Kinetic Scenery and Experimentation in Nigerian Theatre

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dc.contributor.authorIwuh, John
dc.date.accessioned2024-09-10T13:15:48Z
dc.date.available2024-09-10T13:15:48Z
dc.date.issued2024
dc.description.abstractScenographers in Nigeria rarely delve into experimental design but embrace the easy option of crossing pedestal boundaries due to technical challenges. A common example is J.P. Clark’s The Raft 1, which requires building a live raft, although Clark also suggests an improvised option of using a mat. How can these two provide the same experience for the paying audience? Molinta Enendu dared to surmount this drab option when 1987 he built a befitting raft for Clark’s The Raft on the University of Calabar stage to sail convincingly, rotating in several directions under the star-spangled night sky. A second and yet more inspiring and challenging was Noah Built the Ark2 (1995), a dramatic adaptation of James Weldon Johnson’s poem of the same title. It was a realistic construction of a sea liner that rocked and rose with the flood of lights, thus breaking the barrier of being the first convincing cruising set on a Nigerian theatre stage. The production photographs were lost due to poor storage, dampness, and humidity. 43 years on, and in all ramifications, no other theatre designer in Nigeria has attempted to match that achievement. This study goes beyond narratives to retrace the production process and carefully reconstruct the lost designs due to their immense value to scene design practice and as posterity for theatre studies in Nigeria
dc.identifier.issn2756-5831
dc.identifier.urihttps://repository.run.edu.ng/handle/123456789/4161
dc.language.isoen
dc.publisherJournal of Humanities and Peace Studies
dc.relation.ispartofseries5; 1
dc.titleKinetic Scenery and Experimentation in Nigerian Theatre
dc.title.alternativeMolinta Enendu’s Example in James Weldon’s Noah Built the Ark
dc.typeArticle
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