Creative Arts-Scholarly Publications

Permanent URI for this collection

https://ir.unilag.edu.ng/handle/123456789/3350

Browse

Browsing Creative Arts-Scholarly Publications by Author "Ezenwanebe, O.C."

Now showing 1 - 6 of 6
  • Item
    Open Access
    Conlict And Conflict Resolution On The Stage.
    (Faculty of Arts, University of Lagos, Akoka, Lagos, Nigeria., 2005) Ezenwanebe, O.C.
  • Item
    Open Access
    Feminism & Nigerian Theatre.
    (Grand Orbit Communications & Emhai Press/Port Harcourt., 2005) Ezenwanebe, O.C.
  • Item
    Open Access
    Feminist Consciousness and Nigerian Theatre.
    (2006-04) Ezenwanebe, O.C.
  • Item
    Open Access
    The Language Of Terror And The Terror Of Language In Postmodernist Drama.
    (University of Lagos Press, University of Lagos Akoka, Yaba - Lagos Nigeria., 2008) Ezenwanebe, O.C.
  • Item
    Open Access
    The Representation of Women in Nigerian Theatre:
    (2005-06) Ezenwanebe, O.C.
    The paper is an evaluation of the various forms of representation of women in Nigerian theatre and of the methods used by the playwrights ill representing them, This is aimed at examining the response of Nigerian theatre to the glaring issues of injustice and oppression against women in the society. In order to achieve the above aim, the roles of significant female characters in some selected Nigerian stage plays of Wole Soyinka, J.P Clark, Ola Rotimi, Zulu Sofola, Femi Osofisan, Tess Onwueme', Bode Osoyin, Hope Eghagha, Ahmed Yerima etc will be analysed to find out in whose favour and for whose betterment the characters fight for. Often the characters are made to fight for a general humanist concern or worst still to maintain and perpetuate the traditional practices that oppress them. The argument in this paper is that for a sustainable development of theatre in the present democratic dispensation, theatre must respond to the groaning of Nigerian women under injustice and social oppression as well as their quest for freedom. Nigerian theatre has done well in asserting the dignity of African and consequently Nigerian culture, it is equally doing well in peaking for the masses by repudiating the excesses of men in power, it can equally do the same for women. The task should not be left in the hands of Playwrights (who are mostly women) and theatre artists.
  • Item
    Open Access
    Trauma and the Art of Dramatizing History:
    (Adonis and Abbey Publishers Limited, SE11 4XZ, London, United Kingdom, 2007-09) Ezenwanebe, O.C.
    The literature of any nation is a key to unlock its past, view its present and have an insight into its future. This is because there is an intricate relationship between art and life.Theatre, among other arts, responds more promptly to social issues and events. History is therefore a viable subject matter for drama. The playwright as a social and psychological being is alive to the issues and events, which impinge on his personality and helps to form his conception of the world. This paper evaluates the complex relations of history, psychology and drama. The aim is to critically examine how the playwright demonstrates the influences of traumatic historical experiences as seen in the way he represents them on the stage. The paper proposes that: traumatic history rarely escapes the creative impulse; traumatic experiences shapes a playwright's view of the world and; this can be seen in the dramatic works informed by such events and experiences. To further the above arguments, Wole Soyinka's Madmen and Specialists, a play on the Nigerian Civil War 1967-1970, which is also his personal response to it, is analysed to unravel the relationship between the dramaturgy and the experience. Other relevant materials like his novel The Mall Died, a record of his prison experiences as a result of his role in the war, will also be analysed.