The Director’s craft in the Nigerian Educational Theatre: A Study of Henry Leopold Bell-Gam’s Directorial Approach (Published)
Directing involves the art and craft of coordinating the artistic and non-artistic personnel in a production in order to creatively and effectively communicate to the audience the intended meaning of a play. Dramatists, actors, and theatre managers have all attempted to direct or manage the process of coordinating play production over the years, but it wasn’t until 1874 that the Duke of Saxe Meiningen entered the picture and assumed official responsibility as a director in guiding the affairs of the stage business as we now know it. In this study, the directing style of South South Nigerian educational theater director Henry Leopold Bell-Gam is evaluated. Henry Leopold Bell-Gam directed plays on stage (land) and in the water, according to the study, which used the qualitative research methodology with a focus on the literary/analytical, historical, and sociological methods. The Laissez-Faire method is used by Henry Leopold Bell-Gam to direct his plays. He employs the laissez-faire method, which allows the actors to be at ease so that their greatest work may shine in a production. The study found that in the course of employing or performing his directorial responsibilities, he runs into a number of difficulties, including insecurity in the aquatic environment and scheduling conflicts. The study makes several recommendations, including the need for more research in the field of directing with regard to educational theatre directors in Nigerian universities, the need for scholars to consider Henry Leopold Bell-Gam’s works as viable ones that will inspire further scholarly investigation, and the need for the government to encourage, support, and fund aquatic productions as a means of socio-cultural integration, tourism attraction, and economic boost, particularly for people.
Keywords: Directing, Laissez-Faire, Theatre, aquatic, educational theatre
The Making Of Thunderbolt: A Foray into Tunde Kelani’s Film Technique (Published)
Making a film can be seen as a long process of decision making, not just by the director but by all the specialists who work on his or her team. A great many decisions, however, do affect what we see and hear on the screen. There are the artistic choices made by the film makers. What lights will enhance the atmosphere of a love scene? Given the kind of story being told, would it be better to let the audience know what the central character is thinking or to keep him enigmatic? When a scene opens, what is the most economical, understandable way of letting the audience know the time and place? Which is more dramatic, to show an explosion or just have it heard from off screen? The sum total of all such decisions cumulates in a finished film. In this work, we are going to survey all the aspects of the filmmaking process. Our cases study is Tunde Kelani in his award winning production Thunderbolt. The essay will examine his roles as a film director. How he approaches his art from the pre-production stage to the post production stage. Adopting Stanislavsky method acting that proposes that acting must come from inside. That is, actors should feel what they portray.
Keywords: Decision, Directing, Film, Post-Production, Pre-Production, Production, Screenplay, Specialists