THE REALITY OF AFRICA THEATRE

THE REALITY OF AFRICA THEATRE

As called from the definition of different authors: “Theatre is an off-shoot of life that seeks to be performed before an audience. An audience is a group or segment of the society or a mixture of a group thereof.” Another perspective sees, “theatre as an organized spectacle presented before an audience which according to Ola Rotimi is intended to edify or entertain or both.

According to Andrew Horn, “theatre in its broadest sense subsumes elements of most structured performance before an audience including drama, dance, music, and recital.” E.T. Kirby in his book, “INDIGENOUS AFRICA THEATRE” classifies Africa traditional performance into seven general categories. These are:

·        Simple Enactment (Drama)

·        Ritual and Ritualized Enactment

·        Storytelling performance

·        Spirit cults enactment

·        Masquerade enactment

·        Ceremonial enactment

·        Comedy

He also said that Africa theatre must be approached in terms of the concept of enactment which refers to the presentation of another being or character by a performance before an audience.

NATURE AND ORIGIN OF AFRICA THEATRE

According to Aristotle, western drama has its roots and origin confirmed in the religious reign through the sacred Dithyramb of Dionysus set in classical Greek tragedy. Africa drama has its roots penetrating into religion and spanning the very origin of that religion into sympathetic magic and in the earliest attempt of man to comprehend order and control his environment.

Andrew Horn stated furthermore that “the desire to order this confusion as a means of influencing, if not totally controlling the caprices’, or forces lies in the priorities of human commentaries. This is second only to survival itself: the domineering nature and destiny. To be sovereign over their lives in their own world. Horn further stated that man as a material being in a material world fears what he perceived as immaterial, for he cannot contain and dominated. His defensive impulse is to concretize or to make the invisible visible, the infinite finite, and the super-human human.

Here lies the roots of the myths and legends that have motivated and serve as a source of Africa theatre both the pre-colonial and post-colonial era. It is the tendency of man to anthropomorphize, thereby building around natural Philomena has human explanations.

With regards to the dates of the specific origins of theatre in Africa, Yemi Ogunbiyi states that:

“It is speculative but it lies in the abundance of the numerous religious rituals and festivals existing all over Africa.”

Furthermore according to J. P. Clark in his analysis of “Aspect of Nigeria Drama” Again J. P. Clark states that:

“If theatre refers to an elegant imitation of actions symbols that are significant to a people, through poetic images, through speech, music. Ritual, song, and dance, mime: and if the aim as the Japanese say of Noh theatre is to “open the ears’ of the mind of the spectator and to “open the eyes to beauty or form then there is a theatre in plenty in Africa.”

With reference Hubert Ogunde trace the origin of professional traveling theatre in Nigeria.

PRE-COLONIAL AFRICA THEATRE

In furtherance of the Anthro, Arctheo-sociological perspective of pre-colonial Africa theatre we will consider the opinions of some pro- Africa, Pan- Africa and Africanist authors. this will help show further light on whether there is anything like Africa theatre or drama.

Ossie Enekwe reports of Obiechina’s treaty (Project) on the above issue that there are two schools of thought: THE EVOLUTIONARY and the REALITY OF ITS EXISTENCE.

THE EVOLUTIONARY SCHOOL OF THOUGHT

The Evolutionary scholars' holes that traditional Africa Theatre is non-existence because our primitive rituals and myths have not coagulated sacredness and transformation into secular drama and theatre. They contend that ritual festivals must pass through an evolutionary stage for them to become theatre. For the development of an Africa Theatre and drama, they argue that the quality of transformation of Africa ritual. (Ritualized enactment) and myths are necessary. Among the chief, proponent of the school of thoughts is Pan-Africanist authors like M.J.C. Echero and Ruth Finnegarl.

Echero holes that the call for Africa theatre practitioner, an artist is to interpret and re-interpret that serious view of life which is now only so dimly manifested in our festivals so that a credible Africa Theatre can truly engaged. 

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Ruth Finnegarl in similar attempts deploys the absence of linguistic content, plot, representation, interaction of several characters, specialized, scenery, etc. From a traditional pre-colonial Africa theatre which reduces it from the level of theatre and drama. Finnegarl, therefore, feels that:

                                    “There are certainly dramatic and quasi-dramatic

                                    Philomena to behold in Africa festivals, which given

proper context may involve into regular drama and theatre.”

THE REALITY OF THE EXISTENCE

Generally the various arguments regarding the existence of Africa theatre have been resolved. Today, scholars agreed that there is an abundance of theatre in Africa. That Africa theatre is different considerably from European theatre which is psychological, peripheral, metaphysical, and intellectual. Instead of a religious integral sensor. Today, theatre in Africa is more alive, more positive, more functional, and more assertive than its counterpart in Europe or America. Africa theatre is more functional in the sense that it serves a purpose within communities and culture that is much greater than simply that of entertainment or edification.

Africa theatre remains, directly and indirectly, related to its roots in ritual, seasonal rhythm, religion, and communication. The closeness to its sources gives Africa drama a sense of purpose and influences both the materials of the theatre and the nature of it performance and reception.  The contemporary Africa theatre draws upon traditions, beliefs, and deeds that are remote in time but which could exist alongside. Africa theatre is therefore differing considerably from the European theatre.

According, to Ossie Enekwe, the genetic, physical, sociological and political difference existing between the Europeans and the Africans account for much of the differences. Africa theatre has developed without major restrictions placed on it by physical limitations or time barriers. This led Martin Bandhan in In his book Africa Theatre Today, he states that:

                                    “There is no reason at all why an Africa

 play should consider itself as something

that has to be contained within two or

 three hours. It need not necessarily have

an Aristotelian shape to provide beginning,

 middle and end for it may be a part of

 continuous festivals or otherwise related to

 a time scale of far greater magnitude.”

The nature of contemporary Africa theatre can only be fully understood in the context of its historical roots or origins. The basic Africaness and the vigor of Africa theatre is not confirmed within buildings but free and flexible. Africa theatre is likely to contain and bring together diverse elements of entertainment and communication including dance, music, mime, masquerades, songs, etc. Its language may be verbal, non-verbal, or musical or all at the same time. Africa theatre may combine the elements of tragedy and comedy together without destroying the integrity of either one. These again had Martin Bandhan to conclude that:

                                      “Africa theatre is not banned by the

pre-conception that have so much

to haste contemporary European

 and Africa theatre and from which

many of the fringe and experimental

 groups are desperately trying to escape

 and often do so by taking their inspirations

 from Africa theatre.”  

By

Eguriase S. M. Okaka