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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.
AFFILIATE LINKS:
www.nairaprojects.edu
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