CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
Every literary work has social motive in the society. These literary works are produced by playwrights to reflect their opinion, thoughts, beliefs, ideologies and culture. Odundiran says that it is truism that no playwright or literary work of arts can be devoid of a literary ideology in the presentation of their (his/her) dramaturgy. Every literary work of arts hangs with a perception, idiosyncrasy, and idea to which it communicates to the potential audience and the society in general, (7). Obviously, every playwright be it African or European is imbued with distinct social ideological stance, which they push to transform social changes by disrupting existing norm that are not effective. Odundiran notes that playwrights subsumed with an idiosyncrasy which differs in cultural, political and social, environment and experiences that informs and conforms his ideology, (7).
Social transformation is a function of ideology. Each of every playwright has this distinctive factor. The ideology drives the contents the playwrights generate. According to Louis, “ideology is a system (possessing its logic and proper rigor) of representation (images, myths, ideas or concept) endowed with an existence and historical role at the heart of a given society” (Wikipedia). Drama according to Brown “it involves actions that reflect human life and performed by human being before an audience on stage” (21). Drama in African society at large has become a potent tool for societal reformation, commenting on the decadence of the ills of the society. This platform has taken divergent forms as every drama is built with a distinctive ideological thrust.
However, the essence of a social change and transformation in a literary work of art cannot be over emphasized. The essence is that it directs the view and stand of playwrights to a point of logic discourse and conclusion. Odundiran states that the presence of an social change ideology in the dramaturgy can be traced back to colonialism experience, where African dramatist like Hubert Ogunde use their plays such as; Strike and Hunger, Yoruba Ronu to ridicule the colonialist and to conscientize the masses against the evils of colonialism. These plays are political in nature and carries with it revolutionary undertone and Marxist ideology, (8). Obviously, in the works of Femi Osofisan, Kunle Omotoso, Ola Rotimi, J.P Clark, Wole Soyinka, Zulu Osofia, Ngugi wa Thiong’o exposed a particular dramaturgical modes.
This study will take a cursory look at comparing the two play by Femi Osofisan, who representing the second or new generation who is labeled socialists and therefore critics of the old generation not only for their lack of ideological commitment, but also their opposing ideological thrust that pre occupied their dramaturgies. Osofisan believes and upholds a de- mystifying experience which fosters a communal theatrical paradigm for the interpretation of life. Harry Garuba argues that Osofisan’s dramaturgy is characterized not primarily by a Marxist ideological bent but by a revolutionary aesthetic foisted on a different interpretation of a mythic consciousness in society. In a paper titled Ritual and Revolutionary Ethos, Osofisan explicates his literary vision when he posits that:
The dramatic heritage available to us has simply proved to be inadequate and it is not only that the machinery provided by the old society for dealing with chaos has lost its capacity for total effect, it is also that the very metaphysical raison d’être of that machinery has been eroded with the advent of a new socio-political philosophy. (4)
1.2 Statement of the Problem
It has already been observed that the methods adopted by Nigerians for a social change in Nigeria, namely the use of labour union strike actions, rallies, marches, boycott of government functions, media propaganda and individual activism do not seem to be effective any more. Individual activists and social critics such as Gani Fawehinmi, Wole Soyinka, Ken Saro Wiwa, Fela Anikulapo Kuti, Festus Keyamo, Matthew Kuka, etc., have been suppressed, intimidated by government or killed outright. The struggle for change seems to have introduced new complexities in the social terrain. Most social situations in Nigeria are politically motivated and, to address the root causes, the polity needs be restructured. The method of restructuring is now the issue.
Many scholars have observed that playwrights weighs enormous social change because of their literary works which remains relevant from time to time and reflecting on both old and current social and cultural issues. Based on this background, the study specifically will do a discourse on the social change and transformation on Femi Osofisan’s No More The Wasted Breed and Aringindin and the Nightwatchman.
1.3 Objectives of the Study
The main objective of the study is on the social change and transformation on Femi Osofisan’s no more the wasted breed and aringindin and the nightwatchman while the followings are the specific objectives.
- Construct text analysis of the two play
- Established how the two play cause for social change and transformation
1.4 Significant of the Study
The study is important at this point because of the immerse benefits to students in theatre arts and social critics environment. On the other hand, the study will have academic knowledge that will add to existing literature on the subject matter for the research.
1.5 Scope of the Study
The study focused on the social change and transformation on Femi Osofisan’s No More the Wasted Breed and Aringindin and the Nightwatchman
1.6 Research Methodology
The method of this research is content analysis of text No More the Wasted Breed and Aringindin and the Nightwatchman. The analysis will be on thematic, characterization, plot, e.t.c
1.7 Justification of the Study
Specifically, the need to examine this topic is due to the fact that some exiting works have not done works. It is expected that the study will add to knowledge in Theatre Arts.
1.8 Limitation of the Study
It was observed by the researcher that some challenges were outside the control of the researcher. These are the availability of literary resources and time frame to complete the research which comes together with other school activities. However, the research was able to manager these challenges to a point of completing the research.
1.9 Definition of Terms
Social change: This is the changing the civil social issues that the people do not like
Transformation: This is the process at which social changes are achieved.
Playwright: This is anyone that write play for theatre production and social critics.
1.10 Organization of the Study
The study is organized in four chapters. Chapter one covers the background to the study, statement of problem, objective of the study, significance of the study, scope of the study, research methodology, justification of the study, limitation of the study and definition of the study. Chapter two focuses of literature review while chapter three discussed on the concept of directing, stage and screen and the similarities and differences of directing stage and screen. Chapter four centred on summary, conclusion and recommendations.
