CHAPTER ONE: INTRODUCTION
1.0 Introduction to the Study
It is a proven fact that visual design in the theatre is an important aspect of play production, and stage lighting is among this visual design. The lighting designer is usually called upon to create both the conceptual lighting design and to implement the design in the actual space. This involves deciding which lights to use, where to place them in the theatre, which color gels and which effects to use in a play production, as well as the practical knowledge of how to hang the lights and cue the show.
This study explores the new dimensions involved in the techniques of lighting and the impact on contemporary play practice. This research is an attempt to highlight the impact of the distribution of light on a perceived space. It will also address the impact of conceptual awareness and the physicalcomponents of the lighting design in Nigeria; with other elements of non-physical or physical environment including the personnel, schedule (Cue), scenic components and play space.
1.1 Background to the Study
The primary concern of this study is to discuss analytically as well as critically the important role stage lighting plays in a play production and to suggest better ways to improve the application of stage lighting in Nigeria theatre. According to Nigeria Theatre history, "Nigerian theatre goes back to the numerous ceremonies, religious rituals and community festivals that define the existence of the people. The tradition of play performances, in both form and substance, evolved from these festivals and rituals. To study the development of Nigerian theatre, therefore requires an understanding of the nature of the Nigerian societies, the customs, the social phenomena, structures and values that characterize the societies, and the various cultural identities of the people" (Afuekwe 1992:19). The beginning of the modern Nigeria theatre practice used indoor spaces – the school hall, village hall, multi-purpose civic centers – for their production. At this time, Technical Theatre practice witnessed a lot of quackery especially in selected areas. There was a total absence of well-organized technical theatre unit. A quack in stage lighting may be content with one or two 60watts A-lamps or a two-feet long fluorescent tube powered by electricity as the only source of illumination. The later innovation of using red, blue, green and open white A-lamps was seen as highly sophisticated and very innovative. However, the electrician who doubles as the lighting man, and operated the switch system, probably may know next to nothing about the play. The years between 1970 and 1990 were very remarkable in the history of theatre and technical theatre practice in Nigeria. Many University theatres were built to service the academic curriculum and the production needs of new departments of Theatre Arts created. The University of Ibadan Arts Theatre, notably the first of such modern theatre buildings of her time was opened in 1955 to become the center and hub for producing the first and the second generations of technical theatre personnel in this country. The first scene shop, with professional stage carpenter, dressing room, costume room, sound systems, conventional theatre lighting and control systems, came into existence. The control room, a standard stage with stage draperies, traverse house tab, stage dips, and cyclorama as related tools and equipment for technical theatre training and production were installed. More theatre buildings are; The Oduduwa Hall of the University of Ife (now Obafemi Awolowo University), Ile – Ife, the two theatre auditoriums of the University of Lagos, the University of Calabar Arts Theatre, The Crab of the University of Port Harcourt; the University of Nigeria Nsukka, Theatre Complex, the Ahmadu Bello University Mud Theatre as well as the University of Jos Open-Air Theatre; all came into existence within this period. The National Theatre Iganmu, Lagos, as one of the most magnificent edifices in Africa with its sophisticated technical theatre equipment and mechanical and electro-mechanical devices was completed to host FESTAC ‘77 (the World Black Festival of Arts and Culture, Jan. 15 – Feb. 12 1977). Some state owned theatres, cultural centers were also built within this “great theatre age in Nigeria”. The Oyo State Cultural Centre Theatre, Ibadan, The Bendel State Arts Council Theatre (now Edo) in Benin, and the Cross River State Theatre Complex and Mini Theatre in Calabar, the Benue State Isa Kontogora Theatre followed soon after. Private theatre houses were also built in Owerri, Lagos, Ibadan and Calabar among others. The point that needs to be made very clear is the relationship between these formal theatre buildings and the development of technical theatre in Nigeria. This study hopes to serve as an important document that can be used as reference to theatre practitioners and the society at large.
1.2 Problem of the study
The major focus of this study is to discuss, analyze as well as critically the significant role stage lighting plays in a play production and to suggest better ways to improve the application of stage lighting in Nigeria theatre. According to Nigeria Theatre history, "Nigerian theatre goes back to the numerous ceremonies, religious rituals and community festivals that define the existence of the people. The tradition of play performances, in both form and substance, evolved from these festivals and rituals. To study the development of Nigerian theatre, therefore requires an understanding of the nature of the Nigerian societies, the customs, the social phenomena, structures and values that characterize the societies, and the various cultural identities of the people" (Afuekwe 1992:19). The beginning of the modern Nigeria theatre practice used indoor spaces – the school hall, village hall, multi-purpose civic centers – for their production. At this time, Technical Theatre practice witnessed a lot of quackery especially in selected areas. There was a total absence of well-organized technical theatre unit. A quack in stage lighting may be content with one or two60watts A-lamps or a two-feet long fluorescent tube powered by electricity as the only source of illumination. The later innovation of using red, blue, green and open white A-lamps was seen as highly sophisticated and very innovative. The study seeks to analyze the significance of stage lighting in a play production in Nigeria.
1.3 Aim and Objectives
This research aims to explore the significance of stage lighting in a play production in Nigeria.
- To evaluate the aesthetic tendencies of stage lighting
- To explore the new dimensions involved in the techniques of lighting and the impact on contemporary theatre practice in Nigeria.
- To examine the importance of stage lighting, in terms of mood creation, aesthetics, interpretation of identity of other elements and establishment of atmospheric condition.
1.4 Research Questions
- What is the significance of Modern stage lighting in a play production in Nigeria?
- What are the aesthetic tendencies of stage lighting?
- What are the new dimensions involved in the techniques of lighting and the impact on contemporary theatre practice in Nigeria?
- What are the importance of stage lighting, in terms of mood creation, aesthetics, interpretation of identity of other elements and establishment of atmospheric condition?
1.5 Research Hypothesis
HO: There is no significant impact of stage lighting in a play production.
H1: There is a significant impact of stage lighting in a play production.
Level of significance: 0.05
1.6 Significance of Study
This research is significant as it explores and documents new and emerging techniques and technology in stage lighting.
The study is significant because it widens the base of knowledge that lighting designers and theatre students can refer to in Nigeria.
1.7 Scope of the study
The study will focus on significance of stage lighting in a play production. The study is not limited to just stage lighting.
This research uses selected literary materials (textbooks, journals, articles, thesis, pictographic and so on.), Interviews and Observation.
1.8 LIMITATION OF THE STUDY
The Major Limitations of the study are:
Cost Limitation: There was a cost limitation. This means that we could not offer any gift or monetary incentives for the respondents to answer the questionnaire. This might have resulted in certain prospective respondents choosing not to respond to the questionnaire. This might not have created a motivation among respondents not to take a chance to give opinions.
Time Limitation: There are two types of time limitation faced during the study. The study was done for a period of election. Hence the results would reflect the impact of the time constraint. The insights of the respondents were observed during the period of study. A more extensive study conducted over a larger time period or during a special period of time like when there were higher numbers of issues.
