CREATIVITY IN ACTING: STRATEGIES FOR THE SEPARATION OF THE PERFORMER'S REAL IDENTITY FROM THE CONSTRUCT IN NIGERIA

Osakue Omoera, Emmanuel Ozoemenam

Resumo


This article centres on the actor/actress and the art of acting in Nigeria. It provides insights into the personality of a performer both on stage/screen and in the everyday living. Its problematic is informed by the behaviour of some actors/actresses/performers who tend to live their ‘stage life’ or ‘screen life’ in their normal everyday living, which often results in conflict between their real personalities and their constructs as observed in contemporary Nigerian acting scene. The study adopts the historical-analytic, interview and observation methods to examine the misconception of some performers/actors about their creativity on stage or screen, their normal daily living, and how these misconceptions colour society’s appreciation of theatre arts as a discipline. It further argues that although actors/actresses have been seen all through the ages as entertainers, but they should train and retrain themselves on how to neatly separate what they construct on stage or screen from their daily living. To do this, the paper suggests, among other things, self-discovery, psychological balancing/consciousness, and psychological distancing as panaceas to the challenge. It concludes that the actors’/actresses’1 prime requisites are common sense, acute powers of observation and perception, tolerance and understanding of human behaviour and a sound general knowledge of society, where they (the actors and actresses) represent human beings and other phenomena with fidelity. It equally holds that such deliberate effort will help to deepen the professional streak which theatre arts as a profession desperately needs in contemporary Nigerian society.


Palavras-chave


theater; acting

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DOI: https://doi.org/10.22456/2236-3254.74101





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