DR MARY AIYETORO

The Recommended Texts for this course are: Sophocles - Antigone

William Shakespeare -Julius Ceasar

J. P. Clark - Ozidi

Wole Soyinka - The Strong Breed

Henrik Ibsen

-An Enemy of The People

Derek Walcott -Dream on Monkey Mountain

Ben Johnson - Everyman in his Humour

Arthur Miller -Death of Salesman

INTRODUCTION (RECAP FROM ENG 113) Background and origin of Drama in English

Drama originated from Greek during the period ofcelebration of Greek god (Dionysus; god of wine andfertility)

There are two school of thoughts:

The first school of thought belief that; drama originatesfrom ritual- A common re-occurrence of an action. Theybelief that ritual originates from Greek tradition whichexhibits an intense ritual rites. These rites are performedby certain special set of people. They also belief thatdrama began with the worship of Dionysus.

Background and origin of Drama (CONTD)

Ritual has a peculiar traits, for example: Impersonation.

Rituals can be sacred and secular.

Sacred is limited in participation while Secular(drama), the audience

participation is large numbers. For examples: Eyo, Masquerade and so

on.

The second school of thought belief that drama and ritual grew side by

side.

They also believe that ritual is too serious to be classified as drama.

Since drama is meant for entertainment and ritual has nothing to offer

when it comes to entertainment.

This school of thought is dominant in Greek tragedy. ( The Dionysus,

religious ceremony, rehearsals were all evolution national festival which

took place annually in Greece. This later developed into full fledged

drama.

BACKGROUND AND ORIGIN OF DRAMAIt is been observed that the dominant school of thought

believed that drama originated from ritual

There is enactment, mystical significance and dramatic

elements such as costuming, impersonation, songs and

music, dialogue (conversation) spectacle in ritual.

People (reader, audience) started to enjoy dramatic elements

irrespective of the ritual reasons and purposes originally

meant to serve.

Gradually, the ritual aspect or significance fade away and

became forgotten, giving way to drama (enactment).

BACKGROUND AND ORIGIN OF DRAMA (CONTD) This is as a result of:

Cultural interaction of different people of the World

overtime.

It became widely acceptable by the public, the unique

“memorable pleasure” which they gave and

professionalisation such as acting, singing drumming

amongst others.

MEDIEVAL PERIOD (TRADITION) ENGLAND After the collapse of the Roman Empire in 474AD, the

Christian church became vehemently opposed to the theatre. Itdid everything possible to destroy theatre because it believedthat theatre is pagan.

Though, the rebirth of drama nevertheless can be traced to thechurch in the Middle Ages.

Period in drama connotes an era in the medieval traditionbetween 9th century to 10th century( 800-900BC)- Originallythe tradition opposed drama activities.

Drama was used as a weapon to unleash terror on Christians.

Christians were caged with animals and were made to fightthem in the presence of a cheering pagan audience.

MEDIEVAL PERIOD (TRADITION) ENGLAND (CONTD) The pagan right ascribed to the origin of drama, the

church kicked against this until Renaissance.

Drama later came to life during the Medieval period.

However, the value surrounding the development of

drama essentially have value of Christian themes.

Christianity was the fundamental foundation of

development of drama.

Gradually, Christian stories were better interpreted in such

away they were enacted(act). Essentially there were three

plays; Mystery plays, Miracle plays and morality plays

DRAMATIC CONVENTION Conventions are necessary or convenient devices widely

accepted by the public and solution provided by a particular

artistic medium in presenting reality.

Convention in term of style

Conventions are identifiable elements

The playwrights try to present life as it ought to be.

However, it is impossible to present real life on stage.

Therefore, they present an illusion as realistic as possible and

the audience accept the devices.

In Elizabethan drama (Shakespearian plays), characters talks to

himself and it is called soliloquy but in real life it is not so.

(except one’s mind is disturbed and it is not for long)

DRAMATIC CONVENTION (CONTD) The dramatic convention of a play production, convention

is that a room has three walls instead of four walls and in

action of a play in which event takes place in various

places, takes place on the same stage (single stage)

Identifiable elements:

Subject matter, form or techniques which occur repeatedly

in works of art; characters, diction, plots, style…

It is not compulsory for the work to conform to pre-

existing convention, what is important is how effectively

the writer make use of the convention.

REVISION OF FEATURES/ CHARACTERISTICS OFGREEK AND ELIZABETHAN DRAMA(TRAGEDY)

Features/ characteristics of Greek tragedy

Characteristics of Elizabethan tragedy

Differences between Greek tragedy (Antigone) and

Elizabethan tragedy (Julius Caesar)

Class Quiz

INDIGENOUS AFRICAN DRAMA The indigenous African society is largely animist, the masquerade or the ancestral cult is

familiar occurrence. The masquerade typifies the ancestral spirit.

Ogundeji (2000: 4-5) asserts that ‘ Masquerading is the most common of ritual festivals in

Africa’

Drama evolved from religious rites, in particular, ritual enactments. Though, another school of

thought believe that ritual and drama grew simultaneously and independently; there are

enactment in rituals, they were not intended for entertainment. ( no true worshipper ever goes

to the shrine with the intention to be entertained)

Ademola Dasylva, argues that ‘Ritual enactments are believed by many to have been informed

by the behavioural instincts of spirits, animals birds and plants, and the host of others.

African drama is peculiar to African culture and can be divided into

Pre- colonial drama

Colonial drama

INDIGENOUS AFRICAN DRAMA (CONTD)

Post-colonial drama

Basically, the existence of African drama is based in history.

African drama has its roots in rituals, this is so because the elements of

drama like characters, costumes, dialogue all eliminated from sacred

rituals and secular rituals.

Afterward, drama revolve in more elaborate theatre. This period is

characterised by the earlier arrival of the colonial masters especially the

South Western part of Nigeria.

Alarinjo theatre (travelling theatre) is a theatre troupe and their activities

incudes dancing, singing acrobatic plays, they moved from one town to

another with the purpose of entertaining their host. Later on, their action

took more definite role with the help of pioneer dramatist or theatrical

practitioners like Hubert Ogunde, Duro Ladipo, Moses Olaiya amongst

others.

POST COLONIAL PERIOD This period is characterised with the heavy incursion

(impact) of Western power (civilisation) Shortly, after thediscovery of Africa.

There was a turn around from what it used to be to what itis now. For example, the likes of Wole Soyinka, J.P Clarkwould have continued to worship Sango, Ogun Obatalabut because of Western education literature wasintroduced and the written form was enacted.

According to Oyin Ogunba (1997) ‘There are three broadcategories in which African drama can be placed:propaganda plays, cultural plays and satirical plays.’

INDIGENOUS AFRICAN DRAMA (CONTD)

Propaganda plays are plays that express political and

sociological issues in the society. For example; Wole

Soyinka’s A Play of Giants.

Cultural plays are attempts to express the necessity for

cultural integration. Wole Soyinka’s The Lion and the

Jewel

Satirical plays help to correct ills deformity in the society.

Femi Osofisan’s Morountodun, William Shakespeare’s As

you like it. Sekyi Kobina’s The Blinkards, though satirical,

it attempt to ridicule certain vices.

Textual Analysis – Critical Analysis of the Recommended Texts Literary text 1 : Sphocles’s Antigone

Antigone is a classical tragedy written by Sophocles around

442BC. Chronologically, it is the third three of Theban plays.

The play expands on the Theban legend that predated a pick up

where Aeschylus seven against seven ends.

Plot structure

Antigone buries her brother, Polyneices against the order of

king Creon. Antigone’s two brothers Eteocles and Polyneices

fighting opposite sides in Thebe civil war, died on the battle

field fighting each other for the throne. The new King of

Thebes, Creon has decided to honour Eteocles and Polyneices

into public shame by leaving his body unburied on the battle

field as prey for animal to devour or feed on.

Textual Analysis – Critical Analysis of Sophocles’ Antigone Antigone goes ahead to bury her brother, Polyneices after

a failed attempt to get her sister, Iseme to help her. Thisgot Creon angry and he ordered that Antigone should beburied alive.

Meanwhile, Haemon, Creon’s son is engaged toAntigone, he persuades his father to spare Antigone butCreon turned deaf ears against his pleas. Tiresias. Theblind warns that Polyneices should be burrried. Creonfinally agrees, but it was too late. Antigone took her life,Haemon followed suit and finally, Eurydices, Creon’s wifealso took her life.

THE SETTING AND MAJOR THEMES IN ANTIGONE The play is set at the palace of Thebes, Ancient Greece

Protagonist- Antigonist

Antagonist- Creon

Themes:

Stubbornness, Disobedience, Suicide, Natural law and

contemporary legal institution, love, State control,

amongst others.

CRITICAL ANALYSIS (CONTD) Literary Text 2:

William Shakespeare’s Julius Caesar

Class presentation; A, B C

CRITICAL ANALYSIS (CONTD) Literary Text 3:

J. P. Clark - Ozidi

Class presentation; D & E

CRITICAL ANALYSIS (CONTD) Literary Text 4:

Wole soyinka’s The Strong Breed

Class presentation; F & G

CRITICAL ANALYSIS (CONTD) Literary Text 5:

Henrik Ibsen - An Enemy of The People

Class presentation; H & I

CRITICAL ANALYSIS (CONTD) Literary Text 6:

Derek Walcott -Dream on Monkey Mountain

Class presentation; J & K

CRITICAL ANALYSIS (CONTD) Literary Text 7:

Ben Johnson - Everyman in his Humour

Class presentation; L & M

CRITICAL ANALYSIS (CONTD) Literary Text 8:

Arthur Miller -Death of Salesman

Class presentation; N & O

CONCLUSION Practical Questions

Revision

Examinations