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Ude, Chiedozie Orji.
Department of English, UNILAG
Analysis on Matiiku
It is no news that trying to analyse a live performance is a tricky job. This trickiness may be as a result of different factors such as place and time— or more impressive, the complex nature of literature. Notwithstanding this difficulty, this paper will make an attempt to critically analyse the stage play entitled Matiiku. This essay will succinctly summarise the play and its subject matter, making use of factors such as the stage management and the gestures (which some may refer to as body language) of the actors to defend the choice of subject matter. The attention that will be paid to the factors stated above stems from the technical nature of the dialogue — that is, it was, to a very large extent, exclusively performed in the Yoruba language. However, the focus on the gestures and stage management does not in any way downplay the usefulness of the dialogue in this analysis because its importance in making the play fit its setting, and also, its subject matter cannot be overlooked. Also, it is important to note that this essay will include foreign references — that is, events or even books outside the narrative — which will be used support the arguments expressed in this paper. All these will be combined to comprehensively analyse this play.
This segment of the essay will comment on the playwright and the setting of the play. Not much is known about the playwright; hence, we move on to the setting of the play. The play is set during the colonial era, and this is reinforced through the manner in which the stage was set, and the numerous festivities which took place — the market scene; the baby/ritual scene; and the court dispute between the colonial district officer and the people. The latter is unarguably the strongest supporter of the claim that the play is set during the colonial era because it not only captures the communication problems that plagued the colonial masters due to their inability to grasp the local languages employed by their subjects, but also captures the presence of the white man (The district officer); hence, justifying the time setting— that is, the colonial period. The place setting of the play is Lagos. The introduction of three characters at the beginning of the play who represent the three white-cap chiefs of Lagos is testament to this fact. They, unequivocally, strengthen the play’s genre — that is, a historical play.
The subject matter of the play revolves around a man, who was predestined to be king, right from birth. This information was exposed by the narrator, before the start of the play. Hence, one can say that the plot of the play is based on the child, whom the oracle chooses as king. As expected, he becomes the king of Lagos once he attains adulthood; although, the colonial government later wrestled power from him. It is important to state that the fulfillment of the prophecy on the life of the king is a common motif in Yoruba themed plays— that is, the oracle can never be wrong— such as Ola Rotimi’s The Gods are Not to Blame, where the pronouncements of the oracle on the main character comes to pass. Therefore, one can be justified to state that there is a theme of fate (inevitable destiny) in the play. Another thing that is worthwhile to discuss is how the scenes in the play are linked by an interlude of music and dance. These performances (music and dance) may be regarded as entertaining because of the choreographic dance steps employed by the dancers. Being a traditional play, these songs should have deeper meanings, but that is not the focus of this essay. So, this analysis will rate the musical interlude from the standpoint of pleasure and entertainment.
One may describe the stage management as almost impeccable due to the perfect way the stage was set to represent the setting, and also, their flawless deployment of the lighting technique. To me, it is this lighting technique that makes the play stand out. The lights came up when and where necessary, not a second too early or late. Unarguably, the lighting technique was most effective when it was employed to show time — that is, day and night. This topnotch use of this technique is also brought to the fore when the lights were dimmed during the ritual scene. The solemnity and sacredness of the rituals were well captured by the eerily spooky umbrella of semi-darkness. This was enough to make the watcher understand the importance of these rituals. Another important thing I noticed due to the arrangement of the stage is the market scene. The market scene is crucial in traditional plays. The market is known as a place where rumours and stories thrive. Little wonder the birth of the would be king is announced in the market setting. The market scene is also ideal for announcement of the king’s birth because it reinforces Soyinka’s principle in Death and the King’s Horseman of the market place being a strategic location for the meeting of the three realities in Yoruba mythology — that is, the world of the unborn; the world of the living; and the world of the dead. It is important to note that the market place also serves as a link between these realities. Hence, this well believed myth strengthens the writer’s use of the market scene to announce a transition — that is, from the world of the unborn to the world of the living. The stage management was described as almost impeccable at the beginning of the paragraph because it had slight flaws. One of such flaws is the bad sound systems used in the play. Aside this, one can be justified to give the stage management crew an excellent score for a job well done.
Also, the gestures of the actors also enable non speakers of the Yoruba language to have an insight on some of the happenings in the play. The slow pace, with which those who are to make prophecies on the child move, gives insight to the audience that these men must be truly special and of high importance in the society. The greatness which is proclaimed on the baby is evident when the priests and other spectators bow to the child. However, the child’s mother refuses to bow to her child; hence, bringing into play the African belief that expects a child to prostrate himself to his parents, and not the other way round.
In conclusion, if I were asked to give my personal opinion on the play, I would rate it as a largely successful performance. The topnotch techniques employed by the stage management crew played a huge role in this. As a member of the audience who could not fully grasp the dialogues, I was entertained by the dance interlude. Hence, I can boldly describe the play as a successful one. In conclusion, this essay has made an attempt to analyse the production of the play Matiiku.
Ola Rotimi’s The Gods are Not to Blame.
Wole Soyinka’s Death and the King’s Horseman.
He was a nice man, good looking and a church go-er, he was loyal to god as much as he was his wife Ann-Marie. He’s tall, around about 6’2 I’d say, not much meat on his bones but well looked after whether it was by himself or his wife. Tint of dark in his skin and bright green eyes, I could see why Ann-Marie loved him, but his looks wasn’t just who defined him, he would always have a glowing smile that would stand out in the crowd, his voice was one the angels loved to listen to, never a violent side to him, never a bad look in his face.
What made him do it?
Ann-Marie was slightly younger, the 24 year old who always dressed appropriately and was proud to show off her perfect man, every Sunday morning they would walk in to church together, holding hands… smiling and welcoming everyone they walked by, never a day went by that they didn’t show up to church.
On September the 12th 1984, He had turned up to church without his woman at his side, just him, himself and god. Many people fussed around him, “how is your wife?” He was questioned a few times, “she is good, resting at home” he would reply, everyone quickly become suspicious but not long after we was to find out… there was to be a congratulations in order, when Ann-Marie was back on his side but her stomach was much more slightly bloated, straight away people raced over to them both with glowing smiles, some didn’t approve but the ones that did fluttered them with happiness.
“Meeting the murderer” you wouldn’t think it right? You’d expect a jobless man with nothing to loose but him, he had everything to loose.
Months went by and Ann-Marie got bigger, they had broke the news of expecting their baby girl by the begging of June, although it was March and she was getting bigger and having the pregnancy struggles, she still always shown her face in the church. Since we found out, the priest would always have us sing along to a personal good luck song, ensuring our song was heard with the angels and their baby will grow stronger each day. She was looking really good, they started to look a bit more distant but I suppose that is simply what having a baby does. Having a baby plays with your emotions and the way you feel, it’s life and it’s a life growing inside of you which makes it worth it but I don’t think he understood this when she told him she was leaving.
Anger flustered through his mind, he felt overpowered by the woman carrying his daughter, he rang the emergency number, “I’ve stabbed my wife 17 times! She’s lay head on the kitchen floor.” He handed himself in before racing to the kitchen and killing her by stabbing her 17 times like he said. The police later turned up
Weeks went by, it was his trail date, he had admitted to everything and will more than likely plead guilt to murdering his wife and unborn baby. But his solicitor has other plans rather than jail. “I murdered my wife, god has yet to forgive me” head line news all over the paper, will his faith in god let him be a free man?
No he wasn’t a free man, at least not for 18 months he wasn’t. A reduced sentence for the heart felt man he was, his loyalty to god and his guilty plead. Even in prison he never missed a day of praying… did he actually make a mistake? Will god forgive such a violent crime and will he ever forgive himself?
18 months passed, he was back out, his first mission was to go to his community church and ask the community for forgiveness. Many turned him down but many accepted, “thou shalt not kill… but thou shall give forgiveness when asked” the priest responded before shaking his hand, “welcome back, Darius” he welcomed before walking through to the front of the church where the priest then repeated loudly, “thou shall give forgiveness when asked” most clapped and agreed but others had over opinions, “thou shall not covet” a voice shallowly but confidently shouted from the other side of the church, low silence claps of agreements follow.
Months went on and the ones who didn’t forgive started to accept he is a member of their community and he does have the same love for god as they share. He was welcomed to sit where he pleased without the funny looks and the quiet judging, he felt normal again but obviously his wife and child wasn’t there, but that is something he is to live with for the rest of his life.
Years went on, all had been forgotten until one day, he was welcomed into a church holding the hand of a new loved one, her children followed behind them. She introduced herself, “Janet” to everyone to welcomed her, not a word of Ann-Marie was spoken but did she know she was allowing a murderer into her life?