of theatre in Nigeria. Chapter Seven considers concepts and aesthetics of theatre arts forms and styles and relates these to the contemporary Nigerian theatrical endeavours, especially in the scenographic spheres. Chapter Eight treats the analysis, scenographic and technological executions of the production of the selected illustrative plays. Chapter Nine pursues the search for new physical theatre forms in their various parameters for Nigeria and examines the present state of the physical theatre structures and venues in and at Ibadan. The thesis sees architecture, scenography and technology as prime levers of the development of theatre arts in Nigeria. 1 results 1
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- Fine and applied arts provide the aesthetic and non-aesthetic necessities that enrich individuals’ quality of life. In recent times, the persistent students’ poor performance in the subject has been attributed to inadequate facilities, use of traditional classrooms and inappropriately designed learning environment in schools and institutions where teachers are being prepared. Researchers have focused on improved methodology and classroom practices but not on classroom and learning environment for teaching the subject. There is also a dearth of studies on influence of classroom design and learning environment on students’ performance in fine and applied arts. Most of the studies do not provide standardized classroom design and learning environment guidelines that could improve students’ performance in fine and applied arts. This study, therefore, determined the extent to which classroom design variables (spatial configuration, visual effects, thermal condition, acoustics factor, facilities and equipment) and learning environment variables (students’ perception, seats arrangement and class size) predicted pre-service teachers’ performance in fine and applied arts in colleges of education in Southwestern Nigeria. The study adopted the descriptive survey design. Two hundred and fifty final year fine and applied arts pre-service teachers and 70 lecturers selected through stratified random sampling technique participated in the study. They were drawn from 10 colleges of education purposively selected from Southwestern Nigeria. Instruments used were: Teachers’ Classroom Design Checklist, Teachers’ Classroom Acoustics Design Questionnaire (r=0.84), Lecturers Inventory for Facilities, Equipment and Materials, Learning Environment Questionnaire (r=0.81) and Teachers’ Fine and Applied Arts Performance Test (r=0.84). Nine research questions were answered and eight hypotheses tested at p<.05. Data were analysed using Pearson’s product moment correlation and multiple regression. The eight classroom design and learning environment variables taken together, have significant correlation with pre-service teachers’ performance in fine and applied arts (R=.407;F(8,249) =5.99; p<.05).They explained 13.8% of the variance in the dependent variable. The two factors that predicted pre-service teachers’ performance in fine and applied arts are facilities and equipment (β=1.088; t=4.43; p<.05) and seats arrangement (β =3.76;t=-3.19; p<.05). The five classroom design variables (spatial configuration, visual effects, thermal condition, acoustics factor, facilities and equipment) significantly correlated (R=.335; F(5, 244) = 7.03; p<.05) with pre-service teachers’ performance in fine and applied arts and explained 10.8% of the variance in the dependent variable. The three learning environment variables (students’ perception, seats arrangement and class size) correlated significantly (R=.23;F(3,249)=6.11;p<.05) with performance in fine and applied arts and 5.8% of the variance was due to the three factors. Seats arrangement had the highest relative contribution (β=.21). Out of the eight factors, four had significant relationships with the dependent variable. These are: acoustic factor (r= .154;p<.05), facilities and equipment (r=.284p<.05), students’ perception (r=.147;p<.05) and seats arrangement(r=-.222;p<.05). Facilities and equipment as well as seats arrangement predicted pre-service teachers’ performance in fine and applied arts. Hence, the use of adequately designed classroom and appropriate learning environment has become necessary. Therefore, appropriately designed art classrooms and relevant facilities should be provided to enhance performance in fine and applied arts in Nigerian colleges of education 1 results 1
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- Numerous studies on Japanese and Yoruba aesthetics have focused on the elements and ideals that form the essence of both cultures most of which are regarded as graceful and near esoteric. Several of these investigations centre on Japanese and Yoruba aestheticism which is thought to have been as elevated as spiritualism in the Japanese courts and provinces in the tenth century and in the same contexts in pre-colonial, colonial and post-colonial Yoruba Courts. This theatrical inquiry encapsulates aesthetic ideals that are central to the cultural identity of the Yoruba and the Japanese. They include Japanese art- the literary, the performing and fine arts and the Yoruba indigenous performing arts, and ceremonies among others. This paper examines Iwa lewa and Yugen, as theoretical underlying currents in Yoruba Alarinjo and Japanese Noll art. It portrays the concept of beauty across these nationalities as an agency within theoretical agencies engaged bv Zeami Motokiyo and Hubert Ogunde in designing and nurturing Ndh, Japan's ancient operatic theatre and Alarinjo, Nigeria's ancient and earliest professional operatic travelling theatre. Yugen. a concept that has become a profound and fundamental ideology in Japanese theatre, continually generates scholarship. Its near encyclopaedic definition is best summed up as 'elegant beauty' which is largely o f a visual quality, one that translates to a near indescribable but pleasurable experience. Hubert Ogunde's Iwa lewa substantially postulates that significance, rapport and social activity culminate in beauty and edification. Zeami Motokiyo's and Hubert Ogunde's treatises and critical insights as playwrights can be engaged as theoretical agency in examining contemporary and modern forms of Nohplavsand Alarinjo plays. The transformation of Nohfrom simpleplotal episodes ofSaragaku-Ndh into symbolic performances, evolved a form that maintains contemporary relevance. Similarly, Alarinjo evolved from the masque cult to diverse 'deritualized' performances. The postulations of these two dramatists have continued to serve as critical, civic, and political agency within the Japanese and Yoruba theatrical ambit. Noh and Yugen and Alarinjo and Iwa lewa contimieto in form contemporary ideals in Japanese and Yoruba performances, creating a new public evolving from the aesthetic principles, artistic and creative abilities which continue to permeate sensory experiences in both national literatures and cultures. 1 results 1
- Pre-service teachers’ performance 1 results 1
- This thesis examines four themes in the plays of J.W. Synge and Wole Soyinka - namely, death, nationalism, language and revolt - to represent the multiple aspects of convergence and divergence which a combined reading of their works reveals, and to appreciate the sensibilities, the social contexts and the significance (local and universal) of both writers. It is divided into six chapters: Chapter One: Introduction; Chapter Two: Death in J.M. Synge and Wole Soyinka (Tharatomimesis and Thanatodicea Examined); Chapter. Three: J.M. Synge, Wole Soyinka and the National Question; Chapter Four: Language: The Synge and Soyinka Experience; Chapter Five: Modernism and the Theatre of Revolt: J. W. Synge and Wole Soyinka; Chapter Six: Conclusion. The thesis advances four main propositions, viz: (a) Synge and Soyinka express an abiding concern about the centrality of death in human experience; man, both writers contend, is, in the midst of life, in death; hence, they paint an artistic landscape in which the individual urge to assert itself is often subverted by the reality or the threat of death, thus giving vent to the idea that death is the ultimatum of life. (b) Both writers have been dismissed as a-national in their respective countries, not just because they are incapable of political thought, as has been alleged in Synge's case, or unpatriotic, as alleged in both cases, but because of their refusal to embrace the reductionist and exclusivist literary dogma preached by the ultra-nationalists in their societies. Both of them advocate the freedom of the creative instinct from ideological fetters and assign themselves the task of desecrating the sacred gods of their time with the belief that truth, as opposed to flattery, should be the oyster of art; and it is perhaps this critical detachment and objectivity that constitutes true nationalist writing. (c) Synge and Soyinka, like many writers, accord language a pre-eminence in their scale of artistic tools; of particular interest is their foregrounding of language; that is, the fluency with which their language attains performative dimensions and generates visual and aural impulses, and the implications of this for the theatrical communication of their plays. (d) A search for the root of both writers' sensibility must be traced, in part, to the modernist temperament of their works manifest not only in their 'avantgarde' utilisation of language but more contextually in their revolt against preconceived existential and social notions and ethos. In sum, this thesis attempts to give intimations of the individual genius of both writers, situate them within their social and historical contexts, and assess their universal value; the parallels between them are highlighted but their differences are not overlooked. On the whole, however, this exercise can represent only the beginning of a more complex discussion of both writers, particularly with regards to their backgrounds: the Anglo-Irish National Theatre Movement and the Modern Nigerian Theatre of the pre-Independence and post-Independence eras. 1 results 1
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