Communicating Character Through Costumes in the Stage Presentation of Benedict Binebai’s Legend of Egbesu (Published)
This study examined the role of costumes in communicating character in the stage production of Benedict Binebai’s Legend of Egbesu at the Niger Delta University Arts Theatre. Using a semiotic framework, the research analyses how costumes function as signs that convey character roles, social status, and cultural identity. The study employs historical, sociological, and literary methodologies, including participant observation and content analysis, to explore how the choice costume enhances character portrayal and narrative development. The findings reveal that costumes have a significant impact on audience perception, establishing character traits even before dialogue is spoken. The study also highlights the importance of culturally informed costume choices in promoting understanding and engagement with the play’s themes. Recommendations for future theatrical productions emphasize the need for careful costume design to reflect the performance’s sociocultural contexts and enhance the characters’ non-verbal communication
Keywords: Character, Costume, Cultural Identity, Performance, communication, makeup
FROM TEXT TO PERFORMANCE: THE COSTUMIER VERSUS OTHER PERSONNEL IN THE THEATRE (Published)
The basis of this paper lies in the seeming misconception that clothing the actor is the sole responsibility of the costume designer. There are two components associated in the performing arts especially in the theatrical circle; the text and performance. In the text, the playwright puts his ideas together in the literal form and combines, among other things, dramatic elements and spectacle, logically applied to provide a more analytical coordination and also enable the text become intellectually appealing. Though, the onus of interpreting the text to create a character in a performance rests with the director, actor/performer, and designers (costume, make-up, set and light) it is envisaged to be the exclusive duty of the costumier. Using some theories, analysis and interpretation this paper shows how the costumier who, though directly associated with the clothes of performers, achieves this in conjunction with other personnel, especially the light and set designer. Ultimately the study contributes to our understanding of the critical examination for the aesthetic and intellectual intent of a text and the needed collaboration of theatre personnel in creating a believable character. It also makes a contribution to the on-going debates on why some characters are often (mis)represented in some stage/video/film productions.