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In his pioneering study of Yoruba theatre, Joel Adedeji traced its origins to the masquerade of the Egungun (the "cult of the ancestor").[82] The traditional ceremony culminates in the essence of the masquerade where it is deemed that ancestors return to the world of the living to visit their descendants.[83] In addition to its origin in ritual, Yoruba theatre 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 creativeness and Sango the divinity of the storm", whose reverence is imbued "with drama and theatre and the symbolic overall relevance in terms of its relative interpretation."[84] The Aláàrìnjó theatrical tradition sprang from the Egungun masquerade. The Aláàrìnjó was a troupe of traveling performers whose masked forms carried an air of mystique. They created short, satirical scenes that drew on a number of established stereotypical characters. Their performances utilised mime, music and acrobatics. The Aláàrìnjó tradition influenced the Yoruba traveling theatre, which was the most prevalent and highly developed form of theatre in Nigeria from the 1950s to the 1980s. In the 1990s, the Yoruba traveling theatre moved into television and film and now gives live performances only rarely.[85] "Total theatre" also developed in Nigeria in the 1950s. It utilised non-Naturalistic techniques, surrealistic physical imagery, and exercised a flexibile use of language. Playwrights writing in the mid-1970s made use of some of these techniques, but articulated them with "a radical appreciation of the problems of society."[86] Traditional performance modes have strongly influenced the major figures in contemporary Nigerian theatre. The work of Hubert Ogunde (sometimes referred to as the "father of contemporary Yoruban theatre") was informed by the Aláàrìnjó tradition and Egungun masquerades.[87] Wole Soyinka, who is "generally recognized as Africa's greatest living playwright", gives the divinity Ogun a complex metaphysical significance in his work.[88] In his essay "The Fourth Stage" (1973),[89] Soyinka contrasts Yoruba drama with classical Athenian drama, relating both to the 19th-century German philosopher Friedrich Nietzsche's analysis of the latter in The Birth of Tragedy (1872). Ogun, he argues, is "a totality of the Dionysian, Apollonian and Promethean virtues."[90] |
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