Vol. XXXI, Issue 3: Summer 2024 Drama, Performance and New Voices in Nigeria

Table of Content

Editorial: 

Professor Alex Chinwuba Asigbo, PhD
Department of Theatre and Film Studies
Faculty of Arts
Nnamdi Azikiwe University, Awka, Nigeria

Jammy Seigha Guanah and Andrew Ali Ibbi:

Audience Perception of Play Makers as Professional Communicators: An Analysis of the Performance of Wole Soyinka`s The Lion and the Jewel on Stage

Adenekan, ‘Lanre Qasim, Muhammad Omowunmi Bhadmus Rukayat Banjo,Hairat Bukola Yusuf, Lateef Sulaiman, & Alkasim Harisu Alkasim : Radio Drama for Community Dialogue on Substance Abuse among Youths in Kano Metropolis

Ruth Etuwe Epochi-Olise: Negotiating a central space in contemporary Nigerian Theatre practice: A Monodrama Paradigm

EDITORIAL

The issue begins with Guanah and Ibbi’s “Audience Perception of Play Makers as Professional Communicators: An Analysis of the Performance of Wole Soyinka`s The Lion and the Jewel on Stage.” Their analysis of the stage production of Soyinka’s play, makes a case for dramaturgs as professional communicators with their own individual and authentic voices. Adenekan et al, engage with the issue of drug abuse, especially among youths in Kano metropolis. In their work “Radio Drama for Community Dialogue on Substance Abuse among Youths in Kano Metropolis”, they use the medium of Applied Theatre through the Radio medium to x-ray the prevalence of drug use among youths and proffer possible solutions.

Ruth Etuwe Epochi-Olise titles her intervention “Negotiating a Central Space in Contemporary Nigerian Theatre Practice: A Monodrama Paradigm”. Her essay interrogates mono or solo drama, a practice that dates back to the primordial origins of drama in ancient Egypt and Greece. She contends that changes in socio-economic climate of the country warrants a shift in production style, hence she recommends monodrama. Monodrama, according to her is flexible, compelling and economically viable.

On a final note, one observes that the Nigerian space has been a fertile ground for Theatre practice with new plays, novels, poems and critical works springing up by the day. They all attempt to confront the status quo from different perspectives, some, understanding, while others are outrightly critical. They also come with different styles and genres, especially with the advent of new or social media. Indeed, social media has become a site for community organising and contention against the powers that be. We thank Africa Update for this opportunity to assemble a few of the voices littering and enriching the Nigerian stage. 

GUEST EDITOR, AFRICA UPDATE

Professor Alex Chinwuba Asigbo, PhD
Department of Theatre and Film Studies
Faculty of Arts
Nnamdi Azikiwe University, Awka, Nigeria

………………………………

Audience Perception of Play Makers as Professional Communicators: An Analysis of the Performance of Wole Soyinka`s The Lion and the Jewel on Stage

Jammy Seigha Guanah, Ph.D.
Department of Mass Communication
University of Africa, Toru-Orua, Bayelsa State, Nigeria
Scopus ID: 58537067200
ORCiD: https://orcid.org/0000-0001-6364-7993
Emails: jammyguanah@yahoo.com & jammy.guanah@uat.edu.ng
Tel: +2348032133664

Andrew Ali Ibbi, Ph.D.
Department of Mass Communication University of Africa, Toru-Orua. Bayelsa State, Nigeria
Email: alibbie@yahoo.co.uk
Tel: +2348060287043

Introduction

Playmakers are dramatists, who, as professional communicators, pass across information through drama. Drama, as a live form of storytelling, has long served as a platform for playwrights and playmakers to communicate their ideas, perspectives, and critiques of society to audiences. Traditionally, communication professionals like journalists, public speakers, or marketing specialists are often readily recognised and evaluated based on their communication skills. However, playwrights and playmakers occupy a unique space in the communication landscape. Their communication primarily takes place indirectly, conveyed through the voices and actions of fictional characters within the world of the play. This indirectness introduces a layer of complexity, as audiences form their perceptions of the playwright's communication skills not through direct interaction, but through their interpretation of the play's various elements (Carlson, 2009; Fay, 2010).

Drama and mass media use strategies to grab and maintain audience attention; they both make use of dramatic elements such as conflict, tension, and resolution. These similarities impact on audience perception and interpretation.Naturally, people must engage in communication, hence Christian Nestell Bovee (1820-1904) declares that “there is, indeed, no wild beats more to be dreaded than a communicative man having nothing to communicate” (Christian N. Bovee Quotes, 2023). Drama is one of the ways through which communication takes play. The Acting Vice Chancellor, University of Africa, Toru-Orua, Nigeria, Professor Barclays Foubiri Ayakoroma, a thespian, describes an artiste as an observer of life that mirrors realities to the audience. He observes that as Nigeria is currently passing through very trying times, the roles of theatre become very critical and relevant in proffering lasting solutions to these challenges (as cited in Uhakheme, 2024). Jacob Nordby (as cited in Kwakpovwe, 2024) reiterates that “Blessed are the weird people: poets, misfits, writers, mystics, painters, troubadours, for they teach us to see the world through different eyes” (91). The study of drama has long been intertwined with that of mass media. The relationship between drama and mass media shape and reflect our society's communication. 

The Nigerian stage has long served as a platform for cultural expression, social critique, and political commentary, with playwrights and playmakers playing a pivotal role as professional communicators (Ogunleye, 2013; Turner, 2017; Owomoyela, 1993). Among these influential voices, Wole Soyinka stands as a towering figure whose works have left an indelible mark on the theatrical landscape of Nigeria and beyond. In particular, Soyinka's play "The Lion and the Jewel" emerges as a compelling case study for examining the role of playmakers as communicators within the Nigerian context. 

In summary, drawing on Stuart Hall's Encoding/Decoding Model of Communication, theatre studies, and Nigerian literature, this study aimed to shed light on how Soyinka effectively conveys complex social, cultural, and political messages through his dramatic works. The paper discussed the ways in which Soyinka's work, through the playmakers that staged the play, engaged with issues of tradition versus modernity, gender roles, power dynamics, and cultural identity within Nigerian society.

Also, it investigated the playwright's use of narrative structure, dialogue, and symbolism to captivate audiences and convey his intended messages. Through this analysis, the paper sought to highlight the importance of theatre as a powerful medium for social commentary and cultural critique, as well as the significant role of play makers as professional communicators in shaping public discourse and collective understanding.

Therefore, this paper sought to explore the multifaceted nature of playmakers' communication through theatre, focusing on the performance and reception of "The Lion and the Jewel" on the Nigerian stage. Its objectives were to inquire if drama communicates; ascertain if the performance of The Lion and the Jewel communicated any message to the audience, and to determine the extent drama`s ability to communicate can be compared to that of  conventional media. 

Theoretical Base

This study was moored on Stuart Hall's Encoding/Decoding Model of Communication postulated in 1973. This theory provides a framework for understanding how messages are produced, circulated, and interpreted within cultural contexts, shedding light on the complex dynamics of meaning-making and reception (Hall, 1973).

According to Hall (1973), communication involves a process of encoding, where the producer of the message imbues it with meaning based on their own cultural background, ideology, and intentions. This encoded message is then transmitted through various channels (in this case, the theatrical performance), before being decoded by the audience, who interpret it based on their own cultural context, experiences, and beliefs.In the context of "The Lion and the Jewel," Hall's Encodi ng/Decoding Model offers insights into the interplay between Soyinka's intentions as the playwright- the encoder, the theatrical performance itself as the encoded message, and the audience's reception and interpretation of the play- the decoder (Jegede, 2019; Barker, 2008).

In applying Hall's model to the analysis of "The Lion and the Jewel," one can explore how Soyinka encodes complex themes and socio-political commentary into the play through dialogue, characterisation, symbolism, and dramatic structure. Soyinka's background as a Nigerian playwright and activist, as well as his engagement with Yoruba culture and postcolonial discourse, undoubtedly shape the way he constructs his messages within the play.

The performance of "The Lion and the Jewel" on the Nigerian stage serves as a crucial moment of encoding and transmission, where actors, directors, and stage designers collaborate to bring Soyinka's vision to life. Through their interpretation and staging choices, they further shape the encoded message influencing how it is ultimately decoded by the audience. The audience's reception and interpretation of the play represent the decoding stage in Hall's model. Depending on their own cultural background, ideological stance, and personal experiences, audience members may interpret the play's themes and messages in diverse ways (Hall, 1997). Some may resonate with Soyinka's critique of colonialism and traditional gender roles, while others may interpret the play through a lens of cultural nationalism or feminist discourse. 

Applying Hall's Encoding/Decoding Model to the analysis of "The Lion and the Jewel” gives a deeper understanding of the complexities of communication within the theatrical context, as well as the ways in which Soyinka's work resonates with and challenges audiences' interpretations.Kenneth Burke's Dramatism Theory(Burke, 1969) posits that all human communication can be understood as a symbolic drama, unfolding through five key elements: (1) Act: The action or event that takes place within the drama. (2) Scene: The context or setting in which the drama unfolds. (3) Agent: The characters involved in the drama, including their motivations and actions. (4) Agency: The means or instruments used by the agents to achieve their goals, and (5) Purpose: The intended outcome or goal of the drama. This framework is particularly relevant to the paper's focus on audience perception of playmakers as communicators. By analysing The The Lion and the Jewel through the lens of Dramatism, we can gain valuable insights into:

• How the play constructs the playwright as an agent: Examining the portrayal of the playwright through characters, dialogue, and themes can reveal how the audience perceives their role and purpose within the play's "drama."
• The "scene" of communication: Analysing the play's setting, historical context, and cultural references can shed light on the broader context within which the playwright's communication takes place.
• The playwright's "agency": Investigating the play's language, form, and narrative structure can reveal the means and resources employed by the playwright to communicate their ideas.
• The intended "purpose": Exploring the play's themes, messages, and potential interpretations can help us understand what the playwright ultimately aims to achieve through their communication (Cheney, 2011).

By applying Dramatism Theory, this paper moved beyond simply describing the audience's perception to a deeper understanding of how that perception is constructed and shaped through the various elements of the play itself. This nuanced analysis offered valuable insights into the complex interplay between playwrights/playmakers, their works, and the audiences they engage with.

Reading of "The Lion and the Jewel"

The Lion and the Jewel is a renowned play written by Wole Soyinka, the Nigerian Nobel laureate in Literature. Set in the fictional village of Ilujinle, the play revolves around the clash between tradition and modernity, as well as the dynamics of power, desire, and gender roles within the community. The story primarily follows three main characters:

Lakunle: A young, educated schoolteacher who represents modernity and western influence. He challenges traditional customs and beliefs, advocating for progress and change within the village. Lakunle is in love with Sidi and desires to marry her. 

Sidi: The beautiful and coquettish village belle, who symbolises traditional beauty and values. She is courted by both Lakunle and the Bale, the traditional village chief, who wants to add her to his harem. Sidi is initially drawn to the allure of modernity but ultimately chooses to embrace her traditional roots. 

The Bale: The elderly village chief who embodies traditional authority and power. He sees Sidi as a trophy to be won and is determined to add her to his collection of wives. The Bale represents the patriarchal structure and the resistance to change within the village.

The central conflict arises when the Bale attempts to woo Sidi, while Lakunle tries to win her over with his modern ideas. Sidi, caught between the two men, grapples with her own desires and the pressure from society. Throughout the play, Soyinka employs humour, music, and dance to highlight the cultural richness of the village, and to underscore the tensions between tradition and modernity. Ultimately, the play explores themes of identity, freedom, and the complexities of societal change in post-colonial Africa. In the end, Sidi chooses to reject Lakunle's advances, and instead embraces her traditional role by marrying the Bale, reaffirming the village's adherence to its customs and values. However, Soyinka leaves room for interpretation, inviting the audience to reflect on the consequences of such decisions and the ongoing struggle between tradition and progress in African societies.

Beyond the romance, the play explores several themes.Soyinka satirises the uncritical adoption of Western values and highlights the importance of acknowledging and building upon existing traditions. The play critiques the limitations placed on women in traditional society while subtly hinting at the potential for change. Also, the play questions whether progress solely entails modernisation or requires a more nuanced approach that respects the past while adapting to the present.The Lion and the Jewel remains a relevant and engaging play, offering a humorous yet thought - provoking commentary on cultural identity, progress, and the complexities of human relationships.

Major Messages The Lion and the Jewel Communicates to Its Audience

The play communicates a lot of messages. The play explores the tension between traditional African customs and the influence of Western modernity. It raises questions about the value of progress versus the preservation of cultural heritage. Through the characters of Sidi, Lakunle, and the Bale, the play delves into the complex dynamics of power and desire, particularly within the context of gender roles in African society. It highlights the struggles of women to assert their agency and the ways in which patriarchal structures limit their choices. "The Lion and the Jewel" celebrates the richness of African culture and traditions while also interrogating the impact of colonialism and globalization on indigenous ways of life. It prompts audiences to reflect on the importance of preserving cultural identity in the face of external influences. Soyinka presents a nuanced portrayal of societal change, acknowledging both the allure of progress and the challenges it poses to traditional communities. The play invites audiences to consider the complexities of development and the need for a balance between innovation and the preservation of cultural values.

The play emphasises the importance of individual agency and the power of choice in shaping one's destiny. It highlights the personal struggles and sacrifices that individuals make as they navigate between tradition and modernity, and it underscores the significance of personal autonomy in the face of societal expectations. Words play a significant role in the play, with characters like Baroka using language skillfully to manipulate and deceive. The play cautions against accepting everything at face value and encourages critical thinking towards language, especially when used in persuasion. The play explores the complexities of love and relationships beyond simplistic notions. While it touches on elements of power dynamics and gender roles, it ultimately shows love as a complex emotion influenced by individual desires, societal expectations, and cultural context. By presenting contrasting viewpoints and ambiguous situations, the play encourages the audience to think critically about the issues it raises. It invites viewers to question the status quo, analyse the choices presented, and form their own interpretations about the characters, their choices, and the play's ultimate message. These messages, woven through the play's satirical humour and thought-provoking plot, inspire the audience to engage in critical reflection about cultural identity, progress, and the human condition.

Similarities between Drama and Conventional Media

The media enable consumers to freely make decisions that form their actions, and their actions direct their lives. It therefore means that the media influence the public`s actions and decisions. The media do not exact their decisions on the public, but, rather, present various templates from which the public can draw from to make opinions and take decisions on issues. Drama also performs similar functions.

Communicating through drama shares similarities with communicating through conventional media like radio, newspapers, and television, as both involve the creation and dissemination of content with the intention of conveying a message, or eliciting a particular response from an audience (Nick Couldry). The media and the theatre (drama) are mutually complimentary in the vanguard of sensitising the public, critically analysing issues, and drawing attention of development agenda to development issues (Guanah, 2021).

First and foremost, both need to have a deep understanding of their target audience. They must consider their audience's demographics, interests, beliefs, and cultural background to effectively convey their messages and ensure they are received as intended (Tulloch & Manuel, 1983). They can achieve this by choosing the appropriate medium through which to convey their messages effectively. They rely on the ability to captivate and engage their audience; the goal is to hold the audience's attention and leave a lasting impression (Livingstone, 2014). Drama and conventional media often employ narrative structures to engage their audience. Just as a playwright crafts a narrative through dialogue, action, and stage directions in a theatrical setting, and via a play unfolds them through acts and scenes, so also do journalists through newspapers use headlines, articles, and editorials, while television and radio programmes use episodes, segments, and news reports to tell stories and convey information (Robinson, 2002).

Drama and conventional media also aim to capture and retain audience attention. Drama uses dialogue, action, and performance to immerse viewers in the narrative, while conventional media use headlines, visuals, and storytelling techniques to grab readers or viewers' attention and keep them engaged (McQuail, 2005).Like drama, conventional media involves encoding messages (e.g., news, advertisements, stories) for transmission through specific channels (e.g., print, broadcast). The audience then decodes these messages, interpreting them based on their individual backgrounds, beliefs, and experiences, similar to the process in drama as described by Stuart Hall's Encoding/Decoding Model.

Furthermore, each medium has its unique affordances and constraints. Drama relies on visual and auditory elements, allowing for the use of dialogue, gestures, facial expressions, and stage design to convey meaning. Conventional media like radio, newspapers, and television have their own characteristics, such as audiovisual elements, text, and graphics, which influence how messages are presented and perceived.Likewise, both drama and conventional media play significant roles in shaping social and cultural norms, attitudes, and values. Asigbo and Aniagboso (2016, p. 193) attest that the media can effectively bring about cultural continuum by constantly calling attention to our fast disappearing revered cultural heritages embedded in folktales, taboos, music, poetry, dance festivals which teach the people the values of unity, honesty, justice, dignity, love brotherhood, transparency, and accountability. Also, they both seek to influence the perception and behaviour of their audience. They may aim to raise awareness about social issues, challenge existing norms and beliefs, or inspire action towards a particular cause. They reflect and influence public discourse, shaping perceptions of reality and informing collective understandings of societal issues. Plays can challenge societal norms or present diverse perspectives, while news reports can influence public opinion on current events (Carlson, 2009).

While both drama and conventional media (radio, newspapers, television) serve as communication tools, they present distinct characteristics in their approaches and impact; they have some differences. A crucial distinction lies in the directness of communication. Conventional media like news reports generally present information in a straightforward manner, while drama often communicates indirectly through characters, dialogue, and symbolism. Audiences must actively interpret the underlying messages and themes within the play (Fay, 2010).Conventional media typically fosters limited audience interaction. While news outlets may accept ‘Letters to the Editor’ or online comments, the primary flow of information is one-directional. Drama, on the other hand, can facilitate active audience engagement through various means, including live performances, post-show discussions, or even interactive elements within the play itself. Drama, due to its use of characters, narratives, and performance elements, has a unique potential to evoke emotional responses in audiences. This emotional connection can be a powerful tool for fostering empathy, understanding, and critical reflection, which may not be as readily achieved through conventional media formats.

Empirical Reviews

A work by Okome (2004), titled “African Theatre: The Making of a Pan-African Cultural Identity” examined the societal impact of African theatre, focusing on its role in addressing social issues, preserving cultural heritage, and fostering community engagement. Through interviews with playwrights, actors, and audiences, the research explored the ways in which theatre serves as a platform for communication and social change within African communities. In a study by Adedeji (2016), researchers analysed audience responses to Nigerian theatre productions, including their interpretations, emotional engagement, and cultural resonance. Through surveys and focus groups, the research investigated the factors influencing audience reception and the ways in which Nigerian theatre communicates social, political, and cultural messages to diverse audiences. Another study by Jegede (2018) titled “Performance and Reception: Wole Soyinka’s Plays on the Nigerian Stage” examined the performance of Wole Soyinka's plays on the Nigerian stage, focusing on their reception by audiences and critics. Through content analysis of reviews and interviews with theatre practitioners, the research explored the ways in which Soyinka's works communicate themes of identity, power, and social justice, and their impact on Nigerian theatre culture.

Methodology

Quantitative research method was used for this study. Questionnaire was also used as instrument for data collection. The population of 1, 200 of this study comprised the 2022/2023 academic session 100 Level students, and other students and staff of the university of Africa, Toru-Orua (UAT), Bayelsa State that watched the The Lion and the Jewel when it was performed in the school`s auditorium. A sample size of 291 was obtained at a 95 per cent confidence level and 5 per cent sampling error, using the Krejcie and Morgan Table for determining sample size for the finite population. The Table recommends that for a finite population of 1,200, the required sample is 291. Purposive sampling technique was used to select the 291 from 100 Level students of the Faculty of Arts and Education, and Faculty of Social and Management Sciences, whose students offer the Course “Theatre Workshop.” The data gathered were presented and analysed, using simple percentage and frequency distribution tables.

Data Presentation

Table 1: Drama communicates

Source: Field Survey, 2024

KEYS: Likert - type five points rating scale and dichotomous was used: 5= Totally Agree (TA), 4=Agree (A), 3= Undecided (U), 2= Disagree (D), and 1= Totally Disagree (D) responses as well as open ended questions.

Data in Table 1 show that drama do communicate. The implication is that playmakers can use drama to communicate as professionals.

Table 2: The performance of The Lion and the Jewel communicated messages to the audience

Source: Field Survey, 2024

KEYS: Likert - type five points rating scale and dichotomous was used: 5= Totally Agree (TA), 4=Agree (A), 3= Undecided (U), 2= Disagree (D), and 1= Totally Disagree (D) responses as well as open ended questions.

Table 2 revealed that the performance of The Lion and the Jewel on stage communicated a lot of messages to the audience. The significance of this is that drama is capable of playing some of the roles the conventional media play in the society.

Table 3: Extent drama`s ability to communicate is comparable to that the conventional media

Source: Field Survey, 2024

KEYS: Very Large- 90% - 100%; Large- 89% - 70%; Undecided- 50% - 69%; Low- 40% - 49%; Very Low- 1% - 39%.

Table 3 indicates that, to a large extent, drama`s ability to communicate is comparable to that the conventional media. This implies that drama can carry out some of the functions of the conventional media; these include entertainment function, education function, and information dissemination function.

Discussion of findings

This study reveals that drama communicates, just as the mass media. This fact is buttressed by scholars like Susan Bennett, and Price Lindsay who submit that drama can captivate an audience, ignite emotions, and create a powerful impact, showcasing its communicative power (Bennett, 1997), and that drama-mediated pedagogy can improve participants' presentation skills through real-life audience engagement, demonstrating drama's ability to communicate effectively with the audience (Lindsay, 2016). Also, while exploring the intricate ways in which audiences interact with and respond to theatrical performances, shedding light on the identification, attribution, and moral implications of audience engagement with drama, Teasdale, Maguire, Budelmann and Dunbar (2021) conclude that drama communicates with the audience on multiple levels. This agrees with Lineberger`s (2019) submission that drama effectively communicates ideas through various communication channels. Likewise, this study found that Wole Soyinka's " The Lion and the Jewel" as staged at the auditorium of the University of Africa, Toru-Orua, Bayelsa State, Nigeria, transmitted a lot of messages. 

This study found that, to a large extent, drama has the ability to communicate just as the conventional media do.This aligns with Esslin's (1982) views that discusses the unique aspects of drama as a form of communication, emphasising its ability to convey human character and emotion through the use of actors and their reactions. Esslin (1982) also highlights the importance of the actor's ability to project personality in drama, which is not as critical in traditional media like radio or TV.

In contrast, traditional media like radio and TV rely on different communication strategies, such as narration and the use of sound effects to create images in the listener's mind (Esslin, 1982). These media also often employ live audiences and their reactions as an essential ingredient in comedy and variety shows. Guanah (2018) asserts that drama performs the same functions as the conventional media, though in different ways and degrees. He declares this while explaining that:

the basic functions of the media, among others, are streamlined to information dissemination, provision of entertainment and education to the populace of the society, transmission of culture, enlightenment, fighting repressive and bad governments on behalf of a nation`s citizenry, promoting justice and equity, moulding public opinion, as well as serving as the watchdog of the society” (p. 390).

According to Guanah and Obi (2023), theatre (drama), a subset of the mass media, entertain, inform, and educate like other media. Drama conveys important information through words and gestures onstage. Scholars like Nwabueze (2019); Guanah (2016); Omoera (2017), and Ibagere (2010) affirm that drama is being used to convey important socio-cultural themes that reinforce a people's values. The artist uses the stage as a medium, just as the newspaper and TV. The stage seems more sacred since conventional and social media can repeat its messages. A script can be adapted and transposed electronically for broadcast. The stage (theatre) helps society improve socioeconomically as well as communicate (Guanah and Obi, 2023).

Conclusion and Recommendations

Assuredly, play makers (dramatists) are professional communicators on the Nigerian stage, as can be seen from the performance of Wole Soyinka's " The The Lion and the Jewel." The step-by-step analysis of the themes, characters, and dramatic techniques employed in the play, as well as its reception by the audience were adequately addressed in this study. Also addressed was how Wole Soyinka effectively communicated complex social and cultural messages through the play, as its performance communicated salient messages to the audience. Having realised the potentials of playmakers to communicate through drama, it is highly recommended that drama should be used more often by governments at various levels to communicate important messages to citizens. No matter the message(s) that government or organisations may want to be communicated, playmakers should be engaged to package them in ways that the decoders will eventually receive the message(s) with understanding, and benefit from the outcome. This is essential, since this study found that, to a large extent, drama has the ability to communicate just as the conventional media do.

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Radio Drama for Community Dialogue on Substance Abuse among Youths in Kano Metropolis

Adenekan, ‘Lanre Qasim^{1, 2}, Muhammad Omowunmi Bhadmus¹, Rukayat Banjo¹, Hairat Bukola Yusuf¹, Lateef Sulaiman¹, & Alkasim Harisu Alkasim¹

¹ Department of Theatre and Performing Arts, Bayero University Kano 

² Metaphors Theatre Advocacy, Kano, Nigeria

Introduction

Substance abuse also called drug abuse, according to the World Health Organisation (WHO), is the harmful or hazardous use of psychoactive substances including alcohol and illicit drugs. In other words, substance abuse is the excessive consumption of psychoactive substances which is highly detrimental to healthy living. These substances include but not limited to marijuana, alcohol, cannabis, heroin, cocaine, sedative tablets, tobacco, and many others. Substances are abused when they are used on the basis that deflects medical prescription and, in a quantity, or frequency that affects the mental state of an individual. 

In Nigeria, substance abuse has become an issue of concern not only to the government, but also to members of society who constantly encounter family members or friends who engage in abusing psychoactive substances. Statistics on this worrisome situation is provided in the 2018 United Nations Office on Drugs and Crime’s (UNODC) survey report on narcotic and other hard drug use in Nigeria. According to the report, there is a high prevalence of psychoactive substance use with the fact that about 14.4 % or 14.3 million Nigerians between 15 to 64 years old were into banned and hard substance use and abuse (UNODC). 

The survey reveals in statistics, the prevalence of drug use and abuse across the six geo-political zones of the country. In northern Nigeria, the North-West had a 12% prevalence rate equaling 3 million users; the North-Central got a 10% prevalence rate totaling 1.5 million users, and the North-East reported a 13.6% prevalence rate amounting to 2.09 million users. For the southern part of Nigeria, the survey revealed that the South-West had a 22.4% prevalence rate translating to 4.3 million users; the South-South showed a 16.6% prevalence rate making up some 2.1 million users while the South-East recorded a 13.8% prevalence rate resulting to some 1.5 million users. These statistics, therefore, indicate a serious development challenge not only to the drug abusers, but also to the Nigerian community at large. 

Nigeria is one of the African countries where family values and the livelihood of every individual are deeply rooted in community philosophy and wellness. With a behaviour related crisis like substance abuse which interferes with the mood, thought, perception and social relationship of people, users often engage in endangering behaviours outside community values which may attract legal or social sanctions. In many instances, drug abusers exhibit violence and inability to control the urge to steal to get funds to procure substances. In other instances, they abstain from essential duties and even personal hygiene routines; they show aggressive sex drive while they sometimes cannot coordinate normal social discourses (Abasiubong, 2014; Yunusa, 2017). Each of the highlighted negative behavioural patterns are associated with substance abuse and, thus, they form the nucleus of the social problems hampering sustainable development in the Nigerian society (UNODC, 2017). Further, the UNODC established that 1-in-8 people had suffered consequences of the behaviours of drug abusers either in their home, workplace or communities (UNODC, 2017). The effects of such misbehaviour from drug addicts on social relationship are better imagined. Hence, it is not unusual for many Nigerians to stigmatise and maintain social distance from drug users as preventive measures (Armiyau, 3). 

With this, it is apparent that there is a need to devise an approach for generating community dialogue towards sustainable action for addressing the identified challenges aggravating the prevalence of substance abuse in Kano Metropolis. This research work adopted qualitative methodology to examine and accentuate the active participation of community people in the radio drama intervention. As a participatory drama, it engaged the populace of Kano Metropolis in dialogues and conversations about their understanding, involvement and treatment of substance abuse menace in the community, and then allowed them chart a cause for sustainable action in dealing with the social problem. Focus Group Discussions (FGD) and Interviews were adopted at both pre-production and post-production stages of the radio drama to reflect a true account and real life perception of the phenomenon.

It should be noted that the choice of radio as a medium is apparently because of its large listenership and wide coverage. Arguably, in Kano, people prefer listening to radio for information and education over social media platforms. Equally, drama is a playful device which reflects daily lives in a manner that enlightens and entertains. It is also a medium for representing people and their society, thus its deployment as a tool for addressing social issues. Therefore, radio drama is the most appropriate channel for devising and inciting community dialogue against substance abuse among the people of Kano Metropolis.

Radio Drama and Social Issues

Radio drama is also called audio play or audio drama which incorporates dramatic representations into the acoustic mode of radio. This theatre form, according to Okigbo (cited in Nda, 2009), requires no visual accompaniment as it only basks in dialogue, sound effects, and music to tell stories, while making the listener imagine the characters. Albeit radio drama is largely based on audio, it has the capacity to create visuals from the perspective of the listener who create pictures in their mind while listening to the radio drama piece. Olivia, Julius and Chinwe explicate that radio drama is designed thus:

…the producer renounces the visual aspects of the drama scene and replaces them with sound elements: sound effects for the narration of scenes or dialogue between the actors, a background music that serves as an atmosphere and a greater emphasis on the vocals by actors (2022:129). 

The term radio drama emanates from the amalgam of radio and theatre, and despite the inability of the listeners to see the actors, they can grasp the concept being communicated. Hence, the theatre essence as mirror of society still materializes in the context of radio drama. Apparently, theatrical performances only have the tendency to reach the limited audience in the theatre auditorium to pass on its messages, but the advent of radio drama around early 20th century jettisoned the class disparity of conventional theatre plays. The power of radio drama is so phenomenal that Moemeka (2009) presents it as having the wherewithal to propel social change. This is so because radio drama shares many qualities of the theatre especially in regard to its sociological implications. The major reason a listener is able to create relatable pictures in their mind while listening to a radio drama is that the issues being portrayed resonate well with them.

In the beginning, what was recognized as radio drama was broadcasted theatre spectacle where radios transmit shows by mounting their microphones in the theatre. Meanwhile, in the 1930s, a stable body of writers and actors professionalized radio drama, writing stories, social dramas and mysteries (Rodriguez, 45). This helped consolidate the social value of radio drama, and Godinez explains the social relevance of radio drama by stating that:

The social use of radio drama implies not only a fun and effective way to disseminate content and information, but also a way to raise awareness and questions, by showing everyday situations close to the listener, while also give visibility to common problems, which in the end means giving visibility to the community, outside and in, being a mirror of itself that strengthens it (55).

Extrapolating from the foregoing, one can affirm that radio drama draws extensively from issues abounding in society. These social issues are the materials script writers, therefore, adopt in the construction of radio dramas. According to Klappler (57), radio drama plays invariably draw on the social issues associated with particular individuals within a community such that the society is educated by creating contexts for action and reflection, and sharing experiences. 

Hence, radio drama has proven to be virile and instrumental with its social relevance owing to the diffusive propensity of the radio, and the inexpensiveness of radio set that heightens its popularity across the board. The didactic and communicative essence of drama is, hence, appropriated in the context of radio, dwelling on its diverse audience, to address social issues in a radio drama programme (Nda, 309). Essentially, social issues which include marriage problems, hooliganism, parenthood, substance abuse and many others, form expedient materials utilized by the radio drama producer and the script writer to create appealing and resonating plays. The major essence of this is to sustain the role of drama in the bid to conscientise the people towards better and sustainable existence. 

Dynamics of Substance Abuse in Kano

Kano Metropolis is comprised of eight of the forty-four local government areas of Kano State. They are Dala, Fagge, Gwale, Kano Municipal, Nassarawa, Tarauni, and Ungogo. These local government areas represent the urban community of the state, and perhaps that is why it has the highest concentration of the state population which is put at 10 million –the highest population in Nigeria. Since 2013, National Drug Law Enforcement Agency (NDLEA) has continued to rank Kano State top among states with highest number of drug abusers and addicts in Nigeria. This is equally affirmed in the 2018 NDLEA report that an estimated 3 million bottles of codeine among other psychoactive drugs were being consumed (without official medical prescription) daily by young male and female adults in Kano. 

Regrettably, adolescents and young adults who are very much active in social relations constitute the majority of substance abusers and addicts. They are often found wanting in drug related or influenced crimes in several communities in Nigeria, and Kano Metropolis is not an exception (Adenugba, 2018 & Okeshola; Yahaya, 2019; Yunusa, 2017). As a measure, while the federal government banned the production and sale of codeine and other related drugs on the abuse list in Nigeria, the Kano State government tries to control the menace by carrying out massive rehabilitation and treatment of substance abusers, and providing job opportunities afterwards. 

With the actions taken by both levels of government, one would believe that  the substance abuse crisis in Kano Metropolis is abated, however, the reverse is the case (UNODC, 2017; Yahaya, 2019). This therefore, reiterates the significance of the findings of some studies that poor and inconsistent awareness, lack of education against substance abuse, stigmatization and discrimination of substance abusers, misinformed policy, and access to treatment are some of the reasons for increasing prevalence rate of substance abuse and addiction in Nigeria (Abasiubong, 2014 et al; Yahaya, 2019; Yunusa et al. 2017). 

Equally, several other studies have substantiated the NDLEA claims of the prevalence of drug abuse and addiction in Kano State (with more insights into) reasons for substance abuse, and the types of the substances being abused (Abasiubong et al. 2014; Yahaya, 2019). Basically, the agency’s position was informed by the number of seized illicit drugs, arrest of addicts, and conviction of arrested dealers. And most of the people involved in all these were usually among young males and females of rich and poor backgrounds, and are largely apprehended within Kano Metropolis. This, therefore, implies that the community is the focal point of substance abuse in Kano State, and as such, there is a need for communal conversation aimed at sustainable dialogue and action for addressing high prevalence of substance abuse in Kano Metropolis. 

Theoretical implication

This research work is anchored on the reader response theory which amplifies the perceptions of the reader in a literary discourse, such that there is a symbiotic relationship between the reader and the text. Before the advent of reader response theory, there were the romantic and new-critical approaches which focused on author and text respectively to derive meaning. Eagleton (1983) underscored “a marked shift of attention to the reader over recent years”, which reiterated the relevance of reader-response in the parlance of modern literary theory. In reader response, it is  noteworthy that the mutual relationship of the reader and the text is evinced through the reader’s literary demystification facilitated by their personal experiences. Mart (1993) explained the act of reading as such that the reader ascribes meaning to a text through textual response, then the reader is acculturated into meaning creation, and the reader’s responses are propelled by context. In other words, the context and the reader are also relevant just like the text. As one of the influential adherents of reader response theory, Rosenblatt (32) stressed that a text may not be deemed complete until the reader partakes in the critical reading (interpretation) of it -  basking in their experience, knowledge and background to generate meanings. Essentially, the theory counteracts New Criticism that limits the reader solely to the text where literary critics deploy their analytical knack to uncover meanings.

Meanwhile, Scheible (2010) points out that the reader uses either efferent or aesthetic modes to create meaning. Aesthetic responses offer readers a continuum for attending to the experience of reading. The readers are expected to explore a range of possible meanings (Purves, 1993). However, the creation of meaning occurs in continuum through efferent responses. In this case, the reader gives clear-cut responses to the text. Purves (1993) explains further that “the term efferent …designates the kind of reading in which attention is centred predominantly on what is to be extracted and retained after the reading event…” (353).

In other words, meaning is derived from the readers’ structuring of ideas and conclusions as a result of the reading exercise. In essence, the aesthetic mode stresses the reader’s experience with the text, while efferent mode underscores the reader’s inferences during the course of reading. The paper hence dwells largely on the efferent reading which allows the reader infer from the reading event relevant conclusions which could have impact on them and society. Importantly, the reader is availed the capacity to establish meanings through exclusive interrogations about critical events in the radio drama presentation which bordered on the prevalence of substance abuse in Kano metropolis. 

Gardo Gardo for Community Dialogue on Substance Abuse in Kano Metropolis 

The radio drama programme, Gardo Gardo, is focused especially on the characters of Labaran, Jamila, and Dr Butulu, who are caught in the acts of drug use and abuse, stigmatization and harassment. While in her bed in the school hostel, Jamila reminisces her encounters with her lecturer, Dr Butulu, and Labaran, her toaster whose behaviours irritate her greatly. Her lecturer, Dr Butulu, had interrupted her rehearsal session during the day to castigate her creative expressions onstage. The condemnation appeared to her as an irrational comment from a substance abuser. 

Labaran also puts in efforts to ensure he wins Jamila’s heart, and he meets her after the ugly experience with Dr Butulu. Labaran tries to impress Jamila with his love antics, but Jamila will not fall prey as she uttered her disinterest in fraternizing with drug addicts. This statement leaves Labaran highly depressed and dejected. While at home, during an industrial action, Labaran is dejected and tries to avoid his father who always tries to embrace him and make him turn a new leaf. He only makes himself available for his mother, Hajia Hajjo, who would show him due respect and motherly care. Meanwhile, Labaran’s sisters, Ayi and Mariya, would always tease and mock their brother for his addiction. Yet, Labaran accommodates his friends when they visit him at home and even instructs them on how to comport themselves when confronted by the NDLEA personnel. 

Incidentally, while Jamila was chattering with the gatekeeper of Alhaji Sambo, Labaran’s father, Labaran and his sisters meet her and she leaves the scene immediately which reveals to his sisters that he is in love with Jamila. Labaran’s sister, Ayi, concludes that he is only hiding his love for the lady, Jamila. When they report to Hajia Hajjo, she develops unswerving interest hoping to confirm Labaran is actually in love but the report appears baseless to her. 

Extrapolating from this synopsis, it is crystal clear that apart from Labaran’s use and abuse of substance, harassment and stigmatization hold sway throughout the radio drama, as Jamila portrays the two males—who directly or indirectly profess their love for her—as drug addicts, and because she believes their psychological states might have been affected, she revokes their romantic bids at all costs. Therefore, after the radio drama, the facilitators moderated an exclusive dialogue where some audience members (listeners) were able to contribute their perspectives to the issue portrayed in the intervention. During the dialogue, it was important to uncover some triggers that might have pushed the characters of Labaran and Dr Butulu in the radio drama towards substance abuse. 

The discussants in the focus group posited different rationales, and according to Nura Ahmad, a newlywed and graduate of Mathematics from Aliko Dangote University of Science and Technology, Wudil, substance abuse is caused by three factors namely passion, joblessness and peer influence. He adds that Labaran engaged in the behaviour thanks to either peer influence, passion or joblessness (00:16-00:49). Nura was obviously prompted by Labaran’s tender attitude towards Jamila, such that the listener may not know about his addiction to drugs until she mentioned it. Another discussant, Adamu Abdulkadir Usman, who is a graduate of Economics from Bayero University, Kano, unlike Nura, restricts the causes of substance abuse to poor upbringing, illiteracy and negligence on the part of society and government. He also posited, like Nura Ahmad, that peer influence and joblessness are causative factors. Labaran might have indulged in substance abuse because of either poor upbringing or peer influence (03:42-04:30). 

Contrary to Nura and Adamu, Abdulgaffar Sani Garba, an unmarried young man in his early thirties, and a member of League for Societal Protection Against Drug Abuse (LESPADA), with a degree in Quantity Survey from Bells University, Otta, holds that substance abuse springs from mental or physical distress. He maintains that majority, if not all of the substance abusers, engage in the behaviour as a result of peer group pressure. He adds that the abusers resort to substances to palliate the tribulations they are experiencing. That is why, according to him, there exists an obvious difference between the substances the children of the rich and those of the poor abuse (05:21-07:06). Concluding, the respondent, unlike Adamu, asserts that Labaran might have indulged in this behaviour owing to, among other factors, distress, peer influence and probably, family negligence (07:40-08:01). 

From the discussions presented above, peer group influence is a significant factor that has led youngsters into substance abuse. This is obvious in the radio drama as Labaran allows his friends into his father’s house, perhaps to show them he has grown enough to make decisions for himself. Adamu Abdulkadir Usman and Nura Ahmad linked peer group factor to bad parenting which facilitated Labaran’s unquestioned fraternization with wayward adolescents. Onah buttresses that “adolescents with poor parent-child relationships are often anxious, depressed, withdrawn, unhappy, frustrated, and addicted to drugs from peers” (13). Before adulthood, youngsters lack the capacity to surmount pressure as they show interest in associating with different groups. To this effect, they begin to develop attitudes and behaviour that align with the mentality of the group they belong to, since they are also eager to experiment with new ways of surviving. And, ostensibly, drug abuse, drunkenness, smoking, and other odd behaviors are signs of a mismatch with adult ideals, and friends' morals and values are becoming more and more disconnected from family standards.

As much as other discussants established the inevitable influence of peer group as a causative factor for substance abuse in the radio drama, Musa Ibrahim, a budding footballer in his mid-thirties, partly disagrees by maintaining that interacting with substance users does not automatically delude one into the behaviour, inasmuch as one is dispassionate about it (00:15-01:14). Here, Musa points to how Labaran has the freedom to decide his fate by allowing his friends influence him wrongly. In this case, Labaran’s rapport with Jamila would have been a different, positive one without facing any mortification whatsoever. Also, another discussant, Hashimu Salihu Kachako, a married man in his late thirties and a staff of Radio Kano, states that different substance users have variegated reasons for their behaviour, but then he blames parents especially for not availing their children appropriate guidance and education so they avoid such inimical acts. He also adds that curiosity motivated him to, at a point, try smoking for three consecutive days. As it did not affect him, he denounced the idea that wealth motivates some users to indulge in drug use and abuse.

Reacting on the causative factor of substance abuse, during an interview moderated by the radio drama facilitators, a professor of criminology at Bayero University, Kano, Maikano Madaki, maintained that whenever a person engages in a misbehaviour such as substance abuse, his physical traits dramatically change. His attitudes and behaviors also change. To avoid this misbehaviour, parents should ensure they bring up and educate their children well. Alhaji Sambo, Hajiya Hajjo and their daughters, Mariya and Ayi, are aware of Labaran's behaviour, with particular reference to his act of keeping bad company. It is unfortunate that despite their knowledge of his current situation, Labaran's parents have failed to take a serious action against his misbehaviour. It is important to understand that good morals are end products of good upbringing and vice versa. Parents have to keep a close watch on their children. However, Labaran's parents have failed to do so. His parents are very negligent for allowing Labaran's bad friends to abuse drugs in their own house. The respondent stressed the failure of most parents in the community to educate, enlighten and look after their children, and makes it easy for the children to go astray and find it difficult to halt their misbehavior. To buttress this, a caller, during the interview session stated that the radio drama programme fascinates us for educating people to abstain from substance use. The caller suggested that Dr. Butulu should finally be represented as a changed person. This will probably discourage students and the community members from engaging in such misdemeanors. 

Abdulmalik Harisu Alkasim, a young man in his early thirties and a diploma holder in Mass Communication, unlike Musbahu Musa, affirms that the relationship between Labaran and his parents is loose. He blames his family for being negligent that they failed to understand that their house serves as a den that shelters Labaran and his friends. The negligence, according to Abdulmalik, emboldened Labaran and his gang to be abusing substances in the latter's room. He laments that Labaran's friends might not risk abusing substances in their respective houses. This indicates that their parents, unlike Labaran's, keep a watchful eye on them (10:52-11:25).

In furtherance, the discussants were propelled to bare their minds on stigmatising and harassing substance abusers which was echoed through the scene between Labaran and Jamila where she labelled him a drug addict whom she cannot fraternise with, and through Labaran’s sister’s attitude towards him at home. The discussants were, therefore, indulged to express their viewpoints on whether stigmatization and harassment could help stop drug abusers from the illicit acts. Responding to this, a discussant, Nura Ahmad, strongly disapproves of stigmatisation as a tool for fighting substance abuse. Often, people affix a social stigma to substance abuse, consequently, this motivates them to stigmatise abusers. According to Nura, substance abuse is stereotyped because, to many people, the behaviour bears the stigma of ungodliness and Satanism. He understands that many people perceive substance abuse as negative, however, one cannot combat substance abuse via harassment and stigmatisation as that will aggravate the situation. He reiterates that once the abuser realises that people are segregating him, his heart will harden (01:48-02:06). In other words, the discussant relates this to Jamila’s act of labeling Labaran which could aggravate his condition.

More so, Abdulgaffar Sani affirms that in all religions, both ancient and new, nowhere around the world have othering and stigmatisation yielded positive results. As the saying goes "violence begets violence", so also bad relationship, harassment and stigmatisation beget negative results. He adds that if Jamila truly abhorred substance use behaviour, she would not have harassed or ill-treated Labaran. Because, by maltreating him, the love he has for her may vanish. Seemingly, Jamila fails to realise that she can use love to control Labaran. Moreover, Labaran is stigmatised by the public but adored by his fellow substance abusers. This, according to Abdulgaffar, may provoke Labaran to attach himself more to his fellow substance users. Furthermore, being a member of LESPADA, Abdulgaffar states that the association had once paid a sensitisation visit to certain substance abusers. Due to the good manners they exhibited, they succeeded at convincing majority of the substance abusers. Closing his argument, Abdulgaffar denounces Jamila and her friends as stigmatisers, for ridiculing Dr. Butulu (09:11-14:55). The discussant understands the students were not comfortable with how Dr Butulu condemned their rehearsal, however, ridiculing and labeling the lecturer would not in any way solve his problem, as he should be shown love and compassion instead.

However, Musbahu Musa, a young unmarried man in his mid-thirties, parallel to Nura Ahmad, Abdulgaffar Sani, Musa Ibrahim and Rabi'u Dahiru Muhammad, firmly believes that harassment can help mitigate substance use behaviour. To him, substance abusers are notorious, thus, they deserve nothing but stigmatisation (16:00-17:30). In other words, this discussant is in support of the students and Jamila who labelled Dr Butulu and Labaran respectively for being substance abusers, and Labaran’s sisters for mocking him at home. Hashimu Kachako does not support this, as he belives that, not only with respect to substance abuse but also in every aspect of life, one should not harass substance users. According to him, "you cannot change them through abomination”. He stresses that, “unless Jamila does not want Labaran to turn a new leaf, she should not have detested him for announcing his love for her." He too believes that it is only through consolation, enlightenment and caring that one can change a substance abuser (04:35-05:48). Hashimu, like Musa Ibrahim, pardons Jamila's attitude towards Labaran and Dr. Butulu. He describes her as immature. The implication of this, as noted by one of the discussants, Abdugaffar, is that it worsens the situation by making the abuser attach himself more to his fellow substance abusers.

Resulting from the love Dr Butulu and Labaran have for Jamila, the facilitators raised debatable questions about the power of love in this context. Abdulgaffar asserts that love plays a vital role in a substance abuser's life, most especially, when the girl he loves dissuades him or stipulates that he must quit substance abuse before she loves him. He emphasises that many substance abusers engage in the behaviour because of passion. Hence, if they can gain what surpasses that, like love, they will undoubtedly quit the habit (02:31-03:10). In the same vein, Maikano believes that, generally, parents should educate and raise their children well. They should also know their friends. Labaran's parents have been negligent, but this does not mean things are out of hand. First and foremost, Labaran's parents should try to restrict his movement to reduce his substance use proclivities. Secondly, they should know the friends that seek his audience at home. Thirdly, they should reorient him. A child like this should be enrolled in school, vocational training centre or market. Parents should monitor the places their children go to and the time they spend there. They should always enquire about their late return home. This enquiry restrains children from staying late outside. Bad friends should be chased away. 

Unlike the other respondents, Hashimu considers love as a double-edged sword. According to him, love can right an immoral person. He observes that, notwithstanding the fact that it is a public knowledge that some substance abusers do not often have penchant for women, it is possible that Dr. Butulu, though an alcoholic, loves Jamila honestly. However, he believes Dr. Butulu abuses substances to purge himself of grief (13:24-13:48). One may infer that as a lecturer with PhD qualification, Dr Batulu must have been grappling with some emotional problems which pushed him to taking alcohol. Musbahu Ya Sayyadi, opines that the society should team up to help substance abusers. He affirms that helping a substance abuser cannot be overemphasised. Before receiving help, the factors responsible for their indulgence in the substance abuse should be checked. If it is as a result of bad company, they should be distanced from them (00:15-2:36). Musbahu adds that helping an abuser is synonymous with helping the society. The discussants, in the post radio drama dialogue, therefore, provided variegated viewpoints on the subject of substance abuse without allowing another person’s contribution affect their own submission on the issue. Aminu said, even if Labaran’s parents are not able to proffer the right help he needs, it will get to a point where they will have to reach out to professionals for help on the issue, because substance abuse is a problem that gets worse with a person on a daily basis (04:06 - 04:57). However, in order to avoid aggravating the implications of substance abuse, the radio drama participants believe that help should be offered as early as possible. 

Conclusion

The study has established that radio drama is a portent tool for community dialogue for sustainable action, especially on this case of substance abuse which has almost dominated every nook and cranny of Kano metropolis. Substance abuse is condemned by the society and health professionals, due largely to its inevitable negative implication on the health of the abuser, and the extended impacts on other citizens and the society. This research effort explains how radio drama was adopted to initiate community dialogue on sustainable actions to eradicate or diminish the menace of substance abuse in Kano metropolis. Therefore, drawing on the radio drama, the discussants and respondents discussed and amplified a series of triggers that usher substance users into the act, stressing lack of parental guidance, passion and peer group influence. Through the community dialogue, people were exposed to the role of stigmatization and harassment in driving substance abusers closer to their fellows. It has also been echoed that showing love, care and enlightenment to substance abuser in the community goes a long way in rehabilitating them. Through the radio drama was impactful as it served as a platform to educate community members on their roles as help providers or caregivers to substance abusers, and also enlightened substance abusers in the community on the danger that accompany substance use and abuse. These impacts serve as pointers towards sustainable action on the menace. Essentially, the study recommends that more radio drama interventions should be implemented to educate and enlighten perpetrators and victims of substance abuse to provoke sustainable action against the menace. The government also needs to augment their efforts against substance abuse by strategically adopting radio drama as conduit for community dialogue towards sustainable action so as to unearth the idiosyncratic cause-and-effect of the menace across different regions in the country.

Acknowledgements

The authors appreciate the Tertiary Education Trust Fund (Tetfund) in partnership with Directorate for Research, Innovation and Partnership, Bayero University Kano for providing us with the Institution Based Research Grant to research the substance abuse phenomenon using the participatory approach of radio drama for community engagement.

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All correspondence should be sent to:

Adenekan, ‘Lanre Qasim

alqasim.tpa@buk.edu.ng; +2348085355490

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Ruth Etuwe Epochi-Olise: Negotiating a central space in contemporary Nigerian Theatre practice: A Monodrama Paradigm

Ruth Etuwe Epochi-Olise
Alex Ekwueme Federal University, Ndufu-Alike,
Orchid: 0000-0002-2438-9925.
epochi-olise.ruth@funai.edu.ng

Introduction

Monologue has been a part of theatre since its inception. Its origins in Africa can be traced back to traditional storytelling performances of stories, myths, and sagas, in which different storytellers alternately narrate and perform their stories in real-time.

Monodrama utilizes the legacy of dramatic monologue by exploiting the illusion of the dialogic genre under the guise of spontaneity. Monologue’s diverse forms, according to Pavis (219), are categorized according to dramaturgical functions (narrative, lyrical/emotional, reflection/deliberation) and literary form (stanza, aside, interior monologue, solitary dialogue, the monologue drama). The monodrama, solo drama, monologue drama, monologue theatre, and solo theatre, are all synonymous nomenclature describing an act by one person. Monodrama is by its nature the most private and intimate form of expression that allows for deep and personal experiences in public space as public arts because it stands as theatre for public consumption. It is literarily playing solitaire as an open form of dramatic expression, a poly-vocal and poly-perspective in its treatment, planting itself at the heart of spectacle (Wallace 2016). 

In the realm of contemporary Nigerian theatre, where diversity, cultural richness, and artistic innovation converge, the spotlight turns toward the significance of monodrama as a dynamic and compelling form of artistic expression. Monodrama, characterized by its solo performance nature and intense narrative depth, offers a unique avenue for performers to engage with audiences, explore personal narratives, and challenge traditional theatrical conventions. As Nigerian theatre continues to evolve and adapt to changing social landscapes, the evolution of monodrama within this context presents a fascinating exploration of how solo performances have the ability to establish prominent position for themselves in the larger theatrical landscape. By delving into the intricacies of monodrama as a vehicle for storytelling, cultural representation, and audience connection, this study aims to shed light on the transformative power of this form in shaping narratives, engaging in conversations, and captivating audiences in the vibrant tapestry of Nigerian theatrical practice. Through an examination of the artistic nuances, cultural resonances, and narrative potentials of monodrama in contemporary Nigerian theatre, this exploration seeks to unravel the complexities, challenges, and triumphs of solo performance as it negotiates a central space within a diverse and dynamic theatrical environment that celebrates the multifaceted expressions of Nigerian identity, creativity, and storytelling traditions.

The Nigerian Case

Theatre in Nigeria has witnessed the development and growth of the playwriting traditions from 1960 to 1967 with the post-independence playwrights, the post-civil war playwrights from the 1970s, the middle generation playwrights from the 1980s to the late 1990s, then the playwrights from the end of the military rule from 1998 to early 2000s (Akoh 2009) and now the contemporary playwrights of the mid-2000s till date. This new generation of playwrights has shown the potential of going above-board and bringing new techniques and ideologies into Nigerian drama. Solo drama and performance came into existence in the mid-1960s by a renowned playwright, actor and director, Wale Ogunyemi who started the modern solo drama tradition in Nigeria with a performance of Acts Without Words,  a one-actor mime play,  at the School of Drama, University of Ibadan. Tunji Sotimirin is acclaimed to be the first Nigerian to create his one-actor piece with Molue, while late Funsho Alabi’s Escape of Drugs, Philips Okolo, and Hafiz Oyetoro, among others, followed suit (Wallace 93). 

However, in 2001, Greg Mbajiorgu from his improvisational work created a full-length monodrama, The Prime Minister’s Son, which was performed by Bayo Alawiye with Roseline Okoye and Funke Olowu as background choral figures but recreated and directed by late Dele Ogunsola in 2001 before its publication in 2011. According to Olaoluwa “… [these people] deserve special commendation for inaugurating in the self-apprehension project of theatre” (21). Though the interest in this genre of drama in Nigeria is not encouraging but has increased tremendously in the world theatre since the end of the 20^th century, where everything has been reduced to a single character’s worldview, even if he/she plays the parts of many characters. However, monodrama can still be considered to be an unfolding trend in the 21^st-century Nigerian dramatic scene because conventional dramatic texts still outnumber this genre of drama. This dramatic bug has captured a few Nigerian playwrights like Greg Mbajiorgu first publisher of a monodrama text with The Prime Minister’s Son (2011), Benedict Binebai’s Karen’s Cross (2021)and My Life in the Burning Creeks (2011), Tunji Sotimirin Molue and other plays (2018), Akpos Adesi’s Whose Daughter Am I? and Moneyman’s Diary (performed but unpublished). 

Monodramas, or one-person plays, have carved out a significant space in contemporary theatre practice, offering a unique and intimate theatrical experience. This genre allows for a deep exploration of character, narrative, and themes, as the entire focus is on a single performer. Monodrama as a theatrical form highlights the artistic individuality and expressive power of a solo performer who navigates diverse characters, narratives, and themes to create a captivating and immersive theatrical experience that resonates with audiences and showcases the performer's range, versatility, and storytelling prowess within the Nigerian theatrical landscape. 

Within the monodrama paradigm, solo performers engage with themes of cultural heritage, identity exploration, and personal narratives that reflect the diverse cultural tapestry of Nigeria, delving into nuanced portrayals of tradition, modernity, history, and social dynamics that shape individual experiences and collective identities in Nigerian society. Monodrama in contemporary Nigerian theatre serves as a platform for social commentary, political critique, and cultural reflection, offering solo performers a voice to address pressing societal issues, advocate for change, and engage audiences in dialogue that sparks reflection, empathy, and understanding of the complexities of Nigerian life and the human experience. Through the monodrama paradigm, solo performers craft narratives that delve into deep emotional layers, psychological complexities, and thematic richness, drawing audiences into a world of introspection, empathy, and connection that transcends conventional storytelling conventions and immerses viewers in a tapestry of human emotions, experiences, and dilemmas. Solo performances in the monodrama genre offer audiences an intimate and immersive theatrical experience where they engage closely with the performer, experience storytelling in its rawest form, and embark on a journey of discovery, reflection, and emotional catharsis that forges a direct and profound connection between performer and spectator within the dynamic realm of Nigerian theatre practice.

Structural Changes of Monodrama from Conventional Drama

Monodrama tradition has always been in existence, the development has varied through the ages – from orally passed down myths and legends, to lecture recitals, reading tours, stand-up comedy, dramatic monologues, literary monologues, and performance monologues among others. In the 18^th century, in Europe, monodrama was accompanied by music, and it centered on classical heroines (Millett 66). Its origin is associated with Jean-Jacques Rousseau’s 1766 music drama Pygmalion but was imported to England through the work of Robert Southey in 1815. The intensity of monologue as an art form grew, but fully emerged in the theatre in the late 19^th century and crystallized into monodrama which has been in existence over the years starting formally as play text with August Strindberg’s The Stronger (1888-9) and Eugene O’Neil’s Before Breakfast (1916) within the changing discourse of impersonation constructed around self-hood and how to depict the interior psychological states. By the 20th century, monodrama became a fully conceptualized genre, representing a new kind of subjectivity; it was in the late 1950s when Samuel Beckett started exploring the form that its experimental capabilities became critically developed. It was remodeled and well-pronounced in the 1970s with the advent of radio drama and also became viable on the stage outside of the amateur content. According to Page: 

A monodrama is a stage narrative taking usually about twenty minutes to act having a single chief character, and a single problem which predominates, and is developed by means of a plot so compressed and so organized that every utterance and every action of the characters move it forward to a finish which presents the most striking features, while the whole is so organized as to produce a single impression (5).

Monodrama as the name implies is a form of interpretation in which a single person tells or acts out a dramatic story and assumes the chief role, hence all attention is focused on him and the situation. Monodrama is a highly self-reflexive play, a form of storytelling that strips away dramatic illusion Pfister asserts that:

The monodramas are open forms of dramatic expression, which defy linear plot progression as scenes and sequences, but become arranged according to loosely defined patterns which oscillate between past and present and in some cases dare to invent the future (245). 

The monodrama genre of the play is a slice of life that is best uncovered in a short, striking set-up. Senelick regards the modern monodrama “as a manifestation of ‘high-spirited revolt against grandiosity’, is also possible to say that the assault on words gave rise to a new theatrical language” (34). Monodrama tilts toward autobiographical excess, where the text is little more than a compilation of memories or testimonies of events. Brian Singleton says, monologue “traps […] characters in the field of memory; they never do anything in the present” (268). This form of drama is governed by the rule of veneration, bound in the plotting of memory, of summing up the past, of reiteration rather than re-enactment; it, therefore, opens up an avenue where the interactions between memory and repetition, reiteration and reverent are heightened. 

Since its inception, theatre by its origin has been social, which means it is human and collective, fabricating and sustaining different cultures and uniting different people and representing people’s best interests. It has been used as a tool for social change, raising conscious awareness and changing a person’s views or even making people re-evaluate their opinions and reawaken the people’s hope in human potential. Theatre challenges engage with and reflect on contemporary issues, revealing the processes of mediation between different dimensions of society. Theatre also has the power to speak to the unaccomplished needs of its time and place and to answer a society’s desire for what is deficient. Lubar states that “one of the most pressing tasks and possibilities of our craft is to make bitter, sharp-edged parts of the human story palatable and digestible [for our audience]” (22). The task of theatre as an artistic rendering of the human psychic life is to observe life in such a way that it would be possible to capture its rhythm. Smith divides monodrama into three phases: single-character monodrama, divided-self monodrama, and multi-character monodrama. According to him, monodrama can survive if new theatrical devices and new approaches to language, character, and storyline are required to keep the vitality of the theatre (207).

All mono dramatists are storytellers, who must tell a story that takes the reader/audience on a journey, engaging them at every point, usually with nothing more than words creatively fashioned to produce the desired effects. The structure of drama is found in the story, hence Pfister defines a story as a “purely chronologically arranged succession of actions and occurrences” (243). A story necessarily has one or more human or anthropomorphic subjects that depict a journey or series of events designed to interest, amuse or instruct the reader/audience. A story encompasses all historical, social and cultural knowledge that exists before the composition of the text, it is not the presentation itself, but rather the subject of the presentation. Pfister says that the “story is history, while the plot is art” (244) asserting that, the point is not in the story but in the telling. The story, therefore, is the pre-text (before the text), while the plot is the intra-textual (within the text) arrangement of the story, presenting a series of inner and social conflicts. The plot is more than an ordering device for the story, but the actual archaeological excavation of the story, which gives a more in-depth structural micro construct to a story by varying presupposed sequential and spatial dimensions, and by structuring the story into unique perspectives.

Drama is any series of events having dramatic interests which are intended for the audience, Martin Esslin maintains that:

There is no drama without actors, whether they are present in flesh and blood, or projected shadows upon a screen, or puppets …What makes drama is precisely the element which lies outside and beyond words which has to be seen as action – or acted… (11-14)

A monodrama, therefore, is a dramatic work played by one character from beginning to end, and probably playing several characters too. It is therefore seen as a personality vehicle through which a character expresses his thoughts and feelings. The monodrama often requires an actor who incidentally must possess a hybrid identity to embody multiple characters to be played out and played with, frequently without the visual signifiers of difference in the form of costumes and masks. Harvie and Knowles maintain those multiple characters in monodrama:

Remain predominantly monologic – at least from the point of view of the audience – in that the virtuosity of role switching produces the illusion of dialogue among discrete characters for whom the need to create distinct, unitary voices is felt for reasons of clarity to be particularly urgent (144).

Quite right that the play has only one actor who solely speaks, but that does not mean they are alone. There is this idea that there is a silent other or person that is being addressed by the actor, who intersects and overlaps because they converge in and on a single performing body.

The playwright is an assembler of textual elements in monodramatic theatre, adopting a means of claiming the textual characteristics of a certain literary sensibility and using them as a springboard for a new approach. The writer uses language, like make-up, wigs and clothes to present the story: as costumes are used for playing multiple character roles and a weapon used to construct a powerful, invincible persona. Monodramatic text often produces a dialogic configuration of subjectivity by staging an open-ended play in which the speech or accents of multiple voices are inserted into one speaker’s utterance. The playwright must use words cunningly so as not to say the unsayable but must express what by their very nature are designed to be covered up: “the uncertain, the contradictory, the unthinkable” (Quoting Mauriac in Esslin 38-39). 

In creating dialogue for the character(s), the playwright uses different modes of dialoguing, like the interior monologue synonymous with unspoken soliloquy wherein a character reveals their thoughts on stage as if alone, which presents the inward life of the character that can be separated into rhetorical and psychological (Scholes et al. 177, 195). It has the potential to assist the development of the plot, evoke dramatic tension and contribute to an audience’s understanding of the character(s). Another is the authorial commentary, where the playwright comments through the character on current issues affecting society. While dramatic monologue situates the speaking “I” between the internal and external forces of the character, a dialogic text consists of “a plurality of independent and unmerged voices and consciousness” (Bakhtin 6). The stream-of-consciousness technique is the way humans respond to daily life through thoughts and emotions; it deploys association and a disruption of conventional syntax to depict interior states, prioritizes internal experience and the realm of subjective perception (Bhushan 2023). In monodrama, the entire play is delivered through the consciousness of the subject, a method of representing the mental processes of fictional characters as a continuous blending of sense perceptions, thoughts, feelings and memories. Initially, this genre of drama was character-based, problematizing the construction of the speaking self, but presently it has shifted toward a concept of the subject, and the self becomes subjective. According to Byron:

As opposed to the notion of the individual self with agency and control over itself, the term “subject” suggests an “I” that is simultaneously subject to itself within its own experience and always subjected to forces both outside the self, such as social and environmental forces, and within itself, the workings of the unconscious (45).

The monodrama genre proved to be particularly apt for the expression at a given time for a specific reason at the moment of crisis of identity and the representation of old values reinforced by experiences. The interest in monodrama can, therefore, be interpreted as an exploration of subjectivity and psychoanalysis, conceiving poetic disposition as a temporary facade that presents the inner psychology of an artist.

Legacy and Interrelationship of Monodramatic Text and Mono Performance. 

Monodrama is written for a single actor and therefore must be performed; thus, making the monodrama twofold - as text and as performance. There is always an interchange between text (literature) and performance, which sometimes appears competitive but is more often productive. The monodrama and mono performance are identical concepts, a performance of one artist, a one-man show which is the kind of performance where the world around the actor is depicted in the way he or she takes it at every moment because “…performance art is a drastic version of the real” (Bennie 5). The quintessence of performance art, therefore, is established in the non-textual elements of production, not in the written text. Kearns asserts that solo performance: 

Is not traditional acting (…). It is not stand-up. It’s intended to look easy, relaxed, personal and improvisational. It requires learning new skills and abandoning certain “rules” of acting … in the traditional theatre we watch a story unfold. In a solo performance, we are taken on a ride by the storyteller, and the story unfolds, not in front of us but within our imagination (12)

As an actor-based genre, monodrama relies heavily on the creative, theoretical and stage interpretation of the actor because all attention is focused on him and the way he expresses himself. He also expects and demands the active involvement of the audience since there is no fourth wall separating the performer from the audience. The actor must tear down this fourth wall to access the intimacy and intensity that are mandatory in mono performance because as a storyteller he speaks directly to the audience (Kearns 30) as well as being solely responsible for driving the production. The actor takes the audience on a ride. This is a concept that Kearns agrees with. He also cites Tim Miller’s approach:

My hope in my performances is that anytime we witness one person raise his voice and tell his story – as well as bring our focus to systems of injustice – it can encourage the rest to find that truth-telling place within ourselves. I have received that encouragement in my life from other theatre artists and social movements and I hope that my performances have emboldened people as well. This is the success that truly matters – Tim Miller (Kearns 2)

The mono act gives the actor the freedom to connect to stories, whether theirs or not, because it enhances trust, artistic energy and viability so the actor must be comfortable with the form of performance in order not to witness disaster and doom (Kearns 10). Dotrice further confesses that, 

Acting solo is the ultimate in egotism…you require an exceedingly large ego to stand there and think you can hold an audience’s attention for a couple of hours. But there’s nothing I know that’s more satisfying… It’s just you out there – no one else (Young 23).

The mono performance is a unique and increasingly prevalent style, which offers mixed benefits; an ego show as well as a revelation, speaking with others by talking to oneself. The mono performance truly allows for personalism, a private expression with its integrity that is convincing beyond qualifications; hence Gielgud bluntly states that “if you have anything to sell – talent or merchandise – there is always someone to buy” (Young 23) the only point is that it should be very engaging and eye-catching.

The monodrama is an experimentalist form in which the playwright presents the conscious and unconscious thoughts of the speaker (Barranger 2014). This technique of the play permits the playwright to place his reader or audience inside the mind of its subjects to experience their thoughts and feelings. At other times, the audience acts as eavesdroppers, who witness the expressed thoughts and feelings of the character. The mono actor relies heavily upon the spectator’s close alignment of identification with them because the terrain shared between the action (performance) and the theatre is a suspension of disbelief, a situation whereby the actor weaves together all forms of notions and experiences together. There is a connection that exists between the mono actor and the audience, the actor’s baring of his soul makes him naked on stage as all eyes are on him. 

The relationship between the audience and performance in the theatre is one of sympathy, therefore complete unity between the character and audience is achievable if everything happening on stage can be subjectively perceived by the character (Smith 206)

The actor does this to assert a self-naming clarity, which is delivered playfully in a continuing bid to strengthen the established relationship between him and the audience. 

As an experimentalist play form in performance, there are moments of enacting events, narrating events, acting out other characters and staging dialogue, based on the director’s discretion and intuition. Young posits that:

Solo performance has a myriad of forms, from impersonations to recitals, anthologies, to adaptations, and auto biographical monologues to pure narrative fiction, while some defy easy categorization or description due to the very nature of theatre (23)

The privileging of certain kinds of nature of the theatre on our stages indicates a particular attitude toward the role of the arts in the fabrication and sustenance of culture, hence the use of experimentalist theories by most monodrama playwrights/directors to achieve the desired effects. 

The director of the monodrama performance should be able to synthesize different directorial approaches for a better work, like using the minimalist style a derivation from Grotowski’s The Poor Theatre. According to VanEenoo minimalism:

Is a way of expressing an idea and is an inescapable theme in modern-day social concerns as well as art. As its name suggests, minimalism means using limited materials to create a desired effect (7).

Grotowski believes in the absolute use of the actor’s trained body, voice and mind as his major tool for performance, with the non-existence of costumes, make-up and scenography, light, sound etc but with the presence of the actor-audience. Meyerhold, on the other hand, hated the tyranny of the spoken word. He believes in the director-actor theatre, abolishing the front curtain and converting the orchestra pit as part of the stage as well as creating a common space between the actor-audience. While Vakhtangov proposed the theatre of realism, he believes that the supreme task of the theatre is to project the reality of man’s spiritual life. He combined the inner realism of Shakespeare and the theatrical form of Meyerhold. Artaud espoused the theatre of cruelty, where he proposed that language should be subjected to live action, without complete banishment of the speech from the theatre. He further proposes that there should be no barriers like the proscenium arch or light, but that the spectators should participate in the dramatic experience because it allows for communion between the stage and the auditorium. To Artaud, "the audience should be involved by their sense not their mind. And contact with the senses of the audience should be achieved through assault" (Rama Rao 155).

Brecht’s Alienation was to dis-familiarize the characters to the audience through actors, hence opposed the playwright's intervention in the production. To him, the audience watching a play should remember the character's actions, not the actor but says the audience should not forsake the faculty of thinking in the theatre. The audience should not identify themselves with the characters on the stage, that action on the stage should stimulate their minds, not their feelings. According to him, a play is for intellectual appeal rather than for emotional appeal, so the spectators should honestly engage in the production. Kurzt writes on Brecht:

Brecht wanted neither the actor nor the audience to lose themselves, to escape, or to forget that the events on stage were not real. He wanted actors and audience to confront, consciously and rationally, both themselves and the stage, so that they might learn what needed to be done in society... The stage's illusion of reality was just as changeable and unrealistic as people's illusions of everyday reality. Emotional sympathy or empathy with characters and situations interfered with the actors and audience's ability to remain skeptical (382).

Alternative theatre, according to Shank, makes the spectators conscious of the real world rather than focusing attention on fictional illusion. This kind of theatre seeks to rediscover the unique possibilities of live theatre and ways of extending its use beyond entertainment (5-8). It explores the relationship of the artistic to the works and the performance to the spectator as well as the relationship between the actor and audience.

It was an alternative to the theatre of the dominant complacent middle-class society which tended to perpetuate the status – quo in its aesthetics, politics, working methods, and techniques. The alternative theatre companies directed themselves to the new audiences … and explored new working methods, new techniques, and new aesthetic principles that would be in harmony with their convictions and would be used to express their new theatrical conceptions (Shank 1).

A good script can, therefore, spark the director’s theatrical muse to use all of his best directorial techniques when setting any text on stage. 

Monodrama in Contemporary Nigerian Theatre: An Overview of Select Playwrights

Monodrama in contemporary Nigerian theatre is a rich and dynamic field that reflects the intricate diverse narrative forms of the society. It is a unique genre in the theatre that is distinguished by its dependence on a solitary performer who takes on multiple characters, unfolding different perspectives of the writer. This form allows for a unique means of storytelling that can communicate personal and societal concerns and conditions, which is instantaneous and familiar to people. 

Having read Greg Mbajiorgu’s The Prime Minister’s Son, Benedict Binebai’s Karena’s Cross and Tunji Sotimirin’s Molue and Other Plays, one would note the diverse areas each playwright uses to address societal issues like betrayal, identity, daily struggles of city life, patriarchy, social change, class segregation and rejection among others, which reflect the several cultural tapestries of the country. Mbajiorgu’s The Prime Minister’s Son highlights the absurdity of life, challenges the insensitivity of man and questions class structure. Binebai can intertwine historic-cultural narratives with contemporary issues, exploring various themes that provide critical reflections on the people’s past and present. He not only probes the subjects of taboo but confronts issues like sexual repression, domestic violence, and mental health that challenge societal norms and advocates for change. Karena’s Cross engages with themes of cultural heritage and personal narratives, which exposes the dangers of patriarchy and its negative ripple effects on society and Sotimirin’s Molue gives insight into the chaotic life of the nation, using the daily struggles of Lagosians as a model. These playwrights use their works to serve as a platform for social commentary, political critique, and cultural reflection; works that address pressing societal issues, advocating for change while engaging audiences in dialogue that sparks reflection, empathy, and understanding of the complexities of Nigerian life and the human experience.

Some of these playwrights’ blend humour with serious commentary. In some of Sotimirin’s works, he incorporated comic devices as an effective dramatic tool that helps in passing message to the audience. In most of his works, he “recreated familiar instances and experiences through humour even though some of the aspects are tragic” (64). Other playwrights employ serious commentary with minimal humour, highlighting the struggles of the girl-child who is forced to become a woman because of a father’s greed. Gender inequality, cultural expectations, and personal freedom become very salient challenges tackled in Binebai’s Karena’ Cross. Mbajiorgu’s The Prime Minister’s Son, on the other hand, deals with painful denials, abandonment, lies, and trauma. Both playwrights delve into the deep emotional layers, psychological complexities, and thematic richness of their characters, drawing audiences into a world of introspection, empathy, and connection that transcends conventional storytelling but engages the audiences in an array of human emotions, experiences, and dilemmas. 

In Nigeria, Tunji Sotimirin, Greg Mbajiorju and Benedict Binebai are the first set of playwrights to create monodramas that utilized indigenous language (Igbo, Ijaw, and Yoruba), English and Pidgin English, as tales-telling devices, despite being trained in the Western technicalities in drama. This strategic use of the local dialects, English and Pidgin in telling the Nigerian stories adds authenticity and relatability because it can attract and appeal to diverse audiences while they connect deeply with the characters and stories. According to Sotimirin, “… in spite of the incorporation of Yoruba and Pidgin languages, Molue has been able to cut across all categories of audiences” (72).

Multiple role-playing is the essence of monodrama; hence the actor becomes an impressive ventriloquist with the voice as a major tool. The actor alters the voice to suit each character s/he embodies. Bayo Alawiye in The Prime Minister’s Son played 13 characters, Racheal Tuodonye performed 5 characters in Karena’s Cross while Tunji Sotimirin played 9 characters in Molue. Quoting Adelugba in the foreword to Mgbajiorgu’s The Prime Minister’s Son, “… the playwright, the performer and the director are three separate sub-worlds of the world of theatre. He has shown in his work, which he has created, directed and acted, that these three worlds can be collapsed into one, which is exactly what has happened” (2011). This invariably means that the mono-dramatist cum actor is a multi-talented person blessed with abundant creativity in telling stories, singing, dancing, acting, and creating humour with a good voice. The performers’ main aim is the consideration of their audience in their performance especially as the final consumers, so there is this conscious effort to incorporate certain theatrical components that perform a universal appeal to all categories of audiences.

These playwrights deploy the flashback technique to flesh out the enactment of the story. They also break the fourth wall, directly engaging with the audience to create a more immersive and participatory experience. This technique helps to blur the lines between performer and spectator, making the themes more impactful. As a minimalist type of theatrical performance, the playwrights create plays that utilise minimal costumes, props, sets, and other technical instruments, focusing the audience’s attention on the actor’s performance and the narrative to enhance the intensity of the performance. Aside from being minimalist, the mono-dramatist performer uses music, like the chorus as it was during the ancient Greek era, to create a rapport and spontaneous interaction with the spectators. The dance is a narrative and aesthetic device that helps project the thematic preoccupation of the performance, adding colour to the overall beauty of the performance. 

Some of the playwrights employ the use of proverbs to further enrich the dialogue in the play. These proverbs are quite important in African culture as veritable tools for projecting the authentic values of the people. Employing these proverbs in solo performances helps convey some messages and their meanings in the play and it also assists the audience in assimilating the culture and ways of the people. Finally, these playwrights cum performers use the monodrama as a viable and potent tool to prick the people’s moral sensibility while engaging them in the narrative. This monodrama advocacy aids in the stability, progress and governance among leaders and followers, respectively. The reformist ideology of the mono-dramatists helps prioritise the masses’ freedom from cultural, economic, political, psychological or gendered exploitation and subjugation.

Recommendations

For monodrama text and performance to be appreciated, viable and move from the margins to the centre stage in theatrical practice in Nigeria, especially because of the rapid growth of technology and its accessibility, playwrights and directors should put all hands - on deck to display its power and fortitude, by realizing that though the scripting of the text is personal and its performance is solo in nature, the production of the solo act is not. According to Heddon “the act of solo work does not denote the absence of collaboration” (10). They should acknowledge the fact that this kind of theatre focuses attention on the actor and on how he expresses himself, foregrounding the act of narrative performance. Because monodrama text and performance are malleable, it tends to deconstruct the fourth wall and to map out a space of performative subjectivity. Whilst recognizing that the actor must unconsciously reveal publicly what would have remained private, hence the audience becomes his largest confidante. 

Independent solo productions offer economic benefits, artistic control, and showcase artistic skills. They can help actors establish careers and introduce new forms like the orchestra, according to Binebai “the orchestra is dynamic in contemporary solo theatre practice because, in composition and function, it aids the story through songs and movement” (137). This is because space is crucial for theatricality, and a bit of the main character is essential. It is also an avenue to effectively showcase the artistic skills and talent of the actor who avoids linear narratives and focus on building believable characters to keep the audience interested. 

Conclusion

The narratology of African and Nigerian oral cultures, which aims to reestablish the private lives of various characters as portrayed by the playwright, has a strong influence on the rise of monodrama texts, which are currently popular as both a form of private expression and public speech that alternates between prose and poetry. This gave rise to the monodrama theatre, a self-alienated, multifaceted, politicised, and gendered kind of theatre that places itself at the centre of spectacle. Due to the emergence of stand-up comedy, cinema, and television programmes, its performative and challenging nature in terms of communication and interaction has not been completely addressed. This study proposes that theories like total theatre, the System, poor theatre and minimalism are beneficial and essential for the success of monodrama on African stages.

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