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REALIZING THE CHARACTER IN ACTING THE ROLE OF PAPA ONA IN AMANDA N. ADICHIE “FOR LOVE OF BIAFRA”





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REALIZING THE CHARACTER IN ACTING THE ROLE OF PAPA ONA IN AMANDA N. ADICHIE “FOR LOVE OF BIAFRA”
















ABSTRACT
The main focus of this project is the process of realizing a character. An example of PAPA ONA in “For Love of Biafra” written by Amanda N. Adichie. This play goes to show the wanton destruction of life and properties during the Biafra War or the Nigerian Civil War. The work is structured into five chapters, where the Actor and the Acting techniques will be fully examined. This will be look on in literature review, the different school of thoughts in Acting and the Actor in his Society; these are embodied in the second chapter. Chapter four and three deals with the textual analysis, the playwright’s concept and the full fledge realization of the character of PAPA ONA on stage via rigorous process of rehearsal and interpretation. The method of research, construction, scope and definition is discussed in chapter one for a thorough study and understanding.














 TABLE OF CONTENTS
Title Page -       -       -       -       -       -       -       -       -       -       i
Certification     -       -       -       -       -       -       -       -       -       ii
Dedication       -       -       -       -       -       -       -       -       -       iii
Acknowledgement    -       -       -       -       -       -       -       -       iv
Abstract   -       -       -       -       -       -       -       -       -       -       v
Table of Contents     -       -       -       -       -       -       -       -       vi

CHAPTER ONE
1.1      Introduction
1.2      Aim of Study
1.3      Research Methodology
1.4      Justification and Contribution
1.5      Scope of Study
1.6      Limitations of Study

CHAPTER TWO
2.1   Literature Review
2.2   The Acting Process
2.3   Analyzing the Role
2.4   Realizing the Character through the External
2.5   Understanding the Playwrights Concept
2.6   The Actor and the Nigerian Society

CHAPTER THREE

3.1   Background of the Playwright
3.2   The Play: Synopsis
3.3   The Role PAPA ONA
3.4   The Relationship of PAPA ONA with other Characters
3.5   The Thematic Relevance of the Play to Modern Society

CHAPTER FOUR

4.1   The Realization of PAPA ONA from Script to Stage
4.2   Character Development through Rehearsal Line and Movement
4.3   Working with Director
4.4   The Performance

CHAPTER FIVE

5.1   Conclusion
5.2   Recommendation
        Bibliography
         





CHAPTER ONE
1.1      INTRODUCTION
Theatre is an enactment of an organized experience by actors on stage. This enactment is borrowed from real life, making drama and its performance constitute an integral part of Art, which happens within the contest of life.
Acting which is a representation of real life experience on stage is an extension of everyday human behaviour. Acting brings out the ills in the society for better outstanding and effective communication and the actor represents this role of the communicator bodily undergoing demanding process.
1.2      AIM OF STUDY
The main of this study is to document the stage realization of the character of Papa Ona in Amanda N. Adichie “For Love of Biafra”, the experience in acting and what it takes to be an actor, the abounding challenges while applying one’s knowledge of acting in the dramatization of Papa Ona’s character.
Also cataloged is the realization of the role on stage through an illumination of a systematical application of our practical knowledge of acting aided by the help of the director of the play, Uduefe Kome Blessing.
1.3      RESEARCH METHODOLOGY
This project has been made possible through extensive consultations of various books. These books cover the origin of acting, different schools of thought on acting techniques. This forms my primary source of information.
My research also takes the oral form of interviews with experience directors, and actors outside this particular production highlighting my secondary source of information in facts compilation.
These interviews gave insight on the place of the actor in the contemporary Nigerian society, his professional standing, outlook and welfare. All these and what people feels and say about the Nigerian actors was acquired.

1.4      JUSTIFICATION AND CONTRIBUTION
“For Love of Biafra” written by Amanda N. Adichie serves as a source revealing the bizarre state of unrest in the society that does not encourage love or oneness. Much more could be done about this play to bring out the multiple ills of the present Nigerian society.
I believe that this work will serve as a source material for those intending to engage themselves in intellectual work in acting. It will also help theatre arts students and amateur actors who may wish to develop their intellectual disposition towards acting.
1.5      SCOPE OF STUDY
Most often, what the audience knows a play to be is only the finished product. Most people do not even consider the activities that went into the play packaging. For this purpose, this work shall be divided into five chapters, comprising the definition of some important terms that will be frequent in use in the course of my writing. I also will analyze acting, followed by the school of thought and acting techniques. I will discuss the Nigerian Actor and his problems.
The thematic structure and plot of “For love of Biafra”, a critical look at the character of Papa Ona in relationship with other characters will in air in this work.
1.6      LIMITATIONS OF STUDY
For specifics, this project is focused on acting and character realization. Theatre in its broad sense includes all the elements that make up for it, the management, the scenery, make-up, costume and of course the audience. But in this work, everything is narrowed to the actor and his role.
Getting materials, especially text for this work was a challenge as our libraries do not have modern books on theatre or the revised edition of previous works, but against all odds, I was able to source for material and come out with this project. 






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