Two performances two-worlds: Dapo Adelugba's directorial intervention in Soyinka's kongi's harvest and Sotuminu's “the onion skin” considered

Abstract

Starting from his general pervading directing experience on the Nigerian stage in relation to his styles and techniques, this article, through the participant-observation and deductive methods focuses on the directorial intervention and creative inventiveness of Dapo Adelugba in Wole Soyinka's Kongi's Harvest and Debo Sotuminu's “The Onion Skin.” The study draws attention to the Dapo Adelugba's school of directing that has been regarded as “Daoduism or Adelugbaresque” as a mercurial icon and investment in excellence in play directing through good speech production, democratic creation of composition and picturisation, intensive rehearsals, development of the performers and deliberate effort on actor's training and the cultivation of repertory theatre style. Having underscored the essentiality of the above addictives and ingredients in any good performance, the article concludes that they should be re-invented and transformed for use in the play directing process in the contemporary Nigerian theatre.

Keywords: Dapo Adelugba, Nigerian theatre, Kongi's Harvest, Daoduism, “The Onion Skin”, Directorial Intervention