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out who their mentors are and you will hear names like Genevieve Nnaji, Mercy Johnson, Patience Ozokwor,. Olu Jacobs, Ramsey Nouah, Richard Mofe-Damijo, Nkem Owoh, just to mention a few. goal which has remained extant is Stanislavski‟s use of the „Magic If.‟ This allows The relationship between the actor‟s. EbonyLife's 'Chief Daddy' starring Joke Silva, RMD, Nkem Owoh & Patience Ozokwor. The latest production from EbonyLife Films is set for. This is one of those hidden facts you have never known over the years. Read this to find out if Patience Ozokwor and Nkem Owoh are truly.
From the definition above, we see that both the stage and screen actor are faced with a common challenge which is the ability to be convincing and believable enough to attract acceptance from members of the audience. Whether on stage or screen, if an actor experiences only internal feelings or only physical actions, then the performance is dead. The reasoning behind this goes back to the union of the psychological and physical which goes mutatis mutandi hand- in- hand. For an actor to portray a character employing one aspect of the union without the other is to perform incompletely.
The Theatre Challenge We engaged some acting students in a debate as to which medium of acting poses a greater challenge to the actor and true to our expectation, majority argued, albeit ignorantly, that stage acting is more challenging than that of the screen.
The reason for this somewhat lopsided argument is not far-fetched: As far as they are concerned, screen actors just have a field day on set as they do not need to go through the rigors of changing set, costumes in a few minutes while the audience waits.
For the purpose of this paper, we have identified five basic challenges that tend to confront the stage actor. Rehearsals In his article on Acting: Myths, the Reality, Effiong Johnson identified six conditions that constitute good acting one of which is a thoroughly rehearsed play.
This is an aspect of acting that most actors see as challenging in the process of preparing for a particular production, the most boring being the blocking stage.
Actors are expected to go through rigorous rehearsals that span at least four to six weeks for a professional production to be ready for performance during which actors are also expected to memorize their lines and blockings.
He is at liberty to take his lines as much as he can on set as the director can take as many cuts as possible until the actor is able to get the lines correctly.
Rehearsals for the stage actor do not end with lines alone. The actor is made to go through series of fitness and concentration exercises that helps maintain a developmental progression for the actor and extends his ability in such a way that he can confidently expect to be effective in a host of acting styles.
Therefore, any training must seek to strengthen this organic entity During exercises being the initial stage, the actor is devoted to the fundamental tasks of aligning internally as well as externally and conditioning the body.
This stage helps the actor to become supple or flexible, confident and precise in movement while eschewing stage fright, awkward gestures and inexpressive immobility. The application stage is the ability of the actor having gone through the first and second stages will be able to focus his mind, spirit and body on the problem of applying growing awareness and skills to a particular project.
Memorization and Line delivery This is an area that poses a great challenge to the actor. A number of times I have taken pains to warn my students on the dangers of cramming. Cramming lines distorts the flow of characterization as the actor spends most the time on stage trying not to forget the crammed lines at the expense of the audience. When an actor learns his lines, it becomes easy for characterization to flow. In the case of the snake, moulting occurs when the old skin is outgrown and the snake will rub against rough surfaces to shed skin.
To relate this analogy to the issue of discourse, I liken myself to the snake and the script, my skin. Throughout the period of rehearsals, my script becomes part of my body and I read the lines over and over again.
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A good actor must not stop reading his script even after he has learned his lines until the production is over. My spontaneous answer was quite revealing as I just replied by asking how old he was and if he was Christian, he told me his age and replied the later in the affirmative and I asked a simple question: This question came as a result of the biblical injunction in Joshua 1: Then you will be prosperous and successful NIV.
This analogy cannot be more apt with regards to my system of shedding skin. This system has worked for me and has given me opportunities to see new meanings in my lines each day as I read through the script. During this process, the lines naturally become part of me and then, having outgrown the skin scriptI shed it.
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This is further corroborated by Brockett and Ball in their assertion: Memorization is aided by a few simple procedures. Because it is impossible to memorize everything at once, the script may be broken into beats and mastered one at each time.
In each, the actors must ultimately not only learn their own lines but also memorize the cues the words or actions of others that precede and trigger their lines as thoroughly as they memorize specific lines, it is helpful to study the sequence of ideas or shifts in emotion and tone — the overall development of the beat From the foregoing, it is obvious that the art of memorizing lines is not meant to spontaneous but a process in order for it to culminate into an effective line delivery.
This has put a social pressure on most actors who end up living above their means just to maintain the class they exhibited on screen. This is not so for the stage actor who has to play on seemingly different locations set on the same stage. As a result, he has to be fast enough to change from one costume to another to create an illusory passage of time in order not to keep the audience waiting for too long or create a yawning gap during the production.
This is more challenging especially when it has to do with flashbacks. Both characters are seated and suddenly Odewale tells his story in a dramatized flashback which involves his fight with the old man whom we eventually get to know as his father.
When he returns to the previous scene, the actor is saddled with the task of changing back to the former costume and to also control his breathe after the fight in order to match the calmness of the discussion with Alaka.
An actor is also expected to get used to the set he is to play on. This is usually done on the day of dress and technical rehearsal during which set, light and costume changes will be rehearsed in detail. These sets are usually built with light wood and calico materials to make for easy movement during set change and the actor is expected to be extremely careful in order not to let the set come crashing down during performance, a situation which can be very distracting and embarrassing to the actor and the entire performance.
Performance and Feedback The ultimate goal of an actor is to showcase all that he has rehearsed before an audience. The better prepared an actor is, the more confident he will be on the opening night. However, it is rare to see an actor who at one time or the other has not experienced some form of nervousness. The stage actor in performance comes face to face with audience and gets a direct feedback for his audience and gets a direct feedback for his performance.
This is a fact that most actors on screen are not able to confront. And for all that, I say a big thank you to Writivism and Yewande Omotoso. What specific things did you learn? The mentorship was very helpful in character building, plotting, punctuation, and a new one I hadn't heard of before - staging.
This deals with scenery, how settings in themselves can set the reader up for what to expect. Also helpful to me was that my mentor made it clear that despite a story having multiple themes, a writer still has a particular idea stuck at the back of his mind of what he or she expects the story to achieve.
And that no matter how a writer meanders, he or she should not lose sight of that idea, as it guides other ideas. I learnt a lot. When and how did you start writing? I started writing in secondary school. Before then, I can't say I was passionate about anything, but just lived life as it came, no goals or aspirations.
Imperative of a well funded department of film studies
And then one day, all that changed. I watched a Nigerian movie titled 'My Baby. The movie focuses on numerous issues in marital life, such as polygamy, the frantic search for a male child, and the deprivation of certain fundamental rights to the female child. So, after the movie, I felt I could write something like that. So I penned my first short story titled 'House to Home' which shared several themes with 'My Baby,' particularly the question of if the male child is more important than the female.
That was how I started. You seem bent on short story writing.
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Do you intend to explore other aspects of writing? Well, I won't say I am bent on writing short stories only. All I do is follow where the muse leads me. I have tried my hands on poetry and a friend told me I wrote prose disguised as poetry. Since then, I haven't written poems again, not that I felt discouraged though, no, but because I felt, after a critical look at myself and my writing, that it was best if I stuck to prose.
But if one day the muse leads me to poetry, drama or even painting, I will gladly follow. Your latest story, 'Chidera' was published in an online magazine. How good have we fared as a film culture?
Though some folks may consider it immodest to beat our chest as an internationally acclaimed film culture, the UNESCO seal of approval rating Nollywood as the second largest film culture, in terms of production, is an indication that Nigerian cinema has come of age.
Beginning fromprofessionalism has been established in the industry. Recently, members of Rivers State Actors Guild collaborated with the Department of Theatre and Film Studies in the maiden edition of what the department has conceived as a yearly training programme to be carried out jointly between the industry and academia, thereby integrating our industry practitioners in the training process of the next generation of Nigerian filmmakers.
In attendance were more than practising young actors, who were mostly untrained. They were therefore highly excited to be offered an opportunity for hands-on training by veteran actors like Sam Dede and Columbus Irisoanga. As a mark of the growth attained in the industry, film production is fast becoming genre-driven.
The popular genres of Nollywood are, by now, known to everybody. Genre seasons are usually launched by an agenda setting popular story in the tabloids. For instance, when the Okija saga erupted into the national consciousness as a result of the crisis between former governor of Anambra State, Chris Ngige, and his political sponsors, including insinuations that other politicians and ordinary citizens were being dragged to Okija shrine for oath-taking, the Inspector-General of Police and his men raided the shrine and this triggered off a genre of films on the influence of the shrine on social life in Anambra State.
Genres are one of the popular platforms for the sales and marketing of films worldwide. Another popular platform is the star system.
Right from its inception, the marketability of Nollywood films has always been anchored on its movie stars, who have world-wide recognition and are currently being used for purposes of endorsement of industry products apart from films.
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A key area where Nollywood is currently not doing well is the area of training. Nollywood is the only major film industry in the whole world, which does not have a solid academic foundation.
By this I mean it is the only major film industry without a well-established educational or institutional backing. Even though the industry is currently 25 years old, there is no single Department of Film and TV Studies in the entire country. In this respect, there is no basis for comparison between Nigeria and the other major film producing countries such as the U. They have well-established educational institutions of academic and professional orientation to provide academic leadership to film practice in their country.
Nigeria has failed woefully in this regard. The Federal Government only pays lip service to the industry. Even when the government voted money for the training of filmmakers, it never occurred to the Nigerian leadership to initiate policies towards bridging the institutional gaps in the industry. The operators of the National Film Fund, established by the government of President Goodluck Jonathan, preferred to sponsor Nigerian filmmakers to film training institutions in Colorado, U.