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Impersonation in Some African Ritual and Festival Performances

Published online by Cambridge University Press:  15 January 2009

Sam Ukala
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Abstract

Few studies of African ritual and festival performance have been written from a theatrical perspective, and Sam Ukala believes that the richness of such events has yet to be fully explored by African dramatists – while most of the western paratheatrical experiments derived from them have been influenced more by anthroplogical models than aesthetic principles. In pursuit of a dramaturgical approach to the study of African rituals and festivals, he focuses on the role and nature of impersonation in these events, and examines the relationship between the forms, objectives, and contexts of the performances and the kinds of impersonation to be found in them. Distinguishing between the western actor and the African role-player, and between ‘intense impersonation’ and possession, he suggests also some generic parallels between western theatre and African performance. Sam Ukala is a Professor of Drama and Theatre Arts at Edo State University, Ekpoma, Nigeria. A theatre director and playwright, his published plays include The Slave Wife, The Log in Your Eye, Akpakaland, The Trails of Obiamaka Elema, Break a Boil, and Two Plays: The Placenta of Death and The Last Heroes. In 1998–99 he was resident writer and director at Horse and Bamboo Theatre in the United Kingdom, where, with Bob Frith, he wrote and directed Harvest of Ghosts, a first experiment with wordless visual theatre, an extension of his preoccupation with ‘folkism’, a dramaturgy based on folk compositional and performance aesthetics formulated in his article in NTQ47 (August 1996).

Type
Research Article
Information
New Theatre Quarterly , Volume 16 , Issue 1 , February 2000 , pp. 76 - 87
Copyright
Copyright © Cambridge University Press 2000

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