STAGE DESIGN AND

TECHNICAL THEATRE FACILITIES IN NIGERIA

COLLECTED ESSAYS

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Adesina Adegbite

©Adesina Adegbite, 2009E-mail: sinabev@yahoo.com

08057205820, 08060983583

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior knowledge of the author.

Published by: The Department of the Performing Arts,University of Ilorin, Ilorin, Nigeria.

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Cover Photograph by: Adesina AdegbiteDesign Concept: Sina Digital Studios: 080-57205820 / 08060983583

Printed & Bound by: Folly Press, 100 Emir's Road / lrewolede Estate Area, Ilorin, Kwara State. 08035631358

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DEDICATION

This work is dedicated to

The God Almighty.., the Lord of hosts!!!

And my immediate constituency..

Bidemi, my wife,

Our precious gifts: Ayomide Evidence, Testimony Adesewa, Ebunoluwa Daniella and especially to Emmanuel O'feyidemilade, who arrived on the 26th day of January, 2009; when this work was already in the press.

Also to my father;

Solomon Ajeigbe Akanni Adegbite ...of the blessed memory …

And..

My mother, who, since February,1988 has been weathering the storms…. Abigail Ejide Adegbite, you will fulfill your years!!!

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ACKNOWLEDGMENTS

Without you appearing at the right time to give meaning to my calling in the Technical Theatre, vis-a-vis stage designs and painting; this publication can not be a reality!!! Dr. Sunnie Enessi Ododo, (now in Department of Performing Arts, University of Maiduguri) you are God sent. Thank you a million.

Professor Sam A.Adewoye..., sometimes in 2001, you 'picked' me up and worked together with Dr. Sunnie Ododo.., so that I can continue from where you may wish to stop in the academics, accept my gratitude!!!

If I forget to mention your input towards my scholarly publications so far, posterity may hardly forgive me. I mean, I am appreciative of your genuine interest in young scholars - Professor R.O. Rom Kalilu, [Dept. of Fine and Applied Arts, LAUTECH, Ogbomoso]. Thank you. Professor Duro Oni, as a matter of fact, your numerous publications have been instructive to somebody like me. Thank God, we have somebody like you still in the Technical Theatre/Design.

What of Drs. Oha Anthony of Ben Idahosa University, Benin City and AbdulRasheed Abiodun Adeoye, of The Department of the Performing Arts, University of Ilorin? Both of you are wonderful!!

Mr. Austin Emielu, also of the Department of the Performing Arts, University of Ilorin, I celebrate you, because just a week to the end of the year 2008, your brief comment on publication inspired me into this project.

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INTRODUCTIONesign, in the theatre is more than illusion, but a careful ordering of all theatrical/technical elements vis-a-vis set, sound, property,

costume, make-up, lighting, etc, that make a theatrical experience a pleasing one. In the process of weaving these elements together, some guiding canons are observed, which further give credence to the final design output. Perhaps, design in the theatre would play a crucial role, if it is conceived in order to assist these significant elements: the performance itself, cast and the audience. But in a situation where the expected assistance is being eroded by designer’s lack of access to relevant facilities, or lack of adequate fund, as well as inadequate technical facilities - which are needed to facilitate wholesome aesthetics and pleasant performance - then, urgent step must be taken to curtail the menace. More importantly that it is observed that the case of gross inadequacies of technical theatre facilities, being witnessed in many Nigerian University theatres had been with us for long. Therefore, for our University theatre to perform her roles effectively in the society, adequate provision of needed equipment and technical facilities cannot be jettisoned.

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Although, these collected essays discuss critically the utilization of set and lighting designs in stage performances, a special searchlight is however beamed on many factors that hitherto constitute a major setback to experiencing tasteful performance in the Nigerian theatre; while several ways of escapes are proffered.

Adesina Adegbite, Department of the Performing Arts,University of Ilorin, Ilorin, Nigeria.

January 2009

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TABLE OF CONTENTS

Dedication ... ......................................................... iii

Acknowledgements . ............................................. iv

Introduction……...............................................….. v

CHAPTER ONEScenographic Conception in “Mountain of Wealth”: Technical and Creative Interventions ...................... 1

CHAPTER TWO Design and Inadequate Technical Facilities in the Nigerian University Theatre: A Critical Review …...... 22

CHAPTER THREEDesign and Technical Concepts in Nigerian Theatre Practice: A Postulation of Re-definitiveApproach towards a sustainable development…....... 42

Summary and Conclusion.......................................... 63

Bibliography............................................................... 64

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CHAPTER ONE

Scenographic Conception in “Mountain of Wealth”: Technical and Creative Interventions.

n the Nigerian theatre, the damages which inadequate technical facilities are capable of doing to the artistry of designers and stage performance

as a whole cannot be under estimated. That explains why in contending with the issue, it places a great demand on the creative ingenuity of designers in the theatre. Therefore, this chapter through a critical and technical analysis of the use of set and lights in the stage production of Ayo Akinwale's "Mountain of Wealth"; seeks to re-affirm that captivating technical effects are still attainable despite the inadequacies.

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As we proceed, the entire discourse shall be realised in three main headings: synopsis of the play, technical contention and creative intervention and summary/conclusion.

Synopsis“Mountain of Wealth”1 is a ten-scene play which

thrives on total theatre2: form. It is a satire imbued with traditional theatre aesthetics using the festival performance mode. The play uses the concept of diplomacy to make a strong statement for peaceful co-existence. The same concept is employed to preach harmony by asking both the traditional religion adherents and scientists to sheath their 'weapons' of suspicion and acrimony. The play which is set in fictional Okegbile, therefore calls for mutual understanding. Here, a possible clash between Aboke and the Government forces is averted which threatens the indivisible existence of the entire people of Okegbile. This crisis begins when a wealth creation-project is sited in their town. The arrival of the team of

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geologists that is being led by Professor Fabiyi (a son-of-the soil) ignites further the volatile bomb. It is their attempt to extract mineral deposits from the beneath of the rocks, where the spirits of Orisa-Oke reside, that brings them in a head-on-collision with Aboke, the Chief priest. In a nutshell, the crisis that later ensues plunges the two warring sides into various multifarious tension-soaked moments until a viable means of conflict resolution was adopted.

Technical Contention and Creative InterventionThis section discusses in critical terms the

involvement of set and lighting designs in the production process of “Mountain of Wealth”. It is a careful examination of the constraints and creative resolutions in harnessing those visual elements. Therefore based on the available technical facilities, set design will be considered under the following sub-heading: (i) Performance space and measurement(ii) Set design: colour and painting

Lighting design would also be considered alongside a similar mode of investigation and assessment. These will however be captured under the following sub-headings:i) Lighting Equipmentii) Lighting design: intensity, colour and special effects

However, our direct participation in the production process of the play would serve as a backdrop on which we eventually set our discussion in this section.

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The Performance Space / Stage Geograohy3 and Measurement

The stage we are considering is the proscenium - like performance space of the Africa Hall4, University of Ilorin. The production - "Mountain of Wealth", being reviewed was the one directed by Ayo Akinwale, whose technical and the Lighting aspects were directed by Sunday Ododo. The play has been performed twice: October, 2001 and August 2004 on the same stage. Because of the "Mountain of Wealth's" inclination towards realistic approach, which characterises a typical African festival theatre, the play had a great impact on the conception of scenic design. The Africa Hall stage has the following measurement in length, breadth (width) and height:

39ft (1189.5cm) lengthwise, with a width of 34ft (1,067.5cm) and 11ft.6inch (343.8cm) high respectively.

The cyclorama axis separates the acting space from the back stage. Thus we have:

39ft - 14ft = 25ft, with the analysis below:Back Stage = 14ft x 34ftActing space = 25ft x 34ft in Length x WidthThe calculation above shows the measurement

of the performance stage of the Africa Hall, University of llorin (Mini Campus).

The Cyclorama has an opening that is normally covered with 4(4ft x l0ft) flats. The place separates the back of the stage from acting space. For the realisation of this play, a 6(4ft x l0ft) flat surface was prepared to occupy the cyclorama on which the landscape painting of Okegbile was achieved. In order to ease the movement of the actors on set, the background landscape was framed from behind using the three edges of the cyclorama.

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The flats, numbering twenty-one (21) in all, comprising plain, door and arch were built to occupy the space. These flats in different dimensions of 2ft x 6ft, 1ft 5inch x 6ft , 3ft x 7ft, 4ft x l0ft and 6ft x l0ft were transformed to provide the play with the desired illusions. Thus the construction and design of these flats constituted the palace, village square and the Orisa-Oke shrine at Stage Right, Up Centre and Stage Left respectively.The analysis is further broken down as follows:

The plain flat Up Stage Left (USL), supported the door flat that provided entrance for the three spirits (witches) in the play, was a (6ft x l0ft). The door flat was in 4ft x l0ft dimension. In front of these standing flats, were two simplified 3-dimensional rocks pieces that occupied Up Stage Left, (USL). At the Up Stage Right (USR), the palace's setting made of 2 flats in (4ft x l0ft) joined at the Centre Stage Right (CSR), towards the Up Stage, while 3 (4ft x 10ft) flats made the door and arch-doors respectively. All were assembled Up Stage Right (USR) to provide entrance and exit for the king and his retinue of wives.

The door flats were in different dimensions too, the door at the Right and Left side were used by the Oloris (King' wives). Each opening was done in 2ft x 6ft and 1ft 5inch x 6ft respectively the arch-door at the Centre in 3ft x 7ft opening was exclusively reserved for the king. Three mats were also used to cover the openings from the inner side.

A riser was built in 4ft x 3ft x 1ft (Length, breadth/width and Height) dimension respectively. On this riser, was the throne with traditional cloth covering. Between the door flats and the riser was a 2ft 5inch space provided for easy passage in and out of the palace by the king. The painting of a crown in 2-dimensional form on top of the king's door enhanced

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the authority of the monarchy further and just beside the door, was painted a staff of authority also. Beside the king's wives door (Left side) was a 3-dimensional tree in the diameter of 1ft 5II x 1ft (base and top) respectively with a height of 8ft. The other tree of 2ft x 1ft in diameter (base and top respectively) stood Up Stage Left (USL). The height was also 8ft. A space of 3ft was also provided in between the back of the palace door and the cyclorama for the actors to pass through, (to and from back stage).

The above exposition discusses the acting space, which measured 25ft x 34ft for the production of "Mountain of Wealth”, which was available for use by the technical director in preparing enough space for the actors.

Because of the nature of the play, a total theatre, which thrives in the ambit of festival theatre, provision of appropriate space facilitated its successful execution. This perhaps explains why the .orchestra and apron were adequately used and consequently formed the extension of the stage. In this mode of total theatre, the actors have enough space to realize their roles at the apron, which was 10ft wide from the edge of Down Stage to the first roll of the audience seats. Some drummers at the Auditorium Left occupied the seats on the first row, while the rest, sat on a riser of 4ft x 3ft 5inch x 2ft dimension: Length, Breadth and Height respectively. The three step units built for the actors' exit and entrance were in 2ft 5inch x 2ft 8inch each. They were placed at the edge of Down Stage Right, Centre and Left (DSR, DSC and DSL).

From the analysis above, it was observed that, the principles of proportion and balance, that facilitate the smooth execution of any work of design, were minimally employed. Despite the fact that the provision of enough space is germane to stimulating desired

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action on set, the solidity or mass that was however achieved through the design of the shrine presented an un-proportional balance. Thus, the composition of the entire set design in outlook,' created the heaviness that was more pronounced Up Stage Left (USL) where the mountain was built. Perhaps this may be partly due to the significance of the shrine (mountain) to the entire human and non human objects in the play.

Nevertheless, the use of dominance or emphasis for the design process lends credence to the realisation of the set. This principle of design became useful in the sense that more of the actions took place on this setting. It was also noticed that, for several minutes in the play, the attention of the audience was drawn to the setting because from there, some special events that elicited mixed- reactions from the audience, also emanated (e.g. festival scene and Aboke versus geological team scenes).

Because of the nature of this performance and its large cast with a lot of captivating moments, it placed a great demand collectively on the creative ingenuity of both the artistic and technical directors. Indeed, without the collaborative effort of both, a performance of this form would suffer-a great setback. But, it was equally observed that the creative prowess of both directors was further incapacitated by some militating factors. Ododo (2002:88), captures some of these militating factors as “technical requirements imposed on “a production by the playing area, the fund available for such a performance and the purpose of the performance.” However, the available playing area with limited acting space could have constituted a threat to the staging of this play, but the dynamic manipulation and conversion of the existing space for maximum use, was the greatest strength of this performance. That was why both the apron and the

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orchestra of the proscenium stage were creatively harnessed and related with to bring about a feeling of intimacy by both the actors and the audience. Instance of this creative usage of available/limited space were most prominent in Scene Nine ("Mountain of Wealth"), there the narrator prepared the audience for the imminent war and the actual battle in the same scene.

Set Design: Colour Scheme and PaintingColour as an aesthetic medium of

communication, was used apart from lighting, to unify all the elements. When this medium is suitably applied in scenic design, the concept, style, genre and images of such production are enlivened. We shall examine how colour was able to relate with scenery in order to facilitate the understanding of the message of the production being analysed.

The colour scheme of Blue, Yellow, White, Black, Green and Brown were used. Hence, they were deployed to "create the different moods", which "they are designed to create" (Atakpo, 1998:88), in this play. These colours reflected on the painting of flats, throne, rocks, trees and the landscape. The analysis is as follows:

The flat surface, that occupied Down Stage Right and stretched to Centre Stage Right (CSR) was painted light blue. The same colour value was applied on to the flat from Down Stage Left (DSL) to Centre Stage Left (CSL). The lighter tone of blue was employed to register the genre of the play (satire). Cream (Yellowish-White) that was used to paint the flats on Stage Right for the palace setting complimented the light Blue colour on the riser. Whereas, the tonal variation of Blue, Green and Black facilitated the painting of the landscape on the cyclorama, on one hand, while dark tan, which

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dominated the 3-dimensional surface of the 'moving trees' at Up Stage Left and Right respectively, suitably enclosed the landscape of Okegbile on the other hand. This approach was able to provide an illusion of depth. Here, the function of cyclorama "to represent the sky, to give the effect of infinite space, and allow the maximum use of stage space…" (Brockett, 1996:373) was considered by the set designer.

The painting and drawings of crown and kingship staff on the cream surface of the palace's door flats were meant to project the authority of the monarchy. This research is not of contrary opinion to the significance of the set - props (shrine) that occupied the stage left including the colour scheme chosen. The dominance of this area (setting), was more pronounced. Although a realistic set style was attempted, one could easily see other styles over-lapping. The setting of the palace underscores the fact that simplified or suggestive realism was conceived to suit the realistic style, otherwise employed to realise the 3- dimensional trees and mountain.

Generally, the scenery has another area of strength too. This we observed in the area of scene shifting. The entire scenography became more effective due to non-shifting method adopted. Brockett (1996:382), observes why constant scenery shifting is no longer fashionable in the modern scenic design trend, because, "audiences become impatient with lengthy scene shifts..." (which may create unnecessary gap or delay), he posits that, "such delays may also destroy the rhythm of a production."

Inspite of this, instances .of light checks, that is, black-outs, were observed during the production. However, none of these were able to hamper the smooth running of the play, because, another element: sound, saved the situation. Instead of witnessing a

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case of distorted-rhythm in this production, bata and dundun ensemble provided the flowing rhythm, which served as effective replacement - as the audience waited for the completion of scene changing.

In short, colour was maximally used to harmonise the bright costumes of various tones worn by the actors against the strong colour scheme of dark tan, green, dark blue and blue, that dominated the painting of the flats and other objects placed Stage Left. Thus at the beginning of the play, the celebration was greatly enhanced by the magnanimous use of colour. The first appearance of celebrants: young women and men of Okegbile, their adornment of yellow buba (top) and Iro (wrapper) and buba (top) and sokoto (trouser) of trado-modern clothing materials, with caps and head ties (yellowish - green and yellow combination), accentuated the pervading mood and atmospheric situation of festivity. This was when the people, who were in a happy mood, danced towards and from the shrine.

Nevertheless, a great impact was eventually achieved especially in the area of set through the involvement of' stage magic'. This special effect of commanding the trees in the play was achieved by means of improvisation and ingenuity of the artistic director - who in collaboration, with the designer resolved to perform the feat, even without the availability of ideal technical facilities or mechanism. Thus without the use of needed equipment like revolving stage machinery, strobe lanterns, or rotating colour wheel, that is powered with electricity, the set design was able to aid the performance and functioned effectively to create the desired effects. How relevant or truthful this assertion is in relation to the performance , for instance in collaborating with other technical elements, particularly lights, to make a strong

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interpretational statement that was embedded in the "Mountain of Wealth", shall receive our focus later in the next section of this chapter.

Colour, Set Design Painting and Props‘Gayety', in term of application: spread and

distribution permeates the set and lighting of the actors to register and establish celebration, festivity, worship and observances of rites in the play. This was more pronounced in Scene one. Thus, colour is the binding cord that further accentuated the diverse moods,' feelings, action and situation through the set and lighting concept that was adopted. As the play moved from one scene to the other colour strove to pass its main message across to the audience through the functional deployment of lights on the set.

Thus the general and specific atmospheric situations that signify festivity, celebration, worship (including the moment of sacrifice/ritual) was enhanced further through the background scenery: mountain, forest, the village/landscape building and painting respectively. Again, this unifying medium of expression significantly revealed different emotions of the people ranging from anxiety to expectation, joy to ecstasy and tension to passion. The gels of the lights, scenery in painting and design reflect these emotions via the following colours: amber, red, red-purple, yellow, blue, green to white.

Props were used in collaboration with set to depict the palace setting. What further established the setting were the set and actors ‘hands’ props used that were relevant to the play. One of the set props, which was a movable one, was the throne, set on a riser Up Stage Right (USR). With these props on set and other icons depicted on the wall surface of the palace, the authority of the monarchy was visually projected.

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Freshnel and Profile Spot lanterns exchanged roles in order to strengthen the illumination and emphasise a specific actor, when necessary.

Moreso, colour greatly played a symbolic role, which helped sustained the visual aesthetics of the play and its understanding. That was why the Orisa Oke shrine that was set at the stage left was designed to provide a suitable abode for both the worshippers and Orisa-Oke spirits. Also, special sound effects and cross-fading of relevant coloured lights were creatively manipulated. For instance, when Aboke in Scene Three commanded the trees to move in order to terrify the geologists, frighten and send away the 'intruders' from the 'sacred place', the trees designed in 3-dimensional form, moved around to chase the workers away. The cross fading of green and amber lights gave the situation the desired effects with effective compliments from the throbbing of drums.

Lighting EquipmentThis section takes a critical look at the way and

manner in which the available stage lanterns and lighting equipment collaborated with the set design, to facilitate the general understanding of the performance. However, we would take another look at the other available technical elements and facilities provided.

The following lighting equipment were utilised for the production:

a. Lanterns (i) Flood (traditional Pattern 49) 500 watts was rigged on the iron baton Down Stage Centre (DSC) with a permanently fixed green gel. The lantern focused mainly Down Stage Centre. The other one on Apron Right provided illumination for Down Stage Left.

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(ii) Freshnel (Pattern 128), 1,000 watts, on iron baton Down Stage Right (DSR) was the one focused on the palace setting Stage Right and Centre of the Apron. (iii) Profile spot was hung on a T-square standing iron bar held by hook clamp - from the Auditorium Right (AR) to perform dual roles. While this lantern with 1000 watts provided more illumination from its position, Auditorium Right (AR), the same was also used to throw light from that position (AR), to change colours for creating special mood and atmospheric condition. (iv) Halogen (500 watts each): Two of the lanterns were rigged and concealed Down Stage Left (DSL) behind the rocks Up Stage Left (USL), respectively. That of the latter was conceived in order to achieve the special back-light effect that was realised at the special appearance of the three witches. The other one Down Stage Left (DSL) was creatively manipulated to give special illumination for actions on the apron, where the celebration at the opening Scene was briefly set. This was the same place where battle scene towards the end of the play was equally performed.

In all, seven lanterns were deployed in the production. They were:

Flood (2), Freshnel (2), Profile spot (1), Halogen (2).

b. Other Lighting Equipmenti) Dimmer Boards: Two macro 8 II Dimmer Boards. Each has 8 channels and it is manually controlled. Both were engaged to feed not more than four lanterns each as a result of malfunctioning of the entire 16 channels that made the two dimmers. With this mode of lantern arrangement, it is expedient to emphasise here that because there are no enough functioning lanterns on ground, in the Department, the

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lanterns on the iron batons’ top of entire Stage Centre to the Up Stage, including the cyclorama area were insufficient. Hence, the rigging of the lanterns was therefore restricted only to Down Stage Right (DSR), Down Stage Left (DSL) Down Stage Centre (DSC), Apron Centre (AC), Apron Right (AR), Auditorium Right (AR) and Up Stage Left (USL), where a lantern was concealed for effect. ii) Wiring and cable connection: Apart from the lack of adequate lanterns, weak cables and broken sockets constituted a nuisance to the lighting design of the performance under discussion. Though the sockets were placed nearer to the dimmers Stage Left, the nakedness of some cables that were run from each of the lanterns to the dimmers exemplifies this discovery during the production. Thus, at interval, the lanterns that were better fitted with 15 amp 3-round-pins which could have been more suitable for the channel of the dimmers, tripped off at will. This 'dangerous electrical situation' was criticised strongly by Reid (2001: 15), as he describes the situation as deadly practice by clumsy designers, who changes 'plugs hastily', all "in a spirit of the show" must go on". The permanent sockets that were also provided at the Africa Hall had been broken. This therefore engenders why consideration for durable, but flexible sockets, that could be changed easily, would go a long way in arresting the situation. From only a point, both lighting equipment and the sound/music equipment were connected. Although this arrangement did not completely put a hold on the distribution of electricity round the cables from dimmers and electrical appliances that were used during the production, the practice does not augur well for efficient cable connection in the theatre. Technical equipment are prone to damages under such wiring condition.

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Lighting Design: Intensity, Colour and Special Effects

Going by the unique involvement of lighting in performance, Pilbrow (1997), is of the opinion that "lighting is not a mechanical process; it is neither simply a matter of illumination nor of making effects" (Pilbrow in Oni, 2004:53). Rather, it should draw inspiration from "idea based upon a play and upon a concept decided upon by the design team". If this is therefore the case, the creative manipulation of lights in "Mountain of Wealth" could be seen as a conscious attempt towards making the available lanterns to perform such unique role. With the concept of 'diplomacy' that was chosen for the performance, lighting was involved to project the production's image of 'gayety'. To perform this role effectively, the available lanterns were arranged to collaborate with the props, costume and scenery that were used. Hence, provision of adequate lanterns was expected to further enhance the efficiency of the entire lighting design.

The depiction of 'gayety' was almost marred by some instances of shadow casting and semi-darkness during the production. These instances were most pronounced in Scenes Two, Three, Eight and Nine collectively, which reduced to a certain extent the effects that the 'intended statement' of the lighting could have made. Infact, the basic function of lighting in terms of visibility was also challenged, as a result of inadequate lanterns. For example, at the confrontation between Aboke and Professor Fabiyi in Scene Nine, whereby the former who moved more to Down Stage Right, found himself in semi-darkness - until he moved away from that stage area, was one of such instances whereby actors acted in partial-darkness. This was as a result of the focusing pattern of the freshnel that gave illumination from Down Stage Right (DSR). The lantern

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focused mainly the Centre and Up Stage Right respectively. The beam of the lantern was unable to cover the extreme end of the Down Stage Right. Thus, some attempts made by the freshnel, that was hung and whose light was thrown from the Auditorium Right still had limitation in providing even-distribution of illumination to strengthen the one Down Stage Right. Instead, it was typified by shadow casting.

Nevertheless, at the opening of the crucial meeting of the minister with the geological team, there was a creative use of the available lanterns. Because in this Scene, there were no stage props to actually set the scene, the illumination from Halogen lantern Apron Centre, with the assistance from Freshnel Down Stage Right that also functioned as spotlight, established the locale to depict the seriousness of their meeting.

It is believed that in scarcity inspiring creativity and innovative ideas thrive. This is the situation whereby some of the shadows later turned out to play a significant role by suggesting emphasis on the background scenery. In The Theory of the Modern Stage Eric Bentley (Ed.); Appia argues in support of shadow casting when he compared it with Chiaroscuro6

approach of scene designer when painting. He therefore declares "the light that is important in the. theatre is the light that casts shadows" (Simonson, 1968:33). A similar case of shadow transformation occurred during the production of Sam Ukala's Break a boil in 2001. In a Scene, Ogun, a character, who had freshnel thrown on him from Auditorium Right, also had his shadow at the back, thus creating a special visual message of emphasis.

Lighting was used as painting brush in the performance at a time to overcome a particular barrier, the function which adequate materials could have performed naturally if available. This is what Nelms

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(1964:161) describes as "artistic lighting." Through this creative use of lighting, 'proper emotional and psychological qualities of the play" were captured. This was achieved through the creative ingenuity of the lighting man to paint a special picture of two lovers, Debisi and Folabi in Scene Four with additive colour strategy. At the reconciliatory moment, Folabi from Down Stage Right beckoned to Debisi, who moved to meet her lover Down Stage Centre, a colour mixing effect was achieved. Using light and shade approach, with profile spot (blue gel), the profile of Debisi was accentuated. Painting with this approach of light and shade was, achieved mainly at her neck and head region. The same special (love) effect that was created through light completed this technical aesthetics that was achieved in the Scene with full illumination on Folabi, to reveal his complete joy in securing the attention of his lover back. Whereas, if the ideal technical facilities like electrified colour wheel were to be deployed to channel the course of the technical elements employed, the same effect could have been achieved.Again, towards the end of the whole performance, the creative ingenuity of the lighting man was put to test in this case. This was occasioned by the non-availability of the required special lighting effect facilities. In this Scene, there was a contrasting statement of Fabiyi which could have exposed the incapability of the technical and lighting facilities that were available. In a bid to blast the rocks (mountain), Professor Fabiyi assured the inquisitive people of Okegbile that:

This mountain must fall today. And our own scientific instrument would do the blasting of the rock… (Akinwale, 2001:15).

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But the apparent constraint of the technical director to achieve this blasting effect was transmitted into another innovative technical aesthetics. Thus to achieve this, song, music and movement of the actors were creatively harmonised to replace the desired effect. The lyric therefore establishes:

Let's work on this mountain we will work...,

Let's bring down this mountain we will work...,

To get the good things of life o ….we will work. .. (Akinwale, 2001: 15)

This aural design combined with percussive instrumentation achieved the 'blasting effect'. The audience was then carried along to the point of singing along with the actors. In this enjoyment, they did not bother to ask for more effect any longer. The artistic director corroborates this as he reflects on some of the short comings:

In the first Scene, I wanted the chief priest (Aboke) to come out of the rock with smoke. All I planned to do was to put gun powder in a can; and have it connected to electricity. The negative wire will be at the base of the gun powder, while the positive would be placed at the tip of the can. As soon as these devices are plugged on, there would be a smoke effect from a bang! The effect would come out within the smoke and fire (Akinwale, 2004)7.

However, in the alternative as Aboke appeared through the crash-door the effect was realised, with the collaboration of bata ensemble in high pitch, accompanied with song and fast tempo dance movement and relevant colour effect (amber, orange, green and white) from the lights. Whereas, there are sophisticated lighting equipment that could achieve the same effect easily. These capital-intensive technical

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facilities include: 'Fibre optics', 'Smoke and Mist', 'Bangs and flashes' could be combined (Reid, 2001:189, 190). The lighting director in his own contribution alludes to the fact that on the improvisational hold on which the lighting design of this performance was put, he observed that:

Because "Mountain of Wealth" was a festival theatre, there were so much music, songs and dances. I would have loved to play with colours to bring out beautiful moments in the play. But we had limited lanterns to light the entire production, thus could not gel all the lights as I desired. Despite this, I was able to manipulate these lights to achieve our result (Ododo, 2004)8.

Summary and ConclusionWhile agreeing with the above views and

experiences of both the artistic and technical directors, colour mixing was creatively achieved, inspite of insufficient and lack of suitable technical facilities for creative drive. That was why colours permeated the performance and were manipulated effectively, in collaboration with available lanterns like Freshnel and follow-spot, on which gels were manually fixed. This attempt eventually created special effects on the scenery in many occasions. For instance, the manipulation of green gel coming from Freshnel at the Apron Centre focusing the Down Stage Centre, while mixed toned red dominated traditional cloth of Aboke in Scene Nine, projected visually his anger to the audience. The colour mixing resulted into a broken-colour (deep brown) that symbolized discordance in emotional feeling. Yet, the same element was employed to accentuate the reformatory cum restoration - mission of Orunmila Priest (Fadele) in Scene Nine, where green gel created the effect of

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peace to reinforce the sanctity/purity on his white costume.

This and several other instances were made possible by the working relationship between the lighting man and the technical assistants who responded well to specific Instruction given by the former crew. In this case, in the absence of ideal colour wheel, different coloured - filters (gels) have been cued, and were changed at the instruction of the technical director, who also was the lighting man. Therefore, instead of putting gels permanently on some lanterns that may not be used for long in the production, the method of direct changing was adopted. By this, the lanterns were maximally utilised, as they eventually performed several roles.

So far, this chapter had discussed in critical terms the utilisation of the limited technical facilities during the production of Ayo Akinwale's Mountain of Wealth", at the. University Ilorin, Thus, in the same chapter how some captivating effects were achieved inspite of several inadequacies, received major attention. Not withstanding, few areas of set backs were also mentioned.

Notes1. Ayo Akinwale's "Mountain of Wealth" was premiered at the

Africa Hall in October, 2001, University of Ilorin for the International Conference on Religion and Science. The Ten-scene play has the following in the crew list:

Playwright/Artistic Director: Ayo Akinwale,Technical/Lighting Director: Sunday Ododo, Set Construction: Tosho Awogbami, Set Assistants: Fidelis Emeribe and Paul Lohlum;Lighting assistants: Abimbola Bolatito;Costume and Make-up: Tolu Temidara & Bola Adeniji;Stage Manager: Phemmy Adetula;Props Manager: Gbenga Onifade and Dayo Adekeye;Sound and Music Assistants: Austin Emielu and Kayode Omosa;

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Choreographers: Felix Emoruwa and Jeleel Ojuade,Business Manager: Rasheed Musa (now AbdulRasheed Adeoye)Stage Photographer: Adesina Adegbite

** Also, the play was prepared for the 22nd Convocation ceremony of the University of llorin in 2004.

2. Total theatre form - a form of performance in the theatre world that is regarded as a complete experience. It encompasses all the, theatrical elements and thereby unifies the three major aspects of the Theatre Arts: Drama, Dance and Music - into a single aesthetic fold.

3. Basically, stage may be perceived in two parts, Up Stage and Down Stage, with two axes; transverse (Horizontal) and Direct axis. Or in four different parts: Stage Right, Stage Left, Upstage and Downstage, (Nelms, 1970:11). To facilitate better understanding of our descriptive analysis, for instance the stage (proscenium) that was used 'for the productions being considered, has more than four parts. The stage is divided into nine parts.These are Up Stage Right (USR), Up Stage Centre (US C), Up Stage Left (USL), Centre Stage Right (CSR), Stage Centre (SC), Centre Stage Left (CSL), Down Stage Right (DSR), Down Stage Centre (DSC) and Down Stage Left (DSL); showing the nine parts that the stage being considered where lies equally its strength and weaknesses. The tonal quality of each of the stage areas further influences the placement and movement of actors on set, as well as the placement of scenic pieces.

4. Africa Hall is located at the Mini Campus of the University of Ilorin. This proscenium-like stage has hosted a lot of theatrical performances by the Department of the Performing Arts. The Department , which has been moved to the Permanent Site of the Institution, since 2006 now has an ultra-modern theatre, recently completed by the University authority.

5. Theatre properties are categorised into two: "Set props' and 'Hand props' (Brockett, 1990: 241). Example" of Set props are set of chairs or sofa, table, 3-dimensional objects as rocks, trees, tree trunks, throne, etc. Hand props include sword, knife, hand fan, gun, walking stick, smoking pipe and cigarette, to mention just few. While set

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props are basically heavy and atimes stationary, hand props are held by actors on and off the stage during the course of performance.

6. In painting, 'Chiaroscuro' is a terminology used to describe the distribution of light and shade. Since light and shade in the hand of scene painter is seen as "expressive medium" that could be controlled to "reveal essential or significant form" of scenic composition on stage, Appia is of the view that the same function is being performed, by theatrical lights that casts shadows.

7. Dr. Ayo Akinwale (now Professor) shared this view with us concerning the limitation of the technical facilities used for 'Mountain of Wealth' (2001), which he directed artistically. The interview was granted at his office, Department of Performing Arts University of Ilorin, July 17, 2004.

8. On the 16th of the July, 2004 Dr. Sunday Enessi Ododo, granted this writer an interview, which he used to reflect on some of the challenges faced when he directed the technical and lighting aspect of 'Mountain of Wealth', (2001) and in preparation for another performance in August 2004, at the Africa Hall, University of Ilorin, Ilorin.

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CHAPTER TWO

Design and Inadequate Technical Facilities in the Nigerian University Theatre: A Critical Review

esign in this chapter is being conceived as the way, or means of ordering of visual and emotional experience to give harmony. This

ordering helps to reflect the aesthetics of stage production. It therefore follows that both the visual and audio elements must be carefully chosen and arranged to allow the audience understand more the meaning of any stage presentation, be it opera, play, or dance. This means, since design elements are in more contact with the written script, a new pleasant theatrical experience is provided in harmony. Therefore, the concepts of design and adequate technical facilities are to reflect the vision of the playwright. In view of this, the theatre designer or technical director, in the university theatre is expected to compose well the design elements in order not to obstruct the view, or distract the attention of the audience.

D

Furthermore it is imperative at this juncture to briefly discuss the concepts that are embedded in the entire work. Thus, the following, design in the theatre, theatre, University theatre and technical facilities: set, lights, lighting design or theatrical lights that are crucial to the progression of this discourse are carefully selected. Also, it is pertinent to note that some of the terms are interchangeably used in this essay. These include theatre - to mean either 'the stage' or 'building' or 'the theatre' as a whole: Others are Design in the Theatre 'theatrical design' or 'design' or 'stage design'; The Stage 'performance space', 'acting area' or 'platform'; Set design 'scenery', 'scenic design', or 'scenography' or 'set'.

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Design in the Theatre Kernodle and Kernodle (1985), posit that in the

process of designing for the theatre, there is a dimension to it. This is illusion, because, "theatrical design is a creation of illusion". Thus, for instance, lights could be modulated to provide an appropriate environment for the action of the play. In the case of set, canvas can also be used to cover flat for simulating physical and tangible environment. Design in the theatre therefore is illusion, which: "often includes specific details of a period or locale, mood and atmosphere, spaces for moving actors and the visual progression of an idea" (Kernodle and Kernodle, 1985: 366). This may further be conceived using the elements of costume; make-up, props, sound, etc.

Taking cognisance of the fundamental elements of design, which are line, form, shape, dimension, mass, texture and colour and the principles of design like rhythm, unity, variety, harmony, emphasis, repetition, contrast, balance, proportion and movement, careful utilisation of some or all of these projects the artistry of the designer. Though the pre-occupation of the designer would not be to impress the audience with a flurry of spectacles, his ability to operate within the scope of relevant guide to point out the significant essence of performance is imperative. Economy therefore, in term of financial implication remains a crucial factor which could either mar or sustain his artistry. This perhaps explains why the lack or inadequacy of technical facilities as an impediment - that is borne out of financial constraint - should be curtailed by all and sundry in the theatre.

TheatreIn the contemporary world, the word 'theatre'

connotes basically two things: the performance, and

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the theatre building (auditorium or stage). Thus, as a performance, it is described as "an art form in which a series of events, usually a written play, is acted out by performers who impersonate the characters" (Brockett, 1990:232). Also, as a structure or theatre building or auditorium, Akinwale (2004:4), sees it as "a place where certain actions are carried out simply to achieve a purpose”. Brockett (1990:232) actually defines theatre as:

perhaps the most complex of the arts because it requires so many kinds of artists for its creation. These specialists include the playwright, performers, director, scene designer, costumer and lighting designer.

Atimes, the services of other experts may be required, depending on the form or style of production. These are: musician and a choreographer or dance composer. We find this definition more useful, considering the focus of this study - University theatre. Theatre is again referred to as a 'mixed art' that "combines the script of the playwright, the scenic background of the architect and painter and the speech and movement of the actors and actresses” (Brockett, 1990:232).

On the other hand, theatre as a 'stage' is the actors space, his environment and his world, (Fosudo, 2002:87). It is within this 'world,' that he realises his role; by relating appropriately with other material and human elements provided. That is why Brockett (1996:365), describes stage as the place of the action that continues into the wings as far as the audience can see. The term 'the stage' is interchangeably used in this chapter as 'Theatre stage', 'performance space', or 'acting space'., to mean an 'enabling platform', where human aspirations are articulated (Bodunde, 2000:72 and 2001: 32). Therefore as an enabling

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space, both the actors (performers) act freely and the audience under the same atmosphere responds appropriately. Both are brought together in a unique experience. The interconnectivity further prompts the theatre artists and designers to give major consideration to the type of stage they work and design for. However, in describing types of the stage as immaterial, Wilson (1997:301), reiterates that:

Whether the theatre space is indoors or outdoors, whether it is large or small, the shape of the stage and it's relationship to the audience help determine the nature of the theater experience.

However, there are limitations that are identified with the stage, in 'sizes' and 'shape', 'type and depth', Parker and Wolf (1990) and Asomba (2000). Both the three theatre designers and scholars hold the belief that it takes the versatility of designer in the theatre to contend favourably well with the changing nature of the stage. Hence, the designer needs to know the “actual shape and physical make-up of the performance area”, while embarking on his work (Parker and Wolf, 1990: 17).

From the above clarifications the idea of theatre as being all encompassing also spells out clearly the involvement and functions of various specialists in the theatre as a whole. With the multifarious functions of this art (theatre), especially in modern times, theatre in the Nigerian University is able to perform its crucial role alongside others that operate in the public and private professional companies and Arts Councils.

University theatre According to Encyclopedia of World Drama

(1984:30), “the initial thrust of the modern African theatre (for instance) came from educational

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establishments: church, school and university”. That is why in a bid to adjust to the changing reality of our time, the university theatre is now assuming a special position in order to elicit the desired changes in the society; Hagher, (1990:9), stresses. If that is the case, this kind of theatre can therefore be regarded as a place, as well as a discipline that offers to many interested students the needed knowledge and skills in different areas of specialisation. These areas are summarized as: “arts and crafts of directing, acting, designing, stagecraft and management” (Oshionebo, 1999: 126). With these various specialities, the students in the university theatre are further exposed to rudimentary of theatre theories, criticisms and techniques.

Since the channels through which such 'technical elements' as: set, light, costume, make-up, colour, props, sound, music and lighting effects operate effectively can hardly be neglected, therefore technical facilities should be adequately provided. By this, we mean the theatre, stage, lighting equipment: dimmer board and rack, special effects machine, stage lanterns, colour wheel, cables and electrical appliances and electronics, make-up kit, technical tools and materials. Knowing fully well that the collaboration of these facilities often result in aesthetically pleasing performance; inadequacy of any sort is like a 'forbacky dance' idiom1.

Set DesignThe creation of physical environment for actor -

which serves as scenery or background for him - in two or three-dimensional form, describes briefly what a set is. Hence, the set designer in an attempt to compose his work, so as to assist the actor realises his role convincingly on stage, "through flats, drapes, platforms,

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or other means, he delineates the areas that will be used for such dramatic action" (Brockett, 1996:365). Thus, Nwadigwe (2002:94), himself a designer, describes set as a design for theatrical production. It is not a mere 'embellishment' but should seek to provide living, useful, and suitable environment for the characters. If set is conceived in this way, it would "enhance the actor's performance, and help the audience to understand the play" better.

Furthermore, in the process of designing a set for theatre performance, Enna (2000:56), expresses that set' "is compelled by the form, content of the play and the directorial principle, concept and approach”. Apart from those, other determining factors include genre of the production, directorial images, style of set/production, available space (stage), fund and tools. These factors determine how far a set designer could go in the discharge of his duty. More importantly, since the scenic style is often dependent upon the production style and budget, it will therefore take the ingenuity of the designer in collaboration with the director to make headway (Ododo, 2002:91). Therefore, in the construction or building of set, some media ranging from cloth (baft/muslin), paint, woods, adhesive) etc, are used.

Lights and lighting designTheatrical lights are used to illuminate the actors

and other design elements such as set, costume, make-up and props. With suitable lighting equipment and facilities, lights could serve as: “The visual interpretation of the script and playwrights ideas in terms of space, atmosphere and visual symbols”. (Enna, 2000:56)

Reilly and Phillips (1998:138), view the possibility of "startling theatrical effects" in performance

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via the availability of the modern changing nature of lighting design with modern technological advancement. Though, the procurement of these modern equipment is capital intensive, if eventually acquired by designer, they would “enhance greatly the quality of stage production and increase further potentialities" (Reilly and Phillips, 1998:138).

Also, lighting, according to Asomba (1990:33), can be described as “an expressive theatrical medium”. However, “when it provides only mere illumination or simple visibility", its expressive tendency deteriorates. Pilbrow, (cited Oni, 2004:53), corroborates the view by maintaining that “lighting is not a mechanical process, it neither simply a matter of illumination nor of making effects”. It could perform its role effectively in the theatre when "it becomes art where and when it is expressive of the inner circumstances of the action" (Asomba, 1990:36).

Lighting has numerous functions to perform in the theatre. Both Reid (1992) and Gillette (1997) capture these to include 'dimensionality', 'selectivity', 'selective focus 'atmosphere', 'interaction', 'fluidity', 'style', 'visibility', 'modelling', and 'mood', (cited Oni, 2004:63,64). In order to achieve and perform effectively the above role; stage/theatre lanterns are designed for specific purposes. This is the more reason why lighting designers have to be familiar with them in order to find these equipment useful when the need arises.

Because the style of theatre performance often changes and poses problem to the artistry of lighting designer, his knowledge of human emotions, the specific needs of the performance script, the flexibility and limitations of his instruments, it takes his creative ingenuity to contend with these problems; especially in the face of gross inadequacies.

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Technical Facilities In The Nigerian TheatreAs a nation, Nigeria cannot be said to have fully

utilised its artistic potential since independence, more than forty-eight years ago. One of the reasons for the under-utilisation of artistic potentials, apart from mis-direction, has to do with mis-management of both human and material resources. In keeping abreast with this view, we shall perceive in this part, the arts of the theatre also as a viable mechanism "for tracing the past, beholding the present and inviting the future", Musa (2003 :21). Moreover, we are more interested in examining the state of such "mechanisms" and in this case, the state of technical facilities in the Nigerian theatre shall be critically considered.

Different appellations have been used to describe the theatre as a place where human aspirations are captured. Some of these are' "University Theatre', 'Indigenous theatre', 'Amateurs/ Semi-professional theatre' and 'Professional theatre' (Oni, 2000). In all of these appellations, the need to reflect African concept is of focal interest. In the process scholars have continuously clamoured for the deliverance of African theatre from the Western spell, because it portends more artistic doom than the face-board benefit being canvassed in certain quarters. Nzewi, (1981:437) for instance, asserts that "the modern physical stage in Nigeria is an unimaginative transfer of the Euro-American stage". Perhaps, this contention is borne out of the uncritical adoption of the proscenium stage in most theatre houses in Nigeria, which is inimical to African performance concept in design and execution. Besides, the state of this theatre in terms of inadequate modern facilities is also an issue of concern.

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Undoubtedly, the performance of the Proscenium stage in the Nigerian theatre has since taken its toll on performance and designs. There have been in existence the Proscenium theatres in Nigeria that are richly endowed with necessary facilities. This has been made possible through the contact of the Nigerian theatre with that of Europeans: which is typified by their coming into the country and other foreigners that have special interest in the arts of the theatre. Consequently some Universities were able to benefit from this contact. Hence, the provision of good facilities that offer stage production pleasant 'additive' in the theatre received adequate attention. Among those lucky few are the Arts Theatre, University of Ibadan and University of Calabar Theatre.

Oni (2000) examines how venue and facilities affect the art and practice of theatre. Focusing basically on “design and technology in set design, with some mentions made of costumes, lighting, stage management and technical direction", an in-depth examination of the state of different theatres in Nigeria was carried out. For instance, the Arts Theatre of the University of Ibadan, which was initially completed as a lecture Theatre in 1955, was later “remodelled as a theatre in 1958”. Also, University of Lagos “has; 2000 seat Auditorium and a 600 seat Arts Theatre", while Obafemi Awolowo University have "Oduduwa Hall that seats 1200 audience". University of Calabar Theatre and University of Nigeria at Nsukka that houses "a small 300 seat Arts Theatre and Princes Alexandra auditorium with seating capacity of 500", respectively are other theatres in the Nigerian University. According to Ododo (2004:79), these major theatre buildings that, came "at the wake of independence parade the Proscenium theatre stage: a theatre stage that was in vogue in Europe at the time”.

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Further analysis of the performance venues and technical facilities available reveals that: Of all the University theatres mentioned, the University of Lagos Auditorium has perhaps the best of technical facilities and equipment (Oni in Asomba, 2000: 179).

Oni, expatiates further:

Its 2000 seats are made up of 1300 seats at the ground level and 700 seats at the balcony. It has motorised revolving stage and orchestra lift coupled with a 20 way counter weight flying system - four of which are motorised. Some of the equipment installed in the Auditorium include a 120 Channel Rank Strand pre-set dimmer board, sound mixer and a P. A. system, 2 x 35mm and 1 x 16mm film projectors …(Oni in Asomba, 2000:179).

However, a brief look at the state of the facilities in the Arts Theatre of the University of Ibadan, even reveals a wide gap between the two. The Arts Theatre Ibadan, according to Oni (2000), only stocks facilities which include:

a stage house..., mini II packs and a 30 channel control, 22' T Spots, 14 Pattern 223/743, 4 follow spots and strip lights. The auditorium, which was initially designed for 304 is currently seating only 228. Other facilities in this theatre are timber and plywood floor finish, a manual flying system, cinema screen/cyclorama, orchestra pit and apron.., and worn out stage curtain (Oni in Asomba, 2000: 176, 177).

Other theatres also abound in Nigeria, with their uniqueness. Perhaps some of these are designed not only to checkmate dominance of the proscenium theatre, but they seek to reflect in truth what the concept of African Theatre entails especially in staging. Ododo, (1998) records some of these as:

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The ABU studio Theatre which was designed by a young American architect, Steve Erlich, with the outstanding involvement of Michael Etherton, Jos Open Air Theatre, the Pit Theatre of the Obafemi Awolowo University and the Crab Theatre of the University of Port-Harcourt (Ododo, 1998:75),

He stresses further that each of these theatres "offers a new staging condition as different from the prevailing European proscenium theatre houses/halls" (Ododo, 1998:75).

The roles played by these types of theatre stages in influencing the scenographic conception of performance are stressed in the work. The suggestions finally offered are aimed at re-positioning the uniqueness of these theatres to reflect even some of the "orthodox features of the proscenium stage", just as he further uses his Thesis to make case for "a true African theatre idiom" (Ododo, 2004:82). But one wonders if the theatre stages: (Jos Open Air Theatre and ABU Studio Theatre) are entirely free from being under-utilised (Oti in Ododo, 1998:78).

In the public places, governmental, non-governmental and individually-facilitated theatres also exist side by side. Some of these are, the National Theatre, Iganmu, the ( J. K, Randle Hall and Glover Memorial Hall, all in Lagos, Demas Nwoko's New Culture Studios at Ibadan and States' Councils for Arts and Culture. Prominent among those that have in stock, to a large extent, adequate and functioning technical facilities, perhaps “through Immense government support or one form of loan or the others, are the theatres of Colonel U, K, Bello Centre for Arts and Culture, Minna, the Cross River State Cultural Centre, Calabar and that of Oyo State Cultural Centre, Ibadan" (Ododo, 1996). With the building and

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equipping of many of these theatres, stage performance in the recent past attracted so much audiences into the theatre. And in terms of adequate provision of technical facilities and performance venues, this research is not in contradiction with Oni's (2000) submission that the University of Lagos remains the best for now.

Many great productions have been performed in this theatre with successfully technical execution. In the repertoire of such productions is Wale Ogunyemi's Langbodo, sponsored by the then Nigeria International Bank (N.I.B) in 1994. Sunday Ododo, an actor and set assistant in the production recalls that: “the lighting designs as conceived by Duro Oni, gave coherence to the visual and oral aspects of the theatre in a meaningful hold. Because, "for a play that transcends domestic frontier in terms of plot and artistic vision, sophisticated lighting effects become somewhat inevitable" (Ododo, 1996: 118).

Giving a background note on South Africans' Sikulu, Oni (2004: 149) explains how the production was greatly enriched with technical facilities in the same theatre venue. The production that was conceived as "a musical and dance theatre... blended traditional modern music with an exciting parade of rich costumes and dance sequences”, fits into this stage because the available technical facilities greatly accommodate such.

From the discussions so far in this part, the importance of modern theatre staging and facilities cannot be over-emphasised in the Nigerian theatre. However, the economic downturn and socio-political strongholds of the country have since taken their toll on the once vibrant theatres in Nigeria. Infact, the National Theatre of Nigeria, which in the early 90's had sophisticated lighting equipment and standard stages

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for drama and other stage productions has since been hit by this unpalatable economic crunch. According to Atte, the theatre housed the "best and most modern lighting equipment," worth 390, 666 US dollars (cf Asomba, 2000:153). Although the story is different now, because it is pathetic to discover that in the same National edifice, some of these technical facilities are now grounded. But under the current leadership of a great theatre icon, Ahmed Yerima, the place is taking a new shape at present.

In the next part, the University theatre would be used as the background for our review of set and lighting designs utilisation in Nigeria. However, two elements would permeate the entire discussion: the theatre and inadequate use of these technical facilities.

Set And Lighting In The Nigerian Theatre In an attempt to fulfil a purpose in theatrical production, set and lighting designs often harness relevant technical facilities. These aesthetic media provide them with a ample opportunity to make significant statements through design. This is achievable only if certain conditions are equally met. This is because

For any aids and decorations we invent, there is one essential, condition: they must point and be pointed by the significant action of the drama itself and must lend themselves to human and naturalistic touches in the acting. The setting must be interwoven with the performance. It is not enough to devise an elaborate background, however suitable, running all the time a parallel and rival appeal to the eye (Knight, "1968: 126).

Therefore, all 'additions', in term of set and lighting must interlock to assist both the actors and audience. On the long run, the hidden message of such theatrical performance becomes known. Although set or lighting

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designer needs to collaborate and relate well with other designers and artistic director in the theatre, in order to realise better his dream; the smooth ordering or otherwise of his tools and equipment depends largely on the availability of needed sufficient material and human resources. Thus it is saddening to still note in the Nigerian theatre that the utilisation of set and lights for theatrical performance, especially on stage is being hampered daily because of the inadequacies of technical facilities.

Moreover, the strive to contend with the above situation has since placed a great demand on many Nigerian designers and even more on the creativity of playwrights who have to conceptualize scenography along the existing theatre stages, particularly in the midst of the modern technological advancement. Therefore, as we progress in the section, a special search light is being beamed on some of these impediments, while some of the scholarly contributions in this regards shall be reviewed.

Writing on “Technical Aids in Yoruba popular Travelling Theatre", Ododo (2000b:41) traces the "development and aesthetic deployment of set design, lighting, music and sound effect, props, costume and make-up in the stage performances... of the Alarinjo theatre practitioners". He challenges scenic designers to creatively harness the aesthetic values of the minimal set and lighting facilities of yester-years to address the technical demands of modern theatrical productions. Ododo (1994: 154), however, believes that "imaginative scenographic representation of performances…”, could transform the destiny of such performances, if properly composed.

Knowing fully well that "every play requires' a different arrangement" (Nelms, 1970:7), set designer is further stimulated as he prepares to create a design

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suitable for such. Focusing his attention on effective manipulation of available facilities should not be compromised, through which his work evolves to create and reinforce the atmosphere and moods of performance. Nwadigwe (2002), also re-affirms that:

the ultimate aim of scene design is to assist the performer interpret his part in a suitable environment and enhance the understanding and enjoyment of the production by the audience (2002:95, 96).

This explains why in his own view; Nelms (1964: 159) submits that despite inadequacies that may be attributed to set, the latter still needs to relate harmoniously with lighting:

it is necessary that the lights and scenery work in complete harmony, for one is most dependant on the other in the total in effect and both are there only to help the actor tell the story.

In the Nigerian theatre, the cumbersome and static nature of set, coupled with inadequate fund for realising most of the design/production concepts are making this art less attractive. Although in the Theatre Arts Departments, set design is still receiving considerable attention unlike lighting design. Dauda Enna, who is also a theatre scholar from experience, appraises the situation in his essay "Design in the Nigerian theatre". He observes that: "the practice of theatre design in Nigeria is still far cry from what it should be" (Enna, 2000:70).

Also attesting to the inadequacy and its inherent short comings is Ododo (2000a:94). He maintains that: "to train and practice with obsolete equipment will surely not engender professional advancement". It is therefore a serious matter that should not be underrated by all well-meaning Nigerians, who envision

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better future for the theatre as a whole. Hence the inadequacy has since short-changed the teaching and learning process of Design and Technical Theatre Courses in the Nigerian University. Ododo (2000a), then takes a deep thrust into the numerous challenges being faced by the young designer in the Nigerian theatre. In the article titled "The Challenges of the Young Designer in the Nigerian Theatre", he describes as regrettable their desire to grow and practice in the Nigerian theatre which is:

being incapacitated because professional stage is lacking in a number of design facilities that can widen his imaginative horizon and enhance his practice (Ododo, 2000a:94).

From the foregoing, it is noted that without adequate tools, materials and other technical equipment to work with, the designer in the Nigerian theatre faces more challenges. That is why a visit to some of these Theatre Arts Departments would confirm even the sorry state in which the scene docks, most of which hardly house functional tools and useful materials, are.

In an attempt to creatively resolve these technical inadequacies, some interesting positions have emerged on how to handle some technical elements in productions. Asomba (2000:XX) believes that set design should benefit from various environmental nuances of African concept of theatre. It is a view that suggests:

no return to an archaic Elizabethanism,' (which is capable of) robbing the theatre of its usual appeals and putting nothing in their place. I urge something positive which if well done should be exciting (Knight, 1968:125). (Emphasis mine).

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However, Oni (2004) seeks to eliminate set design in place of lighting. He contends that effective stage lighting can create appropriate environment for any stage action. The cost and energy invested in building set would thus be minimised. Much earlier, Parker and Wolf (1996) observe that light has begun "to be a scenic element the moment a light source is visible to the audience". This is prevalent now in "concert lighting with beams of moving light revealed in -the air is one of the most recent manifestations of light as scenery" (Oni, 2004:54). Pilbrow, Edmond Jones, Gordon Craig and Josef Svoboda, equally share this view. However, as Oni (2004) canvasses for stage lighting as scenic element, he also recognises some limitations bothering on “the absence of standard theatres with lighting equipment” (Oni, 2004: 169). This admittance therefore weakens his above proposal of light as a credible alternative to set design.

He is not alone in identifying this predicament, Ododo (1996) in “Stage lighting in the Contemporary Nigerian theatre" also laments the present state of lighting in the University theatres due to the absence of necessary facilities. He therefore bemoans how technological advancement resulting in new inventions of lighting equipment has rendered most of the early ones obsolete and archaic. More elaborate about the deplorable state of technical facilities in the country is the observation of a renowned theatre scholar, Gbilekaa (2006):

In Nigeria as indeed in most African nations, the practice of technical theatre which involves sets, costumes, make-up, sound and lighting is in a poor state of development. In other words, the designer in Nigerian theatre practice operates in an environment that is not technically friendly.

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This indeed is occasioned by "dearth of technical facilities for training, lack of modern design tools and instruments ..., no standard make-up studios ..." (Gbilekaa forwarded in Oni & Ododo, 2006:6).

Nevertheless, in "Technical Aids in the Nigerian Theatre: Past, Present and Future" (1994), Ododo, extensively fashions out various ways of escape. Many of them are practically possible if vigorously pursued by designers and other stakeholders in the Nigerian theatre. All considered, 'adequacy' of technical facilities is a necessity in the theatre. Dapo Adelugba, another Nigerian theatre scholar posits that: "the better the technical aids in the production the bigger the chances of making it real and concrete for the audience" (cf Ododo, 1988:108 and 2001:142). The word 'better' is perhaps engendered by the need to give adequate provision; procurement and utilisation of technical facilities a deeper thought. At the University of lbadan, Ododo (1988:108), also acknowledges the adequacy of technical facilities and its effect on production as witnessed in Sotimirin' s "Godchild" on the 18th of July, 1988. He then reiterates that for an acceptable production, adequate technical facilities should be used.

Geoffrey Axworthy, in the late 50's, for instance recalls a situation, when the late Kola Ogunmola was contacted to "prepare a sketch for a dramatisation of Amos Tutuola's novel, The Palmwine Drinkard for stage”. He observed that what Late Ogunmola actually presented "was a libretto of Wagnerian proportions, raising technical problems far beyond the means of our University stage" (Axworthy in Ogunmola, 1972:IX). Nothing was actually wrong with the adoption of the concept in question. But the lack of appropriate and adequate lighting and technical equipment to realise

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the idea put forward by Ogunmola prompted the School of Drama of the then University College, Ibadan, to consider another possible way of achieving the same result. In fact, the adaptation of the novel to stage performance has to be on hold, until five years later; because "the school of drama was of course operating within the limit of a meagre financial budget" (Oti, 1978:27). During the period, the creative ingenuity via improvisational approach of a great theatre designer, Demas Nwoko by his brilliant, economical and practical design, later gave the dramatisation a boost. Apart from the patronage of the Rockfeller Foundation in terms of financial assistance, relevant technical equipment and available facilities within their reach, were equally used. The above further attest to the fact that the menace of inadequate technical facilities has been with us for long and can be controlled, if one is determined. This further underscores our concern for the need to harness the available human and material resources together in Nigeria so as to enliven the "ailing soul" of technical facilities for achieving maximum technical aesthetic success in productions.

Furthermore, in contending with the deplorable situation of technical facilities in the Nigerian theatre, Eghagha (2002:71) also observes that: "in modern times, directors have responded with great creativity to the demands of the times". Femi Osofisan is one such playwright - directors. Akinwale (2001:19) observes for instance that Osofisan's plays are mainly written for performance in a situation akin to "a poor theatre".However, he explains that what is regarded as 'poverty' here is not just "ideas or content but of a considerable management and usage of materials within the scarce resources available to him". Sunday Ododo who has consistently made a case for symbolic staging in theory

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and practice, believes that from 'a creative pedestal', the issue of inadequate technical facilities especially set and lighting can be addressed. For him:

Pitching tent with symbolic production styles for instance could save us a lot of headache in the use of technical aids. There should be a drastic reduction in stage realism. The Nigerian theatre audience today has grown so much that every staging details need not be spelt out for it. (Ododo, 1994:161).

However, this writer would prefer seeing designers in our theatre take up challenges and advantages of the modern hi-technology and thereby keep-up with their usage. This becomes necessary as a result of the current trends in modern designs, which often demand details that may further lead to depicting realism in theatrical performance.

Notes 1. Professor Sola Adeyeye who was a member of

the Nigerian House of Representatives in Abuja explains this concept further in an article titled “Foundational Principles for Nigerian Renaissance". He describes "forbacky dance" to be 'a dance repertoire that comprises of a step forward and one or more steps backwards in an exercise of inexorable nullity and retrogression” The Guardian, Saturday November 6, 2003, p.65.

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CHAPTER THREE

Design and Technical Concepts in Nigerian Theatre Practice: A Postulation of Re-definitive Approach towards a sustainable development

Design and technical concepts spice up theatrical performance, especially when require to contribute significantly to the overall success of performance, whether on stage, television or in video and celluloid. Therefore, any theatrical activity or dramatic enactment without the synthesis of these audio-visual elements is more or less a pseudo-theatre meant for the glorification of animals in human skin - so to say. In the African theatre environment; the involvement of mostly visual elements normally adds value to theatrical experience. Bodunde (2000:72 and 2001:32) captures theatre vividly as a concept that “provides an enabling platform for the articulation of human aspirations.” This implies that inasmuch as there would be enactment of dramatic action whereby informative; educative and entertaining nuances are packaged, theatre also as a structure/place/location, should be provided, without which the dramatics become a mere gathering of people in an organised discussion.

Since the concept of theatre is all-embracing, further clarification is necessary. That is why Bodunde (2000:72) again identifies other functionalities of theatre: “it functions as a reliable index of the tendencies and movement of culture". Here, the concept of design which is being collocated in technical theatre usually ensures the' smooth transition/ transmission of peoples' cultural tendencies. This is derived from one culture to another when their totality is revealed via performances. In the process, this

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movement may possibly come in contact with more advanced (improved) cultural tendencies, which could be easily imbibed or adopted. This has since been experienced in the Nigerian theatre via early contact with the European theatre conventions - with their attendant effects in all the arts of the theatre.

Further, Adegbite (2005:49, 50), also adds that, theatre "thrives in an environment that is conducive...” Thus, “its continuous existence (or relevance) depends largely on the involvement (acceptability) of the equally active/responsive audience." This third element, audience, - in the theatre parlance, is often neglected; however not in the case of African theatre. The latter agglutinates all human and functional relevant material objects for its total enjoyment" Therefore, it underscores a case being made, which this chapter strongly proposes, for design and technical concepts to be suitably and carefully applied along the same direction. Rather than allowing the 'new culture' (western concepts) to dominate or dictate the tune; a sort of careful relationship between them is being considered. Thus, various attempts by some Nigerian scholars on this issue are made against the backdrop of provision of enviable and enabling environment. Proper understanding and adoption of Nigerian as well as Western concepts to aid the development of African theatre as a whole, shall also receive attention. The Nigerian scholars include Ododo (1998), Sofola (2001), Nwoko, Nzewi and Soyinka (1981). Using mainly the Nigerian theatre environment, and what they envisioned could 'oil' the wheel of progress (positively, subjectively and objectively though), are the unending issues of design and technical involvement which further heighten the questions of 'reality', 'truthfulness' and 'authenticity' in the African theatre.

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Perhaps in their own way of contributing to knowledge, some European/American theatre practitioners and scholars also got attracted to the issue at stake: validity of the African theatre. Hence, "an' average (of these) Western patrons of the African artistic and creative milieu... used European and European cultural artistic history as…paradigm for determining and judging, (for instance) Nigeria's artistic trends' (Nzewi 1981:438). The Nigerian/African scholars rising stoutly in defence of this Western idiosyncrasy notwithstanding, the development interestingly has brought about changes in the attitude of the African theatre scholars. The pre-occupation of this essay is not to duplicate the ideas so far expressed, particularly in making a case for the relevance of design' and technical concepts-with African theatre representing our cyclorama; on which the scenery of Nigerian theatre practice is being painted. However, the tendency to always observe the 'aping culture' is rearing its ugly head again in the Nigerian design and technical concepts. Let us now examine some of the militating factors that are against design and technical concepts in Nigerian theatre practice.

African Theatre: A Glimpse The African theatre is perhaps linked with several communal interactive activities. Some of these are found especially to have emanated among the traditional African societies where story telling, song, and dance are (as aesthetic ingredients) relating together. All these are "fundamental media for the transmission of most cultures (that) were closely integrated with a rich inheritance in the visual arts and also in crafts (Encyclopedia of World Drama, 1984:22). The concepts of communalism, totality and

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interrelatedness in the African cosmology are also replete with theatricals. This idea later developed into the ever-active relationship between the African theatre - in practice - with the performers and their audience, who:

behave not as consumers (entertained patrons) but also as a contingent, even if structurally peripheral, factors needed for the unfolding of the drama at both the ideational and enaction levels, (Nzewi 1981:449).

The audience here is both elastic and mobile. The African theatre is a living theatre, whose audience are also engrossed and, most times, transformed into performances. This is the view that Nzewi reviews above through the Ikaki-the tortoise masquerade performance among the Kalabaris of the Niger-Delta area of Nigeria. Nzewi concludes that drama, music, dance and mime (are) structurally unified in the ideational and the characteristics of a theatre presentation (Nzewi, 1981:448-9). All these theatrical and other visual elements exist in the lkaki-the tortoise masquerade.

The nature of African theatre is illustrated further through Late Zulu Sofola's Wedlock of the Gods (1972) and her article “The Theatre in Search of African Authenticity" (2001). Thus, she succinctly describes theatres as “a medium of artistic expression where all aspects of human experience are mirrored in a dynamic living form". What she also portrays in the characters of Ogwoma - the young widow that commits adultery in the play above, is intended to mirror a particular societal norm. This again finds relevance in Clay and Krempel's (1967:25) concept of theatre which "reflects the total cosmic, moral, and metaphysical order of the life of the people". She further underscores

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that fact (from the African perspective) by saying that theatre

is an arena where human beings are presented in cosmic totality, acting and reacting to forces around them and within them, perceiving and being perceived by those interacting with them and by those in the audience who experience with them the enigma that is the common lot of humanity (Sofola, 2001:1).

Furthermore, there are general expressions from scholars that the African concepts of theatre is/are said to have manifested (as a mirror that is 'mirrored') through acrobatics, puppetry, myths, rituals, legends, initiation ceremonies, festive dances and celebration, masquerading, circus drama of carnival, ancestral worship, and so on. This among others, substantiates the reason why theatre is purposely created for 'playing' or entertainment. However, Sofola (2001:1), regarding theatre as a mirror of human existence and reality, expatiates:

If we are 'holding up the mirror', we must hold it up for somebody to see something in himself and in the nature around him which is his environment, his cosmos, his society.

Neither in isolation nor in a haphazard manner is the above expression made; rather, the relevant design and technical concepts- still following the nature of African theatre aesthetics -should be religiously followed. In support, Uka (2002:41), posits that "not randomly, but by deliberate design…, created icons”. Therefore, as a complex art, the nature of theatre, which is more pronounced in indigenous African theatres, demands the integration of various art forms, such as poetry., music, dance, dialogue, spectacle,

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painting, sculpture and architecture, (Asomba, 2000:xi and 1990:72).

This essay therefore believes in the views expressed above as the true nature of African theatre which revolves around those existing in such environments. Along the same direction, everything works for the overall success of theatrical activities, which places also a useful/functional demand on available mask (sculpture) costume, make-up, painting, architecture and natural or improvised lighting devices. In this context, the assertion that theatre is "a house of phantom struggles" (Osofisan 1982:79), is detrimental. This expression, by Osofisan, it is believed, is a calculated attempt at glorifying or satisfying the imperialists' alienation theory1 that is struggling hard to survive in the African / Nigerian theatre environment.

The above statement also exemplifies the nature of modern/contemporary theatre: a proscenium that restricts artistes' movement and places them on an equally regimented or doctored locale. Perhaps this is a pointer to some of the influences, on the African theatre, which are also prone to changes. Bodunde (2001:33), offers a clue, which seeks to validate "the core of Obafemi's aesthetic theory" - in that..., “the contemporary Nigerian theatre is (usually) made up of oppositional constituents each posing a counter aesthetic mode...”.

Suffice also to note that “adequate use of (design and) technical aids can better... the lots of theatre performance. In the case of modern Nigerian theatre practice, the playwright, director and the actors have necessary involvement if the visual essence of their arts is to be enhanced," Ododo (1988:109). Again, Ododo (1998), captures Nzewi's (1981) extensive discourse, in that African theatre design/technical concepts should try and relate both physically and

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functionally to those aspects that project the true African cultural and artistic endeavours. Thus, the relationship between the theatre/performances (in the African context and content), performers (actors) and the people (active audience), underscores various analyses which showcase the concepts' totality and interrelatedness. Therefore, design and technical concept are no exemption.

African theatre has come of age. Having passed through numerous stages, its developments is evidenced in its many forms and styles. In other words, the indigenous African theatre, along with its design and technical concepts, has been transformed. It changes easily to reflect situations and circumstances. Frequent contact with it by people affects them. This presupposes that the design and technical concepts that accommodate the frequent changes could be also affected by the changes in forms and styles.

Design Concepts Creative arrangement of visuals and emotional

experience, which give harmony (cohesion), and thereby reflecting the aesthetics of objects of contact; points briefly to what design should be in the theatre. Thus, as an integral tool, as well as communicative medium, the designer uses design and technical concepts in the theatre to project the playwright's and director's artistic expressions and all types of structuring and arrangement. In doing this, however, his design should take cognizance of the fundamental elements and the principles of design. These are meant to enhance the aesthetics of theatre performance through careful composition of relevant symbols, icons and indexes. In modern design trends, these elements are subsumed under the roles and

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functions of costume, make-up, props, scenery, lighting and sound in theatre performance.

In the indigenous theatre form, the inclusion of these technical aids is also possible; but, with their cumbersome and crude nature, some modern designers thought it wise to give them a modern touch. The visual elements that must be properly arranged and manipulated are line, form, tone, colour, texture, light and space. And, to achieve a holistic stage picture which accentuates the general aesthetic appeal, the human element (actors) must be considered too. This buttresses the fact that design and technical concepts should not be allowed to impede the movement of the human elements on stage. In the popular African theatre practice, all these matters are duly considered. Thus, in spite of the fact that the masquerade like an actor is adorned flamboyantly with heavy costume and props, it is also designed in such a way as to allow for free or graceful movement.2

The Encyclopaedia Britannica (Vol.17), captures design in its entirety as embodying other technical aids as:

the total concrete shape of a dramatic event: It embraces the arrangement of words, performers, dance, music, setting, costume, make-up, lighting, and properties for maximum theatrical effectiveness, (p.529).

In typical African traditional theatre environment, the concept of theatre design (stage/scenery) is dynamic. Performing arts presentations are both unique and flexible in content and mode. Thus making them suitable for arena stage. The changing nature of African design concepts also does not give room for restriction particularly in terms of movement, adornment and decoration. These visual aesthetic

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devices must be carefully considered because in the earliest phases of indigenous theatre, African theatre designers were versed in the use of incorporating masks, costumes, and properties in design and theatrical performances without hindrance.

The use of these technical elements may not be confined to a place. For example, most African theatres that developed from story telling, or festival celebrations, cannot afford to be performed on a spot. Although the ritual aspects of performances could be done on a sacred 'stage' (shrine), but since they (the performers) are always moving from one village to another; the scope of their design/decor, costume, make-up, properties and masks is usually minimized. They take along only those that are portable. Examples of these are seen in the Efua T. Sutherland storytelling travelling theatre, the Yoruba 'Alarinjo' travelling theatre, the Hubert Ogunde travelling theatre. A recent example is the Ayanagalu International Dance Troupe. The latter, made use of the nuances of Yoruba traditional technical aids. These include; elaborate costume, miniature or caricature props and exaggerated masks. One thing is clear, the troupe makes no attempt at 'fooling' the audience; for in stance instead of using a living baby (child); a doll with pink colour was used.3

The costuming process in the African theatre is described above as being elaborate. Owing to its inclination towards realism, some props are also real, while some are miniatures of the real objects being represented. Hence, it is possible to find in an indigenous African theatre performance the use of walking sticks, caps, beads, charms, baby dolls, and other accessories like shoes, and dane guns. The use of the latter as a prop in the production of Ogunyemi's Langbodo in 1994, in Lagos, exemplifies the live effect

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of the technical aid on the audience at the performance. This is unlike the simulated effect of the modern theatre, which the modern audience is already familiar with.

Hubert Ogunde's theatre and design aesthetics were exemplified by his extensive use of realistic costumes of historical significance. But what could be deduced from his use of realistic scenery (batik clothing as a backdrop) and later, modern stage lighting is unconnected with his commitment to projecting African aesthetics and his exposure to the western world. His flair for stage decor and aesthetics prompted him into spending all he could on such designs and technical aids - as far back as 1947. Despite the foreign influence, he did not fail to constantly, inject the indigenous flavour in his design and technical concepts.

Militating Factors As stated earlier, there are some factors

militating against the total adoption of modern design and technical concepts in the Nigerian theatre. Though the effectiveness and positive influences of modern technology (via westernized concepts) is germane to the enhancement of our design in the Nigerian theatre the need for cautious embrace is necessary. Indeed, creativity thrives on meaningful contact with external influences and experiences. Nevertheless, this should not be to the detriment of one's cherished ideas and principles. Nwoko's (1981:475) view here is instructive: “African culture can effectively make use of modem technology for its realization and dissemination on the scale demanded by the world today, without dehumanizing is values." Comparing this with Nzewi's (1981) view, there is something to worry about. For instance, Nzewi (1981:437) observes:

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The modern physical stage (wherein other visual/design and technical elements are being incorporated) in Nigeria is an unimaginative transfer of the Euro-American stage, but devoid of the facilities and sophistication of the latter.

Nothing is wrong however with the attempt or, rather, in making a strong case for the adoption of sophisticated technical equipment and devices to enhance theatre performance in Nigeria. However, such expectation in the midst of inadequacy of necessary facilities to enhance sophistication amounts to ridicule. What usually puts the Nigerian concept at a disadvantage is, among other things, the needed shortage of sophisticated equipment.

Only very few design and technical theatre outfits (companies) across the country, really have some of the needed modern equipment. Indeed, the universities that should ideally be role models are also suffering from lack of vital equipment. But the question has always been... must we stop 'action' (theatre) because the needed technical materials are not within the reach or are inadequate? Definitely not! 'The theatre must go on'. It only calls for a sober reflection and an assessment of the available means. Knowing full well that, for a meaningful theatre experience to take place, the nitty-gritty of the environment that produces it, or where it takes place, is crucial to its understanding and enjoyment.

Nothing is actually wrong with the indigenous concepts except that they are obsolete while the available materials/facilities and equipment are being manipulated by the very few designers around. The era of imposition of foreign concepts or, rather, the idea of designing to satisfy the taste/quest of imperialists ought to have gone to oblivion by now. Ododo (1994 and

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1998) offers useful suggestions on how to maximize our local materials/technical aids for maximum results in theatrical production.

On the other hand, lack of the required or adequate knowledge and skill in design and technical concepts hamper the growth of Nigerian theatre practice. This is another poser to the training outlets (formal and informal) located all over the country. Lack of enough manpower in this specialized area of theatre performance and lack of proper maintenance of the few available equipment have constituted an impediment. Our culture of maintenance is several points below average. This attitude must change, if we intend to keep pace with technology. Although-many theatres in Nigeria parade mainly obsolete; under-utilized or over-utilized technical and lighting equipment, careless handling of some of these equipment contributes significantly to their damage.

Theatre practitioners need to be fully acquainted with the nature of theatre in Nigeria. For instance, those who are very young in the technical theatre may not understand why the submission and conclusions of the likes of Asomba (2000) and Nwoko (1986) should serve as catalysts for the usefulness and relevance of our indigenous concepts, if vigorously pursued. As one of these scholars puts it, in reference to the situation and circumstances antecedent to design in the African theatre (Nigeria as a case study):

With these circumstances or African theatre at the back of the mind of a designer working on an African theatre, he is expected to reflect in his creations an environment that is truly informed by such circumstances, (Asomba 2000:xxiv).

He warns (which we also strongly embrace) that, in spite of the 'mad rush' to showcase the current

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trends, imposition of 'westernized environment pieces' should be restricted.

Another factor is lack of focus. This has prompted our designers to yield (consciously or unconsciously) to the whims and caprices of Europeans/ Americans on design concepts. Some designers in this category preoccupy themselves with beautifying of the performance with a flurry of modern technical aesthetics than the message. This attempt is described as "a culture of apemanship" by Wa Thiong'o (1986:3). The factor is working in consonance with other impediments to create a great setback to the upliftment of the African concepts; thereby making the development of design and technical concepts a seemingly difficult terrain especially in Nigeria.

The Way Forward Before the concepts of design and technical aids

impact meaningfully on the development of the Nigerian theatre, even though some of these theatrical elements are also 'problematic' towards the attempt; we need to consider the following factors: (1) The methods of staging the drama of indigenous Nigerian (African) theatre artistes are not embedded in the written scripts; rather, the histrionics usually revolve around mime, dancing, singing, re-enactment, storytelling, festival, ritual, etc., while the re-visitation of performances is based on strong oral account. In this regard, the use of technical aids and designs, especially when the artistes are expected to tour several places with the performances, would be minimal. In modern times, this typifies the efforts of some theatre scholars. Among whom are: Oteh Patrick-Juate's “Theatre for Community Development” (Awopetu 2002), Lanre Bamidele's “Theatre for the Farmers" (2004:33-3-1), Steve Abah's “Popular

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Theatre” outfit, and Chuck Mike's "Performing Arts Studio" for community development; and others (cf. Obafemi 1999:4). These recently modified attempts are now making a positive impact as theatre and the Nigerian concepts of designs become more prominence. The theatre as a whole is also moving nearer its audience (Nigerian) where they are, and discussing their issues. The designers are now being trained as the practices expose them to new challenges and innovation. Thus, they are now advantaged by the modern technology but definitely for this form of theatre, the domination of the Western world that favours the proscenium stage, could not have been humbled. (2) The issue of space and time has been taken care of with the above explanation; but not so far action; which "may start from a compound and then move from compound to compound, and may end at a village square where there are spectators" (Osofisan 2002:41). To this end, the concepts of design are also affected and become influenced. In fact, in addition to the availability of the natural sceneries at the background of their performance area (compound/open space/market square), which usually enhances the artistry of the designer; the participating audience are easily disposed to supplying further needed technical aids/design materials in their localities; most especially those considered relevant to the performance at a given time. Thus, the designer may not burden himself with parking and moving much equipment around.(3) Also, the audience factor is still in focus. Since they are not stationary, there may not be any need to collect gate fees from them in the typical setting. However, any meaningful involvement of design and technical aids, firmly rooted in the African concepts, would not go unappreciated. Hence, the audiences, in appreciation

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of what the performers are doing with those design elements/materials to advance the course of a performance, are moved to paste money on their foreheads. This was the case when students and University community members of Ilorin sprayed the Ayanagalu travelling group with money during their performance in 2003. This means, there is no limit to the forms of appreciation, unlike the attitude of some unruly audience, members of the contemporary theatre who would feel 'unmoved' - because, afterall, they have paid for the show! (4) Further, the captivating effect of the use of natural or live technical and design media is another area in which the African theatre excels. Though in terms of illumination of performance, such devices as gas lantern, kerosine lantern, hurricane and carbide-powered lighting earlier paraded may be crude, the enjoyment that the audience derive (with these crude lights) make them forget what special effects lighting equipment could generate. However, this does not vitiate the potency and the advantage, which the modern lighting facilities have over the former.

The application of some of the crude lightings are found mostly in the Southern-Western parts of Nigeria. Take for instance, 'Egungun Ode' (the hunters' masquerade), which is being celebrated annually at Ogbomoso. The masquerade is billed to perform round the town for seven consecutive days. In the nights, in between, carbide-lighting and gas lamps are mostly used. These devices are still very relevant even in the present age. All we need to do is to improve on them to suit our immediate need and purpose; especially when and where theatre is to take place without a means of generating electricity. Ododo (2000:41 - 52)'s inspiring discourse in this regard cannot be overlooked.

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Having realized that there are also limitations to the above suggestions; further innovative steps would open a new vista of opportunity in advancing this approach. Bearing in mind that the current economic recession may stall the provision of many needed special effects (as desired); sourcing locally for the alternative media is so crucial to sustain this effort. For example, let us ponder a while on the application of indigenous make-up.

Perhaps the use of make-up kits packaged by the West is probably hazardous to the body. Take for instance, the case of an African performer (using mainly western make-ups) who may act in only short knickers, or adorn his/her body. She stands the risk of skin infection, if the foreign chemicals are not adaptable to the black skin.

A once versatile indigenous popular artiste in the Nigerian arts theatre circle, Ayox Arisekola, said to have been rendered immobile by a skin disease, provides a useful example in this case.4 This reveals that most of the westernized design and technical concepts may not favour us on the long run. But, rather than discard them altogether, we may further explore our own local materials like 'osun' (camwood) 'mokore'/aro (dye) for make-up, etc. These are innocuous to the black skin. Thus, in Adebayo Faleti's Basorun Gaa's play script, the technical instruction provided is relevant to us, in the way the local dye/paint materials ('efun' - white chalk and 'osun' - canwood) are applied to the body parts of a condemned king, one of the victims of the tyrannical Basorun, (Faleti, 1972:1), in order to generate some meanings. Whereas in the video compact disc versions of the same play (Basorun Gaa, 2004), this aesthetic element (though rustic) is missing. This emphasizes the symbolic nature of unadulterated African concepts of design, which can be

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revisited and infused into the modern theatrical performance.

Imagine this visual effect in another perspective of using African (Nigerian) technical concepts to project an indepth meaning of a happening in James Henshaw's This is Our Chance (1956:31), when the wife (Ansa) of the king (Damba) died; “in the evening of the same day, Ansa's chair is removed." Without the use of modern technical/lighting effects, tragedy or loss of a person is established here. This therefore calls for a concerted effort by the designers to be grounded in the African conception of these visual aids in the theatre. The rustic (aesthetic) effects often experienced in the African theatre which (as observed by Asomba 2000:xxi) are:

intimately and functionally linked to the socio-political and religious realities of the African society in concept; and it goes beyond aesthetic reflection of reality - that is often associated with most western theatres (even in their other art works).

Rather, designer should be concerned with how well modern lighting devices could reflect, the reality of:

such objects as painting (it may be body painting), statues and masks, that are mostly employed in the performance of African people - which are not mere contemplative objects but are intended to produce aesthetic satisfaction as well as perform other social functions (Asomba 2000:xxi).

Hence, design and technical concepts in the modern (contemporary) still have a long way to go in blending with the African concepts of design. Instead of assuming a pretentious disposition towards the understanding of this alien design art, the African

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designers should fashion out a new course for creating our own unique theatre design. For example, when Asomba (2000) made a strong case for acquisition of necessary skill and knowledge in the African way of designing for theatre performance, he found support in Abiodun Abe's set design of Oduduwa videos (1 & 2, 2002). Using mainly African media (mixed), several real-live-like settings were achieved. This is prominent in the Mecca scene.

We believe that, if other practitioners join hands with the likes of Demas Nwoko (though aging) of Nigeria, perhaps by now, the African concept of design could have been fully comprehended. This explains why the training and re-training of Nigeria's promising and established designers in the theatre is a sine qua non.

ConclusionOur preoccupation so far is to make African

theatre practice all- embracing. What we believe could ensure this clamour is enshrined mainly in the re-visitation of relevant design and technical aids that are firmly rooted in the ideas of African indigenous theatre. Nzewi (1979:16) captures the same view by highlighting the nitty-gritty of indigenous African theatre practice that:

it performs concrete social, political and religious functions in the community, without major restriction placed upon it by physical limitations or time barriers as in contemporary African theatre.

What mainly attracts attention is again prompted by the need to enhance and subsequently sustain in our theatre, the spirit of inter-relationship, which is expected to exist between actor and actor, actor and audience, and actor-manager and audience.

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In spite of Ododo's (1998) clamours for a balanced approach to the handling of design in the western context, to blend it with the content of African theatre, and Mazinga-Kalyankolo's (1986) extensive work (though objective/instructive) towards the positive influences of modern technology on the African 'artistic traditions', this chapter still believes in a more radical (but diplomatic) approach. That is, a more pragmatic step should be taken to project our own traditional African aesthetics in theatre and through our own ideas of design and technical aids. In order to reflect more on the glorious past, all the technical elements that are embedded in the African theatre should be revisited, and made (though) to answer to the ever-changing design trend in the modern environment, yet still retaining the African 'aroma' and 'taste'. Take, for instance, the use of traditional drums that could be manipulated to punctuate the actions of actors on set, in place of what the electrical appliances could provide; Ayo Akinwale's "Mountain of Wealth" (2001), a typical total theatre in the form of festival theatre staged at the University of Ilorin, is a good example of where traditional drums were used to prompt both the actors' speeches and their actions.

Since “theatre is occasioned by the desire to change sameness, to grow like life itself and progress to something more different and perhaps more functional (culturally relevant too)" (Ododo 1988:59), the design concept of some popular African traditional theatres which by tradition favours mobile scenery (scenic pieces) should be re-worked to contain the flavour which the modern design is capable of providing. A good example of this was the experience in the early 90s of the Ayota mobile theatre performances and Felix Okolo's 'Aruku Shanka”.

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Although many contemporary scholars may have subscribed to the notion that design and technical aids in the African concept are both “static and less functional" (Ododo 2000:44); which also forms the bulk of discourse in Oni (2004)'s Stage Lighting: The Nigerian Perspective, this essay would not. Thus, we hold the belief that, in spite of their subjective conclusion, the African concept of design is highly significant, especially to the development of African theatre in the present age. What we need now, therefore, is to make further exploration and commitment to what we believe in. In the process, the modern audience would be attracted in moving closer to what theatre wants to offer them. While the training of the prospective designers should not be left in the hands of the formal institutions alone, the informal method; and experimental learning are again canvassed for. Our maintenance culture, which is nothing to write home about, should be improved upon. If some of the inherited technical equipment and design facilities that some theatre institutions had in the past had been well maintained, perhaps the life span of some that have been 'short changed' could be prolonged, and made available now.

Until above are taken care of, the involvement of design and technical aids (ingredients) with African 'flavour' that would serve as the much-awaited elixir to enhance the growth of theatre, in or outside the country, may be a wishful thinking (Nasiru 1990:44) or a charade after all. Hear what Ododo (2000:44), again affirms of the African trado-concept of scenography in theatre performance:

it performed other vital roles as defining the acting area and backstage which was as effective as any modern backstage.

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In other words, if we (the modern Africans) have not yet experienced the truly African technical/design delicacies in our theatre performance - it means we are still running away from the truth; (like Odewale in Ola Rotimi's The Gods are not to Blame).

Notes:1. The theory has recently caught the fancy of a young director -

Rasheed Musa (now Dr. Abdul Rasheed Adeoye who experimented with it on three different occasions. Firstly with his "Smart Game” (now published), performances at the Drama Studio of the Department of Performing Arts, University of Ilorin in 2002; secondly to the mixed-audience: (students and educated others) of G.R.A. at Alliance Francaise, Ilorin, later in the same year. Also, Soyinka's Lion and the Jewel exposed the academic audience (students and staffs) in March 2004, to the mysteries (which make the theatre), at the Africa Hall, University of Ilorin. Definitely, the concept was alien to them, hence the mixed reactions from the audience during and after each of the performances.

2. This is evident in the Igunnuko performance by the Ayan-Agalu International Dance Troupe, based at Ifon-Osun, in Osun State, Nigeria. Their performance at the two campuses of the University of Ilorin was highly commended. The theatrical representation of rich Yoruba culture via the use of technical aids could not be over-emphasized. The performance ran for two days (5th and 6th June, 2003).

3. A doll representing a baby was used Ayanagalu Dance troupe in an episode in “Ijo Olomo” -a reflection of traditional child rearing practice.

4. Ayox Arisekola - an indigenous Yoruba popular theatre artist is based in South- Western Nigeria. In the 80s, he took the role of Iku” (Death) in Baba Sala's film Orun Mooru. The make-up used on him has since rendered him immobile, owing to skin infection.

5. The Ayota Mobile Youth theatre outfit made use of mobile set designs during their performance at the University of Ilorin in January, 1993. we believe, that the various mobile scenic

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concepts being witnessed in Nigeria now are an improvement on this set. Many production companies, in promoting of their products, have now adopted the concepts. Hence, our clamour for the sustenance of these concepts to enhancing the aesthetics of African design and technical aids in theatre performance is further established.

6. The same explorative concept of scenography with African design aesthetics was noticed in 'Aruku Shanka', a production at the drama courtyard of the Department of Performing Arts, University of Ilorin. The production,'as written and directed by Felix Okolo on February 15, 1996.

Summary and ConclusionSo far, it has been observed in this book that the

state of technical facilities in the Nigerian theatre is deplorable having undergone a gradual process of decay. This situation has consequently affected the technical theatre discipline in the Nigerian University theatre. Hence, stage productions in the university theatres suffer a lot. As a matter of fact, many theatre scholars in the country had frowned at this menace.

Inspite of the harrowing experiences being passed through by the designers, some theatre practitioners, designers, as well as playwrights and theatre directors equally respond in contending favourably with the situation. This is why many of them result to improvisational techniques; which to us is retrogressive - for this trend would further extinct the significance of technical input in the theatre.

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