KWARA STATE UNIVERSITY, MALETE

The Green University for Community Development and Entrepreneurship

FACULTY OF ARTS

THE DEPARTMENT OF PERFORMING ARTS AND FILM STUDIES

COURSE CODE: PFA497

COURSE TITLE: SPECIAL PROJECT I [PRACTICAL]

SECOND VIVA
BY

GROUP 7

SEGUN OLUJOBI’S Agboungboro

PROJECT SUPERVISOR:

MR. MUSILIYU O. SANNI

 GROUP MEMBERS

S/N NAME PORTFOLIO MATRIC. NO

1 Ore Damilola Choreographer 20/27vp/00386

2 Ifeoluwa Adeyo Stage Manager 20/27vp/00366

3 Ayomide Adeboye20 Business & Publicity 20/27vp/00381

Manager

4 Fathia Salami Make-up Artist 20/27vp/00431

5 Taoreed Morenikeji Sound Manager 20/27vp/00426

6 Bolaji Folorunsho Set & Light Manager 21d/27vp/00491

7 Adekunle Sylvester Props Manager 20/27vp/00384

Omotola Oluokun Costumier 21d/27vp/00486

 TABLE OF CONTENTS
Chapter One – General Introduction and Choreographer’s file
Chapter Two – Stage Management in Agbogungboro
Chapter Three – Costuming in Agbogungboro
Chapter Four – Makeup in Agbogungboro
Chapter Five – Sound in Agbogungboro
Chapter Six – Publicity and Business Management in Agbogungboro
Chapter Seven - Set and Light designing in Agbogungboro
Chapter Eight - Props Management in Agbogungboro
 CHAPTER ONE
GENERAL INTRODUCTION
1.1 Introduction

We are group 7 presenting Agbogungboro (The Legend of Ogedengbe) by Segun Olujobi

as our PFA 479 (Special Project), in partial fulfilment of the requirements for the award of B.A

(Hons) in Performing Arts.

1.2 Synopsis of Agbogungboro

Agbogungboro, The Legend of Ogedengbe revolves around a child who was a born warrior.

Due to the torment and oppression of the Ibadan warriors against the Ijesha people, from

consultation, Ifa revealed that a child would be born to liberate them from the wicked hands of the

enemy. It comes to pass and the child grows up to be a strong warrior. He is not a match for any

of his mates. This wicked act of the Ibadan warriors affected Ekiti and at a point in the libretto, the

Ajele raped the wife of a warrior, a prince of Ekiti, his killing led to the war. Ogedengbe is

consulted to help fight. He does so and saves the people by killing the generalissimo of the Ibadan

warriors, thereby fulfilling prophecy.

1.3 About the Librettist

Olusegun Olujobi was born on the 25th of March, 1985 in Ibadan. He had his primary

education at Ise-Oluwa Montessori School, Ibadan. He proceeded to his secondary school

education at Abadina College, UI (Ibadan), Oyo State, Nigeria. Olujobi had his B.A. and M.A.

degrees from the Department of Performing Arts, University of Ilorin in 2010 and 2018

respectively.
Olusegun Olujobi’s parents were against his choice of Performing Arts at first because he was in

the sciences. But when they saw the passion, they came on board with him, especially his mom.

She was his number one fan. His mother’s name is Abimbola Egbedokun, while his Father’s name

is Chief Tunde Egbedokun

1.4 Genre of Agbogungboro

Genre can be said to be the art of categorising a written piece of art. These genres are

comedy, satire, tragedy farce, burlesque etc. In literature, some work may fall into more than one

genre; this however depends on the director’s vision where the realisation of the stage play is

concerned. The play Agbogungboro: The Legend of Ogedengbe is a melodramatic dance theatre.

Melodrama is a theatrical genre that involves the struggles between good and bad. Latoosa

advocated for bad and Agbogungboro advocated for a good course.

1.5 Sociological Relevance of Agbogungboro

The play satirizes Latosa, a warlord who kept on oppressing the people of Ijesha and is

related to how the government oppresses the people. The society needs people who can stand up

against police brutality, corruption amongst other odds. The play is relatable to Nigerian society

as it reflects the situation of Nigerian citizens, as oppressed due to brutal government. Hence, there

is a need for Agbogungboro's in our present Nigerian society. We need to live in one accord and

fight for peace is Segun Olujobi’s conclusion and recommendation in his Agbogungboro.
1.6 Character Analysis of Agbogungboro

Talking about character in a play means the imaginary human being in a play. A playwright

builds a character through age, mannerism, carriage, line rendition, intonation, attitude, behaviour,

stature, height etc. Therefore, every act in a play text can be referred to as character and the act of

building a character is known as characterization.

1. Ogedengbe: He is a brave, strong and agile young man who was born to save his people from

the hands of Latoosa. However, he is a stubborn and spoilt child who makes sure he looks for

trouble wherever he goes. This does not distract him from his duty to save the people from the

hands of the enemy. He is a young man of 25 years. His real name is Orisarayibi Ogunmola. In his

history, he was given the name Agbogungboro Ogedengbe as a nickname due to his strength,

valour and ruggedness.

2. Latoosa: Latoosa is the generalissimo of the Ibadan warriors. He is an embodiment of hatred.

He is fierce, straight forward and vengeful. He is the sworn enemy of the Ijesha and Ekiti people.

Latoosa oppresses, kills, and enslaves people.

3. Ajele: Messenger of the great Ibadan warlord, Latoosa. He is more like his dog who does

whatever he is told and takes advantage of that the privilege of the position he holds. He troubles

the people of Ijesha. Ajele is the cause of the war that ensued between Ibadan and Ekiti Parapo at

the end of the play because he raped the wife of an Ekiti warrior prince and got killed by the warrior

prince, Fabunmi and that led to Latoosa getting angry and sending a message of war to Fabunmi.

4. Olokunlaaro: She is a young lady and a maid in the house of Latoosa who admires Ogedengbe

very much right from when he was captured as a slave in the house of Latoosa. She risked her life

to save him and helped him to escape from the hands of Latoosa, the enemy.
5. Fabunmi: Fabunmi is a young warrior prince from Ekiti. His wife was raped and with anger,

he fought and killed the man that raped his wife on the spot. He also led the war as the leader of

the Ekiti Parapo, however he was no match for Latoosa.

1.7 Plot Structure of Agbogungboro

Watson (1990, p. 210) explains that “a plot should have a beginning, middle and end; the

plot must be the same length which allows hero (character) by a series of probable or necessary

stages to pass from misfortune to happiness or happiness to misfortune”. ‘Plot structure’ refers to

the patterns of the events of a story form. Some cite Aristotle as one of the first writers to codify

story structure. He wrote in his Poetics (though in specific reference to tragedy) that every story

should have a beginning, middle and end – our most basic ideas of structure. Plot is the series of

events that make up your story, including the order in which they occur and how they relate to

each other. Our play is linear although with a touch of a flashback.

The Linear Plot

The linear plot (sometimes also called dramatic or progressive plot) presents actions or

occurrences chronologically. It typically starts with an exposition (or introduction to the setting

and characters) and the conflict. After that, the rising action follows which leads to a climax. Soon

after the climax, falling action emerges which brings the reader to the resolution.

Flashback Plot

A flashback plot presents actions or occurrences inconsequentially so that the author can

deliver information about events that occurred earlier. It allows the author to begin the story in the

middle of a high-action point, and flash backwards to provide backup to it. Such a backstory helps
the readers get a full understanding of the present events before going to the upcoming events.

Flashbacks can occur more than once and in different parts of a story.

1.8 Thematic Pre-Occupation of Agbogungboro

In contemporary literary studies, a theme is a central topic, subject, or message within

a narrative. Oxford English Dictionary (2012, p. 1056) suggests that themes can be divided into

two categories: a work's thematic concept is what readers "think the work is about" and its thematic

statement is "what the work says about the subject". The thematic preoccupation in Agbogungboro

are;

War: War was a major tool used to settle disputes in production. War played a pivotal role as it

showed both the strength of the main character himself and the defeat of the major enemy, Latoosa.

Attack: The Ibadan warriors occasionally attacked the Ijesha people from time to time and even

stole the crown of the king of Ijesha. This provoked them to seek the face of the gods who revealed

that a child would be born that would deliver them.

Rape: This was the major cause of the war. Ajele raped Fabunmi’s wife. The Ekiti prince got angry

and killed Ajele.

Death: The death of Ajele caused Latoosa to get angry and send a guard to give Fabunmi an Aroko,

a symbol of war.

1.9 Settings of Agbogungboro

Setting in literature is the location and time frame in which the action of a narrative takes

place. The setting is of great importance in Émile Zola's novels, for example, because he believed
that environment determines character. In some cases, the entire action of a novel is determined

by the locale in which it is set. The setting in terms of time, period, or locale can be mentioned,

implied or in the text. Setting is the time and place an author chooses for a literary work. A setting

can be a real time, period and geographical location or a fictional world and unfamiliar period. The

setting also includes the physical landscape, climate, weather, and societal and cultural

surroundings that serve as a backdrop for the action. The setting is revealed through

the exposition of a story.

Our dance is a traditional Yoruba setting.

The Legend of Ogendengbe is set in a rural settlement, revealing the palace (the whole

village is being represented here, as the librettist reveals, including its leaders, the king and chiefs),

and most especially a bush path as the most commonly used location in the libretto. Also, being a

play that dates back to history, all we needed were names from the performances. Ogedengbe,

Latoosa, Ajele, Fabunmi are historical characters from the 1820s. Therefore, it is seen that the

libretto is an 18th-century play. The title Ajele was used during those times as well which is another

factor that revealed that the play is an 18th century setting. In the actualisation of the play, the

choreographer is using his liberty to present the play under the 20th-century to avoid limitations

and restrictions and also for aesthetic purposes.

Three different towns were covered in this place as setting. Ijesha where Ogedengbe was

born and she grew up as well as where the king’s crown was stolen. Another town is Ekiti where

Fabunmi whose wife was raped by the ruthless Ajele from Ibadan and eventually killed by

Fabunmi himself and finally Ibadan where Latoosa, Ajele and his warriors hailed from. They were
the set of people who kept on causing havoc but were eventually defeated by Ogedengbe and the

Ekiti Parapo warriors.

1.10 Choreographic Interpretation

Choreographic interpretation is the feeling of a choreographer towards the genre, theme

and content of a dance script. Hodge (1993, p.92) sees Interpretation as a ‘scenario attempt finding

an author’s idea in a play and rendering them honestly and appropriately through the theatre art’.

A choreographic interpretation is a word or statement from a director which embodies the meaning

of a play hidden within it. One has to interpret a play adequately because many things are attached

to the interpretation. The success of the production hangs on the interpretation of the play because

it is what the director feels will be presented on stage for the audience. Consequently, the

choreographic interpretation of the libretto Agbogungboro, The Legend of Ogedengbe is; The

Liberation of the weak from the hands of the Oppressor. Liberation is the action of setting someone

free from imprisonment, slavery, or oppression; release.

1.11 Choreographic Styles

Style is referred to as a manner of doing and presenting things. Akinwale (2000, p.115)

states that ‘style is difficult to define because it has been used to designate various concepts. He

affirms that ‘even plays of the same type vary considerably, and style is one of the casual organisms

of this variety’. He says that ‘style is a quality which results from a characteristic mode of

expression or method of presentation’. Therefore, style is a specified pattern or way of doing

things. More so, the particular style in a production is determined by the manner of representation

of the playwright, style is therefore the concept and techniques which a director devices to present

his play to the audience. There are several production styles used in the theatre. These styles of
production include Naturalism, Realism, Expressionism, Impressionism, Symbolism, Didacticism,

Dadaism, Surrealism, Modernism, Post-modernism and others. However, for this work, the

production styles that will be adopted are Symbolism and simplified realism.

Symbolism

Symbolism is the art or practice of using symbols, especially by investing things with

symbolic meaning or using visible or sensuous representations such as; artistic imitation or

invention that is a method of revealing or suggesting immaterial, ideal, or otherwise intangible

truth or states. The use of conventional signs in the representation of divine beings and spirits.

Simplified Realism

In a bid to avoid extremism, restricted realism comes into being. This avoids the use of

total technical properties on stage in order not to get the stage choked and to aid the actor’s free

movement on stage. Simplified realism gives room for a director or choreographer and his crew to

play upon realistic elements to suit the production of an aesthetically pleasing theatrical

performance by the group. This, in essence, explains the selection of those things that are important

and that will portray the places you intended to show on stage as a designer. For instance, to portray

an office, you can put a chair, a table and a filing cabinet to depict an office. This furniture will aid

actions.

In other words, to avoid extremism in the use of realism, there is a need for restricted or simplified

realism. Because of its budget-friendly features and ease of realization, this style of production

will be adopted for the dance production of Olujobi Olusegun’s Agbogungboro: The Legend of

Ogedengbe.
1.12 Choreographic Concept

The concept is a “one-word thunder” striking the whole performance. It is an abstract word

that summarizes the message, the artistic work, theatrical elements and the creativity that the

choreographer uses in a production. A libretto may have many concepts, but it is the responsibility

of the choreographer to settle for which one dominates others. Subsequently, the abstract word that

runs through Agbogungboro, The Legend of Ogedengbe is liberation, the action of setting someone

free from imprisonment, slavery, or oppression; release. "the liberation of all political prisoners

1.13 Choreographic Images

Images are mental pictures formed in the mind of a man. Choreographic images are the

words that come to mind from the directorial interpretation of a play which brings the director’s

concept into clarity. Choreographic images create an imaginary mind picture, images used in the

directing of this liberator includes the following below. Therefore, choreographic images are the

physiological pictures of events which dominate the production of a play. Choreographic images

are the feelings and impressions that the director wants to create in the mind of the audience.

Therefore, the choreographic images to be employed in the dance production of Agbogungboro,

The Legend of Ogedengbe include the following:

Strength: This image was established in the fourth scene of the play where Ogedengbe joined his

friends in a friendly fight. He fought with them and floored them effortlessly. Another scene where

his strength is displayed is the first war scene where Latoosa deliberately sends Ajele to take

Ogedengbe to the war just for him to be killed. They took him to the war and abandoned him, but
the enemy was unable to beat him due to his strength and eventually, he beat the enemies and

chased them away.

Conflict: This image was established in the first scene when the Ibadan warriors came on stage to

attack the festival and stole the crown of the OWA OBOKUN ADIMULA OF IJESHALAND.

Another conflict was shown In the farm scene where Ajele raped Fabunmi’s wife which eventually

led to the final war between Ibadan and Ekiti Parapo

Death: The image of death was recorded at the festival scene when Ajele came to attack and killed

a man who tried to save his wife been taken away by Ajele. Another image of death was displayed

in the farm scene where Ajele raped Fabunmi’s wife. Fabunmi came in angrily and eventually

killed Ajele. Latoosa in the last war scene who was the major problem of this play was eventually

killed by Ogedengbe.

Culture: The image of culture was displayed in the festival through different cultural dances and

the dresses worn for different dances. These cultural nuances were evident and displayed in the

Iwude festival in the first scene of the play

Celebration: The image of celebration comes after the war between Ibadan and Ekiti Parapo has

been won, because after victory, comes celebration. The Ijesha along with the Ekiti people came

together to celebrate the victory of the war in the last scene.

Confrontation: The Ibadan warriors came to the palm wine scene where the Ipaye boys and

villagers were having fun and disrupted their fun, attacking the Ipaye boys. There was a

confrontation between the Ipaye boys and the Ibadan warriors. Another confrontation is the fight

between Fabunmi and Ajele because Ajele raped his wife. Finally. There was a confrontation in
the last scene between Latoosa and Fabunmi who was almost killed as well as Fabunmi and

Ogedengbe who eventually killed Latoosa

Anger: The image of anger was evident also in the rape scene which led to the fight between Ajele

and Fabunmi. Another scene where this image was shown is the scene where the body of Ajele

was brought in and he discovered that he was killed by Fabunmi and this led to the final war

Pain: This is the scene where Latoosa uses a knife to draw tribal marks on Ogedengbe’s face.

Fear: The image of fear was captured in the first scene where the Ibadan warriors came on stage

and some villagers ran away due to fear from the invading warriors. The same happened when the

villagers scampered for safety as the Ibadan warriors raided the villagers in the palm wine scene.

Also, fear was shown when Fabunmi went to seek the help of the Ifa with the Aroko in his hands

to help him out as he was scared of fighting Latoosa alone.

Power: Power is a major fault during the reign of Latoosa before his death. He was powerful

enough to order his warriors to send his warriors to go and take the crown of the king of Ijeshsa.

Power was shown when Iku came to the war eventually at the last war scene to empower the

weakened Ogedengbe who was almost defeated by Latoosa.

 CHAPTER TWO
(Stage Management in AGBOGUNGBORO by Segun Olujobi)

2.1 Who is a Stage Manager?

Stage management requires a general understanding of all aspects of production and

provides complete organisation to ensure the process runs smoothly and efficiently. A stage

manager oversees sets, props, lights and sound and calls all technical cues during a performance,

also facilitates communication between the various technical departments, the actors and the

director. Written and verbal communication skills are important skills needed by the stage

manager. It is important for the stage manager to have good communication skills to be able to

communicate with the cast effectively. A stage manager serves as a psychologist and must

understand the cast. To do that, the stage manager needs to communicate with the cast and also

provide support by taking care of the welfare of the cast.

2.2 Responsibilities of a Stage Manager

 Maintaining orderliness in rehearsal: The rehearsal venue must be quiet and free from noise

and it is the job of the stage manager to make sure that the rehearsal venue is noise-free to

prevent distractions when the director is working.

 Having a proper time schedule and location of rehearsal: The stage manager is to create a

schedule that will be easy for both the actors and crew to attend the rehearsal and also,

rehearsal location should be communicated to the actors before the day in order to avoid

delays during rehearsals.

  Having a detailed recording of the blocking given by the director: The stage manager needs

to have a blocking sheet used to record the placement of characters on stage and also to

change it in case of any changes made by the director.

 Preparing of cue sheet: The cue sheet is introduced so it can help the actors to know the

next scenes or next activities going on stage. The cue sheet entails the list of scenes and the

order of going on stage.

 First aid and emergencies: It is the duty of the stage manager to give first aid to any injured

cast, but if it is an emergency the stage manager is to call the school clinic.

 Cleanliness of the stage: The stage manager must prepare the stage before rehearsal to

avoid any accidents that can happen.

 Welfare of the cast: It is important that the stage manager takes care of the welfare of the

cast, for example, giving water and refreshments are ways of taking care of the welfare of

the cast.

 Prepare scripts for distribution: The stage manager is responsible for picking and

distributing the script to the cast and crew

2.3 Required Skills of a Stage Manager

Below are the required skills to be an ideal candidate for a stage management role:

 A good communication skills and high-standard organizational skills

 A psychologist, a listener and a good negotiator of labour

 A confidant, responsible and having the ability to make decisions

 Ability to be able to work under pressure

2.4 Auditioning and Casting for the Production of Agbogungboro

The Audition process for the PFA 497 20243 Academic Session started 4th of March till

the 5th of March 2023. The audition for AGBOGUNGBORO (the legend of OGEDENGBE) took

place on the 5th of March, Tuesday within the hours of 12 pm – 2 pm, after the audition process

the names of the actors were compiled by the crew members and it was sent to the supervising

authority for approval and it was released some weeks after the audition has been conducted.

2.5 Rehearsal Plans for the Production of AGBOGUNGBORO by Segun Olujobi

It is the duty of the stage manager to run and schedule rehearsals. As the stage manager, it may be

necessary to note the choreographer's decisions about stage blocking, which

are to:

i. look out for the dancers’ singers’ and actors’ psychological well-being;

ii. be observant so that cast members can participate actively during rehearsals;

iii. be available for cast welfare both during the rehearsals and performance; and

iv. create a prompt book that will guide the cast and crew members during the rehearsal.

2.6 Pre-show, Performances and Post-Production plans for the Production of

AGBOGUNGBORO (the legend of OGEDENGBE) by Segun Olujobi.

As the stage manager, we intend to supervise all pre-show activities like checking of the

sound equipment, warm-ups for the dancers and also to supervise every technical equipment to

ensure that there is no problem, safety checks and to ensure that all the dancers have taken their

cues. And also to prepare the cue sheet that will help the dancers and also a t sheet that will be a
guide for the light and props manager and assist the costumier and makeup artist to make sure that

all dancers and cast members are in their costumes and makeup and also to be at the right place at

the right time. After the production, it is the duty of the stage manager to make sure that all props

and costumes used are returned to the costumier and props manager and also everything used

during the performance is probably returned to the managers of those equipment.

2.7 Crew Members

S/N NAME PORTFOLIOS PHONE NO.

1 Ore Damilola Choreographer 08086910538

2 Ifeoluwa Adeyo Stage Manager 08130588605

3 Ayomide Adeboye Business Manager 09126830414

4 Fathia Salami Make-up Artist 08130098678

5 Taoreed Morenikeji Sound Manager 09064627232

6 Bolaji Folorunsho Set & Light Manager 07018199738

7 Adekunle Sylvester Props Manager 08161429906

8 Omotola Oluokun Costumier 08100164055

2.8 Rehearsal Process and Schedule

After the audition, some key duties were expected of me as the stage manager. These were

rehearsal scheduling, and contacting the crew and cast members with information about the

rehearsal schedule (location and time). A timetable was created in which nine groups were planned

to rehearse separately (three groups per day). My group (Group 7) rehearses four times a week, on

Tuesday, Wednesday, Friday and Saturday, each rehearsal runs for 2 hours per day.

As the stage manager, these are some of my duties during the rehearsal process:

 Assemble all cast members and record attendance after the rehearsal;

 Record blockings on stage;

 Record any changes made to the script;

 Prompt the dancers and singers when it is required;

 Maintain orderliness and quietness during the rehearsal and make sure that there is no use

of cell; phones or other electronic devices in order to prevent distraction;

 To assist the choreographer with the musical Aspect of the production;

 To keep the director and other crew members informed of the rehearsal time and location;

and

 To give out important information required for the rehearsal period.

 2.9 Cast Members
NAME ROLE PHONE NO. ADDRESS

Abdumalik Ismail Agbogungboro 09158882993 SAFARI

Abubakar Muhammad Lotoosa 09028058706 WESTEND

Osibogun Medinat Maiden dancers 09054030766 SAFARI
Babatunde Tosin // 08145346625 SAFARI
Akeredolu Tofunmi // 09034161127 WESTEND
Ololade Olumuyiwa // 08084235441 SAFARI
Shijuola Oladipo // 07038906665 SCH.GATE
Hope Christopher Ekiti dancers 08143694595 SAFARI
Adewole Folusho // 07025383408 SCH.GATE
Benson Blessing // 09122832218 SCH.GATE
Popoola Gift // 07023541595 WESTEND
Olaniyan Okikiola // 07045674499 SAFARI
Bamijoko Adesewa // 08050769024 SAFARI
Ayotunde Damilola // 08097645375 SAFARI
Ifeoluwa Ayodele // 09139992519 WESTEND
Olowu Titilope Chief 08131090688 WESTEND
Abimbola Feranmi // 07067536275 SCH.GATE
Atoyebi Yusuf // 09157450118 SCH.GATE
Afolami Pelumi // 09134567286 SAFARI
Blessing Emmanuel Pregnant woman 07087939163 SAFARI
Inioluwa Babasola // 08075371523 SAFARI
Adebayo Oluwakemi // 08134527821 WESTEND
Joel Oladokun King 09082998143 WESTEND
Kehinde Esther Fishermen dancers 07056437843 SAFARI
Ileola feranmi // 07015269778 SAFARI

Samod shodunke // 09078567843 WESTEND

Amechi Solomon // 09091077105 SAFARI
Abdullahi Abdulquadri Ogun dancers 09078781573 SAFARI
Arowolo Dayo // 07067675231 WESTEND
Olabamiji Olayinka // 08156567254 SAFARI
Oluwafemi Owotoki // 08134563232 SCH.GATE
Kayode Favour // 08167546743 SAFARI
Abiodun Opeyemi Idris Masquerade dancers 08079796122 SCH.GATE
Ajewole Seyi Ajele 07087880251 SCH.GATE
Yakub Fatimah Ibadan Warriors 09162786142 WESTEND
Lazarus Precious // 09026689692 SAFARI
Fabunmi Ayomide // 07026685879 SAFARI
Alao Roqeeb // 09132456457 SAFARI
Aworinde Oladunni Ifa 08028875998 WESTEND
Lawal Ayantola // 09123435465 WESTEND
Ayotunde Oluwadamilola Ifa dancers 07076656798 SCH.GATE
Okedele Taiwo // 09134543245 SCH.GATE
Akibu Esther // 08133018746 SAFARI
Aderibigbe Waliyat // 09078654321 SAFARI
Adebowale Elizabeth Precious // 08078989144 SAFARI
Idowu Rachael Chanter 08126219646 WESTEND
Abdulrahman Hajarah // 08067543782 WESTEND
Eguonuo Abigail Palm wine seller 08159142549 SAFARI
Foluso Adewole // 07025383408 WESTEND
Ayinde Favour // 08051403326 SAFARI
Ndagi Vincent Ipaye boys 078142891526 SCH.GATE
Olu-Ajisafe Micheal // 08054673828 SAFARI

Ogunyemi Folafoluwa // 09137993595 WESTEND

Obilaja Iyanuoluwa Samuel // 08155269118 SAFARI
Abiodun Opeyemi Idris // 07056748292 SAFARI
Ogooluwa Omoniyi // 07089563425 WESTEND
Oloyede Kehinde Ibadan dancers 08076543785 SAFARI
Suleiman Ikimot // 08120901904 SCH.GATE
Akande Kehinde // 08134524367 SAFARI
Osibogun Medina fumilayo // 09160023886 SCH.GATE
Abel Adeoye Ijesha Warriors 09045637287 SCH.GATE
Owotoki Oluwafemi // 09067846534 WESTEND
Afeez Adekunle // 07067548532 SAFARI
Boluwatife Angola // 09075653412 SAFARI
Abdullahi Abdulquadri // 09134256748 SAFARI
Kayode favour // 09065734251 WESTEND
Amadi Prosper Fabunmi 09060984299 WESTEND
Nwafor Sandra Fabunmi’s wife and children 07075863452 SCH.GATE
Popoola Gift // 08076893425 SCH.GATE
Falebita Boluwatife // 09075678352 SAFARI
Ajani Sharon Olokunlaro 08134562477 SAFARI
Lily Williams Latoosa guard 09078675543 SAFARI
Michael Clement Iku 07043562756 WESTEND
Ibitoye Iyanuoluwa Iku Acolyte 08145678932 WESTEND
Adedotun kausara // 08034526176 SAFARI
Salawu oluwatoyin // 09145676243 SAFARI
Sanni Wuraola // 08076574823 WESTEND
Hazel Wilson // 09145654345 WESTEND
Agboola Iyanuoluwa // 09076876534 SAFARI

Tejumola oluwabukola // 07056748292 WESTEND

Olawepo Elizabeth // 07089563425 SAFARI
James Augustina // 08076543785 SAFARI
Aliu Shakirat Villagers 08120901904 WESTEND
Sanni Shifau // 08134524367 SAFARI
Abubakar Halima // 09160023886 SCH.GATE
Adepoju Rofiat // 09045637287 SAFARI
Abiodun Gbemisola // 09067846534 SCH.GATE
Oke Deborah // 07067548532 SCH.GATE
Agoro Kehinde nurat // 09075653412 WESTEND
Alabi Adeshewa // 09134256748 SAFARI
Kukoyi Ifeoluwa // 09065734251 SAFARI
Augustine Patience // 09060984299 SAFARI
Junaid Firdaus // 07075863452 WESTEND
Garuba Latifat // 08076893425 WESTEND
Saheed fridaous Orchestra 09075678352 SCH.GATE
Fagbemi Oluwaseyifunmi // 08134562477 SCH.GATE
Ayinde Favour // 09078675543 SAFARI
Daramola Mercy // 07043562756 SAFARI
Ajide Ayomide // 08145678932 SAFARI
Adeniyi Mary // 08034526176 WESTEND
Ajayi Nafisat // 09145676243 WESTEND
Ayoku Rukayat // 08076574823 SAFARI
Idowu Racheal Marvelous // 07056748292 WESTEND
Adepoju Peace // 07089563425 SAFARI
Usman Adams // 08076543785 SCH.GATE
Olayiwola Sheriff Airegba dancers 08120901904 SAFARI

Olota olawale Emmanuel // 08134524367 WESTEND

Yusuf abdulQuadri Aremu // 09160023886 SAFARI
Foluso Adewole Iwure dancers 09045637287 SAFARI
Oluwalegan Boluwatife // 09067846534 WESTEND
Benson Blessing // 07067548532 SAFARI
Popoola Gift // 09075653412 SCH.GATE
Oloyede kehinde // 09134256748 SAFARI
Adebimpe Lydia // 09065734251 SCH.GATE
Hamilton Anjolaoluwa // 09060984299 SCH.GATE
Muhammed bolaji, Tajudeen // 07075863452 WESTEND
Jimoh Aliyu // 08076893425 SAFARI
 CHAPTER THREE
(COSTUMING IN AGBOGUNGBORO)

3.1 Costumes
Costumes help to depict the place and time settings of a story; they convey historical

identity and philosophical concepts. Costumes are materials worn by an actor in a play to represent

a character or personality. A costume includes clothing, footwear, headgear, and other accessories.

Costumes express cultural, social, or religious affiliation, conveying a message, theme, or idea,

and enhancing a performance, presentation, or event. According to Frank A.D. (1882, p. 800),

costumes are suitable for specific individuals at a particular epoch. In later periods, once-authentic

costumes may be revived or copied for theatrical purposes. The term was traditionally used to

describe typical appropriate clothing for certain activities, such as riding costumes, swimming

costumes, dance costumes, and evening costumes.

Holt (1988, p. 7) states that costume is part of the actor's apparatus, helping them create

their characters. Every item of clothing sends a signal to the audience, conveying information about

the character's personality. As soon as actors appear, even before they speak, the audience will

have gleaned a great deal of information. The whole image is composed of signs that the audience

will react to, both consciously and unconsciously. These signals convey a clear idea of a character's

personality. Roach, J. (1992), defines costume as "supplements to or modifications of the body"

as the total repertoire of body modifications and supplements that a particular social group makes

available to its members or as a particular display of body modifications and supplements that a

specific individual assembles from an available repertoire for a particular time and place. In

addition to the complementary role of costume, costume is the only visual tool for realizing both

the intrinsic and extrinsic aspects of a performance. There are different types of costumes:
- Modern costume: Contemporary clothing styles that reflect current fashion trends, worn for

everyday occasions, parties, or events.

- Traditional costume: Long-established clothing styles passed down through generations,

representing specific cultural or ethnic heritage, worn for special occasions, ceremonies, or cultural

events.

- Historical costume: Accurately represents a specific time and period in history, worn for

reenactments, historical dramas, or museum exhibits.

- National costume: Represents a specific country or nation, worn for national celebrations,

festivals, or cultural events.

- Fantasy costume: Imagines or creates a fictional character, creature, or world, worn for cosplay,

science fiction/fantasy events, or Halloween.

3.2 Costume Designer

A costume designer is a person who creates costumes for a film, stage production, or

television show. The role of the costume designer is to create the characters' outfits or costumes

and balance the scenes with texture and colour. A costume designer works with directors,

production designers, and art directors to create the overall appearance of a character or performer.

Costume design involves creating clothing for the overall appearance of a character or performer.

Costume may refer to the style of dress particular to a nation, class, or period. In many cases, it

may contribute to the fullness of the artistic, visual world unique to a particular theatrical or

cinematic production. The most basic designs are produced to denote status, provide protection or

modesty, or provide visual interest to a character. Costumes may be for theatre, cinema, musical
performances, parties, or other events. Costume design should not be confused with costume

coordination, which merely involves altering existing clothing, although both create stage clothes.

3.3 Functions of Costume in the Theatre

- Costume in the theatre is used to identify the period of production (age or time).

- Mood and atmosphere: The costumes contribute to the overall mood and atmosphere of the

production, creating a sense of drama, comedy, or tragedy.

- Setting: Costumes can establish the location and cultural context of the play.

- Costumes help actors with characterization, allowing them to get into character and reveal their

personalities, backgrounds, and social status.

3.4 Costume chart for Agbogungboro

SEQUENCES CHARACTERS COSTUMES
1 King Ofi, crown, beads, agbada
Queen OOfi, Beads, Gele
Chiefs Ofi
Ekiti dancers Ofi and beads
Ogun dancers Blue Materials, Cowries
Masquerade dancers Masquerade clothe
Ijo omoge dancers Ankara, Iro, Buba Beads,
Fishermen dancers Ankara, Iro, Buba
Ifa White wear
Ajele Danshiki, Black Sokoto
Ibadan warriors Brown and Cream wear
Pregnant women White Wrapper
2 Ifa White wear
Ifa female dancers White long Wrapper
Agbogungboro Ankara Sokoto

3 Palm wine seller Ankara

Drunkard Sokoto and Dansiki
Dancers to entertain Ankara Sokoto
Agbogungboro Sokoto
Ipaye boys Ankara
Ajele Black Sokoto and Dansiki
Ibadan Warriors Same as above

4 Ibadan female dancers Iro and Buba

Chanter Iro and Buba
Latoosa Sokoto and Dansiki
Agbogungboro Sokoto
Ipaye boys Same as above
Olokunlaro Iro, buba, red beads

5 Ijesha Warriors Tiger skin attire

Agbogungboro Same as above
Latoosa Aso-ofi and beads
Olokunlaro Iro, buba, red beads
Ajele Black Sokoto, Dansiki

6 Fabunmi Aso-ofi, beads

Fabunmi’s wife Ankara iro, buba and beads
Ajele Same as above

7 Latoosa Same as above

8 Fabunmi Sokoto, Dansiki and fila
 Ifa White wear
Agbogungboro Same as above

9 Iku Black jump suit

Iku Acolyte Black and red jump suit
Agbogungboro Black jump suit

10 Ekiti parapo Black sokoto with design

Fabunmi Same as Ekiti parapo
Ibadan Warriors Brown and cream wear
Latoosa Brown attire
Agbogungboro Red attire
Iku Black attire

11 Agbogungboro Rice Aso-Ofi, beads

King Same as sequence one
King’s wife Same as sequence one
Airegbe dancers Gele and Singlet
Iwure dancers AAso-ofi, beads
 CHAPTER FOUR
(MAKE-UP IN AGBOGUNGBORO)

4.1 Make Up In Agbogungboro

The origin of makeup can be traced to the record from the 1st dynasty of Egypt (3100-2907 BC).

Tombs from this era have revealed unguent jars, which in later periods were scented. Unguent was

a substance extensively used by men and women to keep their skin hydrated and supple in order

to avoid wrinkles from dry heat. Technically speaking, theatre makeup can be seen to be the

applications of cosmetics and non-cosmetics substances on human body in order to assist in

creating the appearance of character that actors portray during a theatre production.

Theatrical makeup has been used for centuries to help actors transform into their characters. It can

involve special effects makeup, prosthetics, and other techniques to create a wide range of looks.

The use of theatrical makeup became more widespread in the 20th century with the rise of film

and television. Makeup artists began to experiment with new techniques and materials to create

more realistic and dramatic looks. Today, theatrical makeup is an essential part of the

entertainment industry and is used in a wide range of productions, from small plays to big-budget

movies.

Theatrical makeup is used to assist in creating the appearance of the characters that actors portray

during a theater production. The functions of theatrical makeup include creating different skin

tones, aging characters, creating injuries and wounds, and transforming actors into non-Ruman

characters like animals or monsters. It can also be used to enhance natural features and create a

specific look for a character.

Theatre makeup involves the practice of painting, altering or enhancing the face, the hair and body

of the actor with cosmetics, plastic materials and other substances. As an art form theatre makeup

is different from real life makeup in terms of manner, matter and a specific look for a character.

Theatre makeup involves the practice of painting, altering or enhancing the face, the hair and body

of the actor with cosmetics, plastic materials and other substances. As an art form theatre makeup

is different from real life makeup in terms of manner, matter and motives. Theatre makeup is an

integral part of the actor's art as is used to create a "psychological distance" between the actor and

the audience, allowing for a suspension of disbelief."

Theatre make up define or outline and enhance roles of character and give performance an

additional tool for conveying the characters been performed. Makeup in theatre is important in

enhancing the visual appeal of a play. It helps to create a character's look and personality, and can

also be used to communicate a character's emotions or status. In addition, makeup can also be used

to create special effects, such as aging or injuries.

A theatrical makeup kit typically includes makeup base colours, rouges, colour liners for shadow

and highlighting effects, eye makeup and false eyelashes, various cleansers, powder and powder

puffs, putties for making prosthetic features, adhesives, wigs, and facial hairpieces.

Historically, the use of theatre makeup can be said to have started within the first actor Thespis

who make use of white lead and wine, primarily to enhance the visibility and audibility on stage.

Also mask with different design is another element of makeup used in the early theatre period.

The 18th, 19th, 20th century witness dynamic attempt by theatre designers to be realistic with

theatre malAin hi neine Anomalin and ran Anematin theatre period.

The 18th, 19th, 20th century witness dynamic attempt by theatre designers to be realistic with

theatre makeup by using cosmetic and non-cosmetic substances to achieve characterization on

stage.

Theatrical makeup enhances the features of the performers so the audience at the back of the house

can connect with them, and it brings to life a world of fantasy created by the playwright.

As a performance makeup artist, makeup is applied to performers to reflect a certain period, setting,

or aesthetic for theater performances. Duties and responsibilities include discussing the aesthetic

requirements with the director and costume designers, choosing potential options to test out on

each character to see how they work, and then applying the makeup for the performance.

4.2 Functions of Makeup in Theatre.

i. . Character Building:

ii. Makeup gives key information about a character at fore sight.

iii. It reflects the mood of an actor.

iv. Makeup gives/life to a character by getting an actor into the skin of such character.

v. Makeup gives idea about the setting of a production. It's one of the indicators of time and space.

4.3 Types of Makeup

1. Straight Makeup: It is a type of makeup that provides a natural, clean and healthy glow. It can

also be known as street makeup

2. Character Makeup: It is used to create a character to the extent of changing a subject physical

configuration to suit the requirements of a script. It encompasses a great deal thus varying age

levels character delineation, personality, traits etc.

 3. Fantasy Makeup: It is any look designed to help create an experience. Fantasy makeup can help

wearers pretend to be anything.

4. Visual effect: Makeup enhances the visual effect of any production and specifically it enhances

role visibility and aesthetic. By this, facial pictures of an actor can easily be seen and get protected

from been washed out by stage light.

Few of my aims and objectives to achieving a pleasing and satisfying performance as the theatre

makeup artist are:

1. Critically studying the script thus understanding what every character is portraying.

2. Cooperating with the director and costumier in order to share ideas and goals towards the roles

being carried out by the characters.

3. Portraying realism as much as possible through the cosmetics being applied on the characters.

4.4 Makeup chart for Agbogungboro

S/N CHARACTER AGE TYPE OF MAKEUP

1 Ogedengbe 27 Straight /S effect
2 Ajele 25 S Effect makeup
3 Aare Latoosa 35 S Effect makeup
4 Chiefs 38 Character makeup
5 Emese - Straight makeup
6 Pregnant women - Straight makeup
7 Iya Abiye & co 40 Character makeup
8 King 46 Character makeup
9 Queen 35 Character makeup
10 Villagers 20-40 Straight makeup
11 Dancers 20-25 Straight makeup
12 Ibadan soldiers 20-25 Character makeup
13 Ipaye boys 20-22 Character makeup
14 Priest & co 30 Character makeup
15 Olokunlaro 23 Straight makeup
16 Oke imesi warriors 20 Character makeup
17 Fabunmi 28 Straight makeup
18 Kings errand men 21-25 Straight makeup
19 Iku & co - Special effect makeup

4.5 Makeup budget for Agbogungboro.

Items Price
Eye pencils 4 1800
Red lipstick 1 1500
Powder palette 1. 1500
Black lipstick 800
Kinky hair 1 4500
Glue. 1500
Eye liner. 1500
Face wipes1. 2000
White powder 1. 1500
Beauty blender 1800
Brazilian wool 15. 10000
Poster color 1600
Transport 2000
Total 32000
 CHAPTER FIVE
(SOUND IN AGBOGUNGBORO)

5.1 What is Sound?

Sound is a vibration that travels through the air or another medium that can be heard when they
reach a person’s or animal’s ear. It is produced by continuous and regular vibration as opposed to
noise.

5.2 What is Sound Effects?

Sound effects are what enhance the production’s illusion of reality. It is also an artificial
reproduction of sound or sounds intended to accompany action or realism.

5.3 Who is a Sound Manager?

He or she is the technical mastery of audio systems. He is responsible for operating, maintaining
and to assemble technical equipment used to enhance a production. He is also responsible for
producing high quality audio on set.

5.4 Importance of Sound in a Theatrical Production.

 Sound can be used to communicate.
 Sound can also be used to express emotions that cannot be achieved through visuals alone.
 Sound can be used to tell a story.
 It can also be used to influence the audience perception of the play.
 Sound can be used to tell the setting of the play.

5.5 Types of Sounds

 Sound effects
 Gunshot
 Baby cries
 Thunder
 Underground war songs
 Sound of trees moving
 Growl
 Creepy sounds in the bush

5.6 Equipment for use in the Production

 Full range 1pair
 Sub 1 pair
 Generator
  Orchestra microphone
 Speakers cables
 Mic cables
 Percussion mic

5.7 Budget in the Production

Full range 1pair …. 12,000
Sub 1 pair ….13,000
Mixer …8,000
Generator….15,000
Orchestra mic 6…..5,000 each …. 30,000
Speaker cables & mic cables….12,000
Workmanship…25,000
Fuel…10liters for dress and tech 10liters for performance
Transportation…35,000
Total…..170,000 naira
 CHAPTER SIX
(BUSINESS MANAGEMENT IN AGBOGUNGBORO)

6.1 Business Manager

A business manager is a person who manages the business affairs of an individual, institution,

organization, or company also a supervisor who controls and directs the personnel and activities

of an organization or a department. By adopting operational plans, carrying out performance

evaluations, and supervising all daily activities, they strive to keep the business productive,

efficient and organized at all times. Business managers invest time in finding any new chances that

could aid in the company’s expansion and competitiveness in the market, and they also set goals

and targets to get there.

Publicity managers provide the public with prepared information about individuals, companies or

institutions. They must upkeep a positive perception of their clients in the public eye. They're

responsible for handling press releases, addressing the press, giving input on advertising and

setting up interviews.

6.2 Roles and Responsibilities of a Business Manager

• Having a specialization in a particular field, such as sales, marketing, public relations or finance

aids in efficiency, business managers also develop personal qualities that are helpful in performing

the role efficiently.

• A social skill of a business manager is the ability to understand and know what each of their

subordinate employee's tasks are and how to work with each employee in working toward

successful completion of such tasks.

• A business manager should be willing to accept constructive criticism from employees, develop

social skills, be organized, honest and able to take good decisions. A good business manager should

be willing to work along his or her employees in order to create a better work environment..

•Create capture tactics for sales targets that are in line with the objectives of the practice area and

the business model.

As a business manager who wants to ensure profitable production, by ensuring that the available

resources of the production were being put in to the most profitable use. For the success of this

theatrical production and productivity there are also some objectives that will be set apart from the

one being set by the group, such as financial control, fund raising, box office and house

management of both the cast, crew and also the audience. Because, as the business manager the

controlling of both human and capital resources is paramount for the successful output of this

production.

There will be a clear cut control of the financial expenditures of the group by ensuring that the

money is wise spend and not over spent. So therefore, as the business manager the main purpose

of control is to ensure that available resources of the production were being put to the most

profitable use. However, the ideal method of managing the stage production is to recognize the

fundamental elements thoroughly. so that even if there will be minor or unexpected development

each crew members would have prepared for it. However, during the planning process, having

read the script thoroughly the business manager and the others crew members was able to set plans

in depth and produce a list of things needed such as estimation on the cast Welfare's, budget on

income and expenditure etc.

6.3 Publicity Strategy to be Used in Segun Olujobi’’s Agbogungboro.

Firstly paying blogs around the school premises for publicity and to gain more attention of the

general public. Also, creating a content that would also help in broadcasting the play to the general

public

Also, dropping posters and banners at nice restaurants around the school premises for more

attention also dropping tickets at the restaurant for easy access and also reduces stress of meeting

with the business manager in person for tickets, they can easily walk up to any restaurant around

the school premises to obtain their tickets.

6.4 Budget for Business Manager

Pictures - #10,000
DI printing for VIVA - #700X4 =2800
Graphics design - #10,000
Banners 2 - #30,000
Fliers - 500pieces - #25,000
Awareness - #50,000
Transportation - #5,000
Miscellaneous - #5,000
Total #137,800

6.5 Dress and Tech Budget

For cast & lecturer...#159,000
Production day
Cast...#88,000
Lecturer..#52,000
Sound...#170000
BUSINES MANAGER’S NOTE AND FINAL TOTAL
Makeup – 32,000
Business Manager – 137,800
Stage Manager – 299,000
Props – 39,000
Sound – 170,000
Reference:

1.^ "business manager". Oxford English Dictionary (Online ed.). Oxford University Press.

(Subscription or participating institution membership required.)

 CHAPTER SEVEN
(SET AND LIGHT DESIGN IN AGBOGUNGBORO)

7.1 Origin of Technical Theatre

During the Greek period some changes and innovations came into being in the theatre. In Greece,

the script, actors and the open air theatre were the most important in a theatrical performance. the

very first innovation as far as technical theatre is concerned is the use of hut that stood at the rear

of the Greek playground. This hut conceals actors' movement and actions when not on set. Also

the actors made changes necessary to impersonate characters in the hut. As time went on, this

structure was enlarged and decorated during the Roman period bringing into existence the use of

scenery in a theatrical performance. In the middle ages, theatre existed primarily in the catholic

church the varying of situation brought mood while the various stations of the alter served as planes

and levels of a theatrical stage. With the coming of perspective in the art of painting the locale of

the action became suggestive, thus a painted set aids the audience in understanding the play better.

During the early development of theater especially in Greece, the only source of light was the sun

as most performances were performed in the open air theatre. But when theatre moved indoors, for

instance the Elizabethans period candles were used for illumination in an attempt to create special

effects, colored skills or wine bottles were placed in front of the flame.

As theatre grew from period to period, so did the technical aspect of it, more discoveries were

made in the mid nineteenth century when gas lamps took over stage lighting from candles. The

twentieth century theatre had a greater impact on the development of technical theatre through the

discovery of electricity as a source of light. In contemporary theatre, there is the elaborate and

detailed use of scenery, -appropriate costumes and make - up props, music, sound and lighting, all
these came under the umbrella of technical theatre. The purpose of projecting the idea of the

playwright as conceived by the director forms the focus of the job of a technical director.

7.2 Historical Development of Technical Theatre in Nigeria

According to Wikipedia: technical theatre in Nigeria can be traced to the "Theatrogenic" nature of

a number of the deities in the Yoruba pantheon, such as Obatala, the arch divinity, Ogun the

divinity of storm whose reverence is imbued with drama and theatre and symbolic overall

relevance in terms of its relative interpretation. In the pioneering study of Yoruba theatre, Joel

Adedeji traced its origins to the Egungun Masquerade (the cult of the ancestor). The sprang of

various troupes and theatres lead to development of technical theatre in Nigeria.

Also, history has it that, technical theatre can be traced back to Alarinjo travelling theatre, in which

the Alárinjo theatrical tradition sprang from the Egungun masquerade. The Alarinjo was a troupe

of travelling theatre, whose masked carried an air of mystique. They created short, satirical scene

that drew on number of established stereotypical characters. Their performance utilized mime,

music and acrobatic. It is the most prevalent and highly developed form of theatre in Nigeria from

1980s to the 1990s. The first contemporary professional company in Nigeria can be traced back to

Hubert Ogunde (1944) by this act, gunde began the rise of modern professional theatre in Nigeria,

a movement in which he remains the supreme artist and fatter figure. It's regarded as the first

"doyen" in traditional Nigeria drama.

Ododo (2000,p.43) observe that: Hubert Ogunde's appearance on the Nigeria theatre scene opened

up a new vista for theatre practice in Nigeria because of the formal dimension he brought into

theatre presentation, using western models to harness indigenous materials while being mindful of

his audience and environment. From his example, various theatrical experiences have emerged
irrespective of their socio-cultural background which is based on certain objective such as

entertainment, information and education.

7.3 The Technical Director

The technical director is a person who organizes and maintains the theatre worship. He is the head

of the technical crew and he does his work in co-operation with the artistic director, in term of

interpretation and reality of the play. According to Oakes, (2014, p. 8) "Technical Director is in

direct charge of all technical elements of production. Plans and supervises constructions and

operations of all settings...Prepares and executes scheme for scene change and alternation of

productions. Plans and supervises all changes in permanent technical equipment is the backstage

efficiency engineer".

The role of the technical director starts from interpreting the play technically by drawing a ground

plan, and the perspectives drawing of the set, he goes on to construct a scenography model which

aids the placement of actors by the director by so doing, the actor get acquainted with the stage on

time. In an ideal theatre the technical director have the following people under him the light man,

sound engineer, the costumiers, make-up artist and the property man. But for the purpose of the

project, the role of the technical director include, set design, and lighting the production.

The technical director as set designer also constructs the set for the production; he makes use of

his artistic vision in designing the set putting in to consideration all the elements and principle of

design with strict observation of the genre of the play and the period of the play. For instances

SEGUN OLUJOBI’S AGBOGUNGBORO (THE LEGEND OF OGEDENGBE) have a

contemporary Yoruba setting, coupled with traditional setting with which the design made on the

set reflects it.

Furthermore, Lighting design is another important visual aspect of the theater, the technical

director create art by using light to, depict scenes, mood and facilitate emotions in a production,

while simultaneously meeting the practical needs of illuminating the stage. In doing this he takes

into consideration the directorial concept, directorial interpretation and thematic preoccupation.

7.4 Set Design

Set design is a crucial aspect of creating a visually appealing and immersive environment for

various forms of entertainment, including theater, film, television, and events. Here are some key

elements and considerations in set design:

1. Concept and Research: Start by understanding the overall vision, theme, and requirements of

the production. Conduct research to gather inspiration and references that align with the desired

aesthetic and mood.

2. Scale and Proportions: Determine the appropriate scale and proportions of the set to ensure it

fits the performance space and creates a harmonious balance with the actors and other elements.

3. Floor Plan: Develop a floor plan that defines the layout of the set; including the placement of

walls, doors, windows, and other architectural features. This plan serves as a guide for the

construction and arrangement of the set pieces.

4. Set Pieces and Props: Create or select set pieces, such as furniture, architectural elements, and

props that are appropriate for the time period, style, and narrative of the production. Ensure they

are functional, safe, and durable.

5. Materials and Textures: Choose materials and textures that enhance the desired atmosphere.

Consider the visual and tactile qualities of the materials, as well as their suitability for the

performance requirements and the overall theme.

6. Color Palette: Select a color palette that complements the mood and narrative of the production.

Colors can evoke specific emotions and help establish the desired ambiance.

7. Lighting Design: Collaborate with the lighting designer to ensure the set design is optimized for

lighting effects and complements the overall lighting scheme of the production. Consider

incorporating practical and integrated lighting elements within the set itself.

8. Stage Dressing: Add details such as curtains, drapes, plants, artwork, and other decorative

elements to enhance the visual appeal and authenticity of the set.

9. Safety and Practicality: Ensure that the set design adheres to safety standards, allowing

performers to move freely and safely. Consider ease of scene changes and the practicality of set

construction, storage, and transportation.

10. Collaboration: Work closely with directors, producers, costume designers, and other members

of the production team to ensure a cohesive vision and coordination between set design and other

artistic elements.

7.5 Scenography Model

The term scenography can be describe as the aggregate of pictorial and plastic elements which

contribute to the realistic and ideal or symbolic reconstruction of the settings of an action in a

theatre production; According to Oscar Brocket (2010, p.12)" scenography is a collective

representation of a stage picture which may include painted stands, hanging furniture and other
objects used to establish a theatrical setting". In other words scenography or scene design does not

stand alone it is a part of the overall dramatic form, it covers the whole range of stage props and

pictorial decorations used during a theatrical production to enhance the theatrical content of the

play to this effect, a scené designer concentrates on the visual embodiment of mood and

atmosphere, theme, genre, period, place of action and the socio-economic background of the play.

The scenographic model is, a representation and model of what the actual set will look like, a minor

small version of original set, as planned by the designer in agreement with the directorial concept.

However, the scenography model for SEGUN OLUJOBI’S AGBOGUNGBORO (THE LEGEND

OF OGEDENGBE) makes use of three locales for all the scenes. The choice of colors for the set

is in a accordance to the genre the play, which is satire.

7.6 Ground Plan

The ground plan means the set aerial view. It indicate and reveal the top view of the stage in the

theatre. Also it is drawn to scale proportion, therefore measurement of the stage and other objects

included is necessary. It is drawn with the use of elements of design like line, shape, space, balance

e.t.c. The ground plan for SEGUN OLUJOBI’S AGBOGUNGBORO (THE LEGEND OF

OGEDENGBE) is drawn in relation to the Kwara State University Convocation Arena.

7.7 Perspective Drawing

Perspective is derive from the Latin word "perspire" which means "to see through" it is an

approximate representation on a flat surface (2D) of the front view of the set. The perspective

drawing shows how a set will appear to an audience when completed and fully illuminated with

stage lights. However in drawing the perspective drawing of SEGUN OLUJOBI’S

AGBOGUNGBORO (THE LEGEND OF OGEDENGBE) the stage is used as a local for the

settings (Ijesha land Nigerian) thereby depicting the palace for king, chiefs and traditionalist

7.8 Scenery

Scenery has gone past being background, as the meaning of dialogue now depends on it to become

what the French call "scenographe" or "decorateur" .and Whom the Italians referred to as

"decoratore" the Dutch named him "Deconrontiverber" and known to the Swiss as DECORATOR

but recognized in English as Set Designers or Scenographers.

Scenery can be define as the following

1. Scenery is the painted background on a stage.

2. Ritual expression of a dynamic spirit of a play in all that come before the eye.

3. The light and plastic element, which by surrounding the living and active presence on stage,

adds to its dynamism (vitality).,

4. The creation of plastic forms and spaces that are integral part of acting projects its meaning.

5. Scenery must be an adequate and appropriate background for all theatrical actions.

6. Scenery must function as an emotional envelope appropriate to the dramatic mood of the

playwright. A visualization in colour, line and light of the dominant emotion to be pictured by the

actors.
Floor Plan

The floor plan is a diagram of the intended stage in perspective. The floor plan includes such

features as pillars or columns and steps, lighting gadgets and the proscenium walls if we are dealing

with an indoor theatre as they affect everything that is put on stage. Using the elements of design.

Elements of Design

There are seven basic elements of design. These include light, colour, line, shape (mass), texture,

ornament and movement. The last movement is usually not considered as an element of design in

entirety as it cannot be avoided in everything done on stage. Light comes on and goes off; actors

move from one position to another; scenes are changed; and lines are altered in progression.

▪ ACTION OF FORM.

1. Line as an element of design defines form. Line is not easily discernible on stage because the

audience is not accustomed to watching out for lines. But they are ever present in the theatre either

in the body of actors or in stage elements and decoration. We have three types of lines: the vertical,

the diagonal and the horizontal. The vertical line connotes the feeling of formality, seriousness and

dignity. The diagonal line connotes the feeling of anxiety and foreboding. The horizontal line

connotes the feeling of repose, relaxation, content and mass atrest. Line is of two categories: the

continuous lines and the broken lines. The continuous lines are suited to tragedy while the broken

lines are more suited to comedy. The continuous or straight lines have dynamism while the curve

or broken lines bave grace. Any object we see in life and on stage is not what it is, but what it has

been made by lines or colour.

2. Texture as an element of design is the tactile (smooth) aspect of form, and it appeals to our

sense of sight and touch. In texture, we have two surfaces: the rough and the glossy. The glossy

surface is usually credited to nobility and wellbeing while the rough surface is linked to the lowly.

Texture is the first thing that the audience sees when light curtains come up. Texture is best

revealed by directional light, as it exposes all features we have on the surfaces and avoiddistracting

reflections.

3. Ornaments are those elements of design we put on stage for pure beautification. They are

however different from properties because they are not related to on stage by actors and actresses.

They are to help the audience appreciate further everything in a particular scene.

4. Harmony deals with the principle of unity, that is, everything on stage must be seen as one. In

harmony, we also consider the relationship between the different scenes in the play. They must be

related. To avoid monotony, there should be variety. Harmony can be created by the use of color,

symbol, space and shapes. For instance, an olive leaf and a dove-one, a plant; the other; an animal

- when placed together signifies peace. You also have an arrow that is principally used to symbolize

death and the oval shape of the heart which is the seat of emotion; when put together they signify

love.

5. Balance is the relationship between objects. Balance could be achieved by the use of color,

placement, size, shape and texture. As a designer in terms of balance, you are using the stage as a

fulcrum. When we are balancing on stage, we approach it from symmetry and asymmetry

positions. Symmetry denotes an equal or identical representation of objects on stage, and it

suggests the feeling of rigidity and stability. This is why of the time, actors avoid symmetrical

setting and opt for asymmetrical setting that are dynamic and progressive which is what all actions
in life entail. To achieve balance through the use of colors, they are treated in terms of vibrating

or recessive colors. Warm colors are bright; therefore, they look larger than other colors when

objects are placed in terms of color, we place the warm vibrating colours at a subsidiary positions.

In terms of shape and texture, we place the rougher texture object at the subsidiary position. Shapes

have to do with the size.

6. Proportion is the relationship between parts of an object. We achieve proportion through shapes,

sizes and colours. Proportions create the sense of unity in any object. Colour in proportion is

determined by distinguishing recessive or vibrating colour. Proportion creates the feeling of

wellbeing. It will either create grace or awkwardness, stability or instability.

7. Emphasis is that place on stage (centre of focus) that attracts attention. There might be two or

more vocal. Places on stage but one must dominate the other: We achieve emphasis on stage by

the use of level (height), colour, shapes, sizes and placement object. When we are dealing with

scenic painting, it is the ability of the set to point to a particular place, an actor and a particular

action without words. Emphasis entails good scenic composition. It has to do with the law

aesthetics.

8. Rhythm is the gradual change of sizes, shapes, colours and placements. When we deal with

rhythm, we are dealing with the idea of grace. It helps in the appreciation of object and avoid visual

fatigue.

MATERIALS NEEDED FOR THE PRODUCTION OF SET DESIGN IN SEGUN OLUJOBI’S

AGBOGUNGBORO (THE LEGEND OF OGEDENGBE)

1. Baft
2. Banner Design

3. Tack Nail

4. Painting Brush

5. Painting Roller

6. Paints of Different Colors (cream, white, blue)

7. Planks.

LIGHT DESIGNER

The light designer, also called the light man, must be vast in the use of line, light, and colour as

they form the basic element of design. He must have imagination and creativity, he must be able

to research and have a very strong personality, so as not to be dictated to by an autocratic director.

This is because the designer act as the eye to the director's mind, he is responsible for all the

visibility and enhancement of the aesthetics value of the production. Lighting is the art of

illuminating the stage, set and action. When a play is going on the stage, the set and actors must

be illuminated, they must not be in darkness and must be visible to the audience. Lights are used

to create mood and special effects when necessary. Scientifically, it is a form of energy conveyed

in an empty space at high velocity. Light certainly is responsible for the sensation of sight, it is

that part of electromagnetic spectrum detected by the human eyes (Sanusi, 1991,p.56).

FUNCTIONS OF STAGE LIGHTING

Lighting is to assist in creating an environment suitable for the action of the play that brings to the

audience the full meaning and emotions of playwright concept.

1. PLACING: The physical action of the play is of prime importance to lighting. To follow the

action, the designer frequently manipulates the intensity and distributions of the light. The placing

of the action usually happens in the opening moments of the performance and can set the tone of

the show.

2. VISIBILITY: This is the amount of light needed for a moment of recognition, deemed

appropriate for that action of the play. That is, to see what should be seen. This may mean revealing

of a part. Each degree of visibility cannot help but take on an atmosphere or mood that will affect

the action.

LIGHTING EQUIPMENT IN AGBOGUNGBORO

The term stage lighting instrument is used to state any device employed on the stage to hold a lamp

in the correct position, direct and often to shape it's output of light and to hold colour media in the

resulting beam.

1. PARCAN LANTERN: It is a sealed beam unit that consist of a lamp or led source, reflector and

lens often referred to as PAR (parabolic alluminized reflector). A parcan lantern produces a very

intense light quality. A parcan light is a lamp the generates a highly directional Light beam,

because of it's function they are the favourite of stages around the world for illuminating a single

person or event.

2. FRESNEL LANTERN: Is a common lantern used in theatre, which employs a fresnel lens to

wash light over an area of the stage. The lens produce a wider soft edged beam of light, which is

commonly used for backlight and tonight. The distinctive lens has a stepped appearance of other

lenses.
3. FOG MACHINE: A fog machine is a machine that produces a gas that looks like fog or smoke

used in concerts, theatres, films and night clubs. They enhance the music with dramatic lighting

and fog machines.

4. ELLIPSODIAL LIGHT: It can be used for any job but their primary function is to illuminate

a specific proximity. They are the common use of spotlights as they can give a small sharp circle,

it has an ellipsoidal reflector behind the lamp to reflect the light in the direction required.

5. GELS: This are the coloured filters placed in front of the light found in the theaters, gels are

referenced and referred to by number or letters combination. The number correlate to a specific

color.

6. DISCO LED LIGHT: This is a coloured light that flash on and off in time to the music at a

disco.

LIGHTING THE ACTOR

The actor, when he works on stage, must be seen in proper relationship to his background. This

relationship, of course, is different for each play or dramatic situation. In general, the designer

turns to the manipulation of intensity, distribution and colors of lights to solve his problem.

Distribution is of primary importance because it involves the angle and direction of light. Reaching

the actor to reveal him, especially his face, in natural form. The expression natural form is the clue

it means the actor face should be seen as it appears under natural lighting through the elaborate

control of intensity and distribution that is possible in stage lighting, it is easy to see that by

choosing the proper position and direction of light sources, the face of the actor can be lighted as

it is nature. It has been the practice of artists and characters for long to render their drawings as
though light was falling on the subject from over the artist shoulder at an angle of about 45 degrees,

the lighting designer adopts the same concept by using specific light instruments like spotlight.

The beam spray be directed on the actor at a 45 degree angle above and at 45 degrees from right

or left. A third angle can be employed to further define the actor by lighting him from overhead

(back lighting) and behind. Back lighting is a stratagem borrowed from movie and television

lighting. To separate the actor from his background, it is a necessary angle in television lighting

The use of backlighting on stage to separate the actor from his background also adds another

dimension to the stage composition. Side lights or gilt lights are a compositional plus.

LIGHTING THE ACTING AREA

The lighting designer must constantly duplicate the focus of spotlights on many similar areas over

the entire playing area. By dividing the playing portion of the setting into convenient areas and

then lighting each area with the same number of spotlights, the acting area is covered with a

balanced illumination that reveals the actor in the degree of visibility that is most suitable

for immediate situation. The designer soon learns as he begins to use the area system, the areas

should have a generous overlap of lighting, or the actor will walk into dark spots as he leaves one

area for another he also finds that he cannot always maintain the idea of angle 45 from both sides

of each area. The extreme right and left sides of the stage are unavoidably covered by spotlights

from an almost head on angle.

 CHAPTER EIGHT
(PROPS IN AGBOGUNGBORO)

8.1 PROPERTIES (PROPS)

A prop, also known as a theatrical property, is an object utilized by actors on stage or screen during

a performance or production. In practical terms, a prop is considered to be portable and distinct

from scenery, costumes, and electrical equipment. This includes consumable food items. The term

"properties" has been used since the 1425 CE morality play, The Castle of Perseverance, while

"props" was first noted in 1841, with the singular form "prop" appearing in 1911. During the

Renaissance, small acting troupes functioned as cooperatives, with items like stage weapons and

furniture considered "company property." Some experts suggest that the term comes from the idea

that stage or screen objects "belong" to whoever uses them on stage. There is no distinction

between props in various media, such as theatre, film, or television. Bland Wade, a properties

director, notes that a coffee cup is the same on stage, television, or the big screen. Props are crucial

in giving the scenery, actors, or performance space a specific definition in a theatrical performance.

Originating from live-performance practice, the term "theatrical property" extends to various forms

of entertainment, such as plays, musicals, circus acts, comedy performances, and film. Props in a

production are typically stored backstage, and the person in charge of them is known as the

property master. Other positions, such as coordinators, production assistants, and interns, may be

needed depending on the project. Props can be divided into categories based on their use on stage.

* Set Props / Furnishings: These are large items that are rarely, if ever, moved by the cast in the

course of the show. These include tables, chairs, settees etc.

* Set Dressing: These are items that are not touched by the actors but complete the look of the set.

These include books on a bookcase, pictures on a wall, fancy plates in a china cabinet, etc.
* Hand Props: These are items carried by and used by the actors in the course of stage directions

or stage business. These include such things as a cell phone an actor uses, a coffee mug they drink

from, a journal in which they take a note.

* Costume Props: These are items that are not generally considered clothing but would be designed

by the costume designer and worn by the actors. These include hats, eyeglasses, wallets, pocket

watches, etc. Some props have additional requirements which they must meet. These additional

categories of props are a description in addition to any item above.

* Practical Props: Any item that is a practical prop is also one of the other categories listed. A

practical prop is one that must perform its real-world function. For example, a cell phone (hand

prop) that an actor needs to hold and imagine that they are using to make a call is not practical.

However, if that cell phone needs to ring on cue, it is now practical hand prop. Similarly, a lamp

that sits on the stage is set dressing, until it is determined that it must also turn on. Generally, if the

prop must light up or make a noise, especially if cued somehow from off stage, it is considered a

practical prop.

* Consumable Props: Like practical props, consumable props fit into an additional category. A

consumable is one that is “used up” over the course of one or more performances. Food that is

eaten by the cast on stage is an example of a consumable prop, as are letters that are torn to pieces

by the cast. If a show has a practical flashlight, its batteries and lamp would be considered

consumable.

* Rehearsal Props: Often the “real” props are not available for the rehearsal period. In those cases

where the actors need certain props to rehearse, but do not have access to the real prop, a substitute,
or rehearsal prop, is acquired. Rehearsal props need to be approximately the same size and weight

as the real prop but are generally a cheap substitute that does not have the correct look.

Theatrical properties are crucial in production in the case that they complement and motivate the

characters. Props helps in setting the scenes. Props contribute to the style and mood of the play.

They also dress the scenes of the production.

8.2 Props Manager

A props manager is a person in charge of handling the props. The props manager is responsible for

obtaining all props needed for the production. The props manager also works with the stage

manager in gathering appropriate rehearsal props early in the rehearsal process, the props manger

is directed by the director. The props manager can also be refers to as an artistic and organizational

employee in a theatrical production, film or television who is responsible for purchasing, acquiring,

manufacturing, properly placing and overseeing any property needed or required for a production.

In a professional theatre, the property manager or props designer is usually under the technical

director in the theatrical production and he sees to the set-up and organization of properties to be

used.

8.3 Responsibility of a Props Manager

The props manager must attend all rehearsal so as to ensure that all props are use as they should

be. Make a list of props needed for the production: The list is called the “properties list,” and to

make sure it’s comprehensive, the props master goes through the script and also sits down in

production meetings with various people—like the art director, technical director, stage manager,

set designer, set decorator, set dressers, and/or costume designers—to discuss what props will be
needed. Research appropriate props: If a film is set in a specific time period or location, the props

master will need to know what the props would realistically look like—from guns to cars to soup

cans.

Acquire all props, all within the budget: The props master is responsible for making sure all props

make it to the set—on bigger-budget films, they have a team of prop makers, but on smaller-budget

films, the props master is usually making, renting, or buying all the props themselves. This includes

backup props in case something gets broken on set, as well as finding animal vendors for any

animal acting in the production.

Monitor prop use for safety: Once all the props are ready to be on set, the props master supervises

all prop use to make sure props aren’t broken. This includes making sure actors are using the hand

props (any props handled by actors) safely, and that set props (props that are part of the set) hold

up during takes. This even includes handling any firearms or testing any fake drugs that will be

used in the production, to make sure they won’t harm the actors.

Keep all props organized: The props master also keeps track of all props and backup props, usually

in labeled bins on set, to make sure nothing goes missing and that everything is ready for each

scene.

8.4 Props Chart for Agbogungboro (The Legend of Ogedengehe) By Olujobi

Olusegun
S/N MOVEMENT PRIPS USED

1. Movement one Throne, Chiefs chairs, Crown, Guns,

and Brackets
2. Movement two Ifa (opele), Pot, and Charms
3. Movement Three Chair, Rope, and Swords
 4. Movement Four Guns

5 Movement Five swords

6. Movement Six Plates, calabash, and Palm wine

7. Movement Seven swords

8. Movement Eight Guns

9. Movement Nine Horn, Ifa props (opele)

10. Movement Eleven Ifa props

11. Movement Twelve Calabash

12. Movement Thirteen Guns
13. Movement Fourteen Drums, Guns, Swords, and Knife
14. Movement Fifteen Crown and Swords

8.5 Props Budget for Agbogungboro

S/N Props needed Quantity Price
1 Sword 14 #25,000
2 Horn 1 #1,500
3 Calabash 8 #4,000
4 Paint 1 #3,500
Transportation #5,000
TOTAL #39,000