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Mr. Godwin Kwesi Yawotse

Current Faculty Officer, School of Biological Sciences

View Profile

Prof. D. D. Kuupole autographing a copies of the book

A Book in Honour of Prof. D. D. Kuupole Launched

07 Jun, 2019 By louis Mensah

A book that chronicles the background, life journey and leadership of Prof. Domwini Dabire Kuupole, a former Vice-Chancellor of the University has been launched on campus.

The 131-page book titled “Managing the Contemporary Ghanaian University: Reflections of a former Vice-Chancellor” provides a historical background of the University, touches on the person and profile of Prof. Kuupole, career journey through UCC and his achievements and challenges he encountered during his term as Vice-Chancellor. It also spells out some lessons learnt and the way forward.

Managing a University is Complex

The guest speaker for the launch, Prof. Clifford Nii Boye Tagoe, noted that the modern-day university has not only become large but complex in structure and organisation.  He indicated that managing a modern university anywhere in the world was not a joke especially in Africa where funding was a major problem. In the face of these complexities, he noted that a Vice-Chancellor must show leadership to manage the university to fulfill its mandate. “The Vice-Chancellor must, therefore, be versatile as much as possible to keep the ship afloat to move it forward all the time.”

Prof. Tagoe who is a former Vice-Chancellor of the University of Ghana, Legon, posited that “Each Vice-Chancellor brings to office certain unique attitudes, knowledge and leadership styles".  He, therefore, recommended that the story of each Vice-Chancellor must be told stressing that “each one must be told separately” .

The former Vice-Chancellor of the University of Ghana commended the authors for coming out with the book which he described as timely. “There is a lot which the current and future generation of University leaders can learn from Prof. Kuupole’s experiences, achievements, ideas, and challenges as Vice-Chancellor,” he urged.  He also commended Prof. Kuupole for allowing his life story to be chronicled as a University leader for others to learn valuable lessons from him. “I believe your effort will be an encouragement to former Vice-Chancellors who are yet to write their own books,” he noted.

Achievements of Prof. Kuupole as Vice-Chancellor

The Reviewer of the book, Dr. Paul Effah, commended Prof. Kuupole for developing a comprehensive research plan for UCC and creating the Directorate of Research, Innovation, and Consultancy as well as the introduction of an award scheme aimed at improving research in the University. He also praised him for the introduction of the Collegiate system and embarking on various infrastructural development and other Income Generating Funds (IGF) projects during his term as Vice-Chancellor.

Dr. Effah who is the President of Radford University College recommended to the authors to adequately address human resource development especially on Continuous Professional Development that took place under Prof. Kuupole’s administration in subsequent editions of the book.

Background of the Book

Making a remark, Prof. Kuupole said the concept to write the book was mooted by Mr. Moses Maclean Abnory when he was about exiting office as Vice-Chancellor in 2016. According to him, the book was to serve as a source of reference and motivation for people in the higher education enterprises who might one day want to learn something about different shades of leadership and management challenges and successes through the lenses of someone who has held different leadership positions in a Ghanaian University. He added that it had the potential of inspiring future university leaders. “Up and coming leaders can take inspiration from the leadership strategies that could be adopted or adapted to improve the systems in which they work,” he said.

Appreciation to Authors

Prof. Kuupole thanked the team of authors led by Mr. Abnory for digging deep into his life story to his amazement. He remarked “I thought I knew myself well but reading through pages of the book, the lenses with which colleagues subordinates friends and indeed my family viewed me as a person and also my leadership style, I realised that I never precisely know who I was nor my leadership styles. I must admit that I have learnt much more about myself from reading this book than I ever thought possible”.

Launching of Book

The President of the Presbyterian University College of Ghana, Prof. Emmanuel Adow Obeng, who officially launched the book, said the book would serve as a guide to current leadership of Universities in the country. Prof. Obeng who is a former Vice-Chancellor of UCC noted that the current scene of the tertiary educational landscape was very cumbersome and therefore, the lessons and experiences that had been shared in the book could help address some challenges in the system. “When I was Vice-Chancellor, there were only five Universities but now they are about 10 and everybody is struggling to understand the system,” he averred.

 The first 10 copies were auctioned for GH ¢2, 000.

Prof. Joshua Danso Owusu-Sekyere

Prof. Joshua Danso Owusu-Sekyere

A former Vice-Dean of the School of Agriculture of the University of Cape Coast, Prof. Joshua Danso Owusu-Sekyere, has been appointed as the Vice-Chancellor of Cape Coast Technical University (CCTU).                                

Prof Owusu-Sekyere was appointed by the Governing Council of the University at its regular meeting held on Friday, April 12, 2019, to serve a four-year term.

Profile

Prof. Owusu-Sekyere is a Professor of Agricultural Engineering with rich experience in university management and leadership.  He has also conducted extensive research into deficit irrigation, water saving irrigation, crop water requirement under a changing climate and water control for crop production.

He began his academic career as an Assistant Lecturer in the Department of Agricultural Engineering at the University of Cape Coast in 1998 and rose through the ranks to become a full Professor. He was promoted to the rank of Senior Lecturer in 2007, Associate Professor in 2010 and full Professor in 2012. He obtained his Doctor of Philosophy (Ph.D.) degree in Agricultural Engineering from Cranfield University in the United Kingdom (UK) in 2006.

In the course of his career, he occupied various positions including serving as the Head of the Department of Agricultural Engineering at the University of Cape Coast from 2008 to 2015 and Vice-Dean of the School of Agriculture between 2013 to 2015 at the same university.

He has also served as the Rector of Perez University College (PUC) from August 2016 to July 2018 while on sabbatical leave. Rev. Prof Owusu-Sekyere is married to Mrs. Bernice Owusu-Sekyere with two children.

Staff Spotlight
Some PhD graduates at the 17th Session of the 51st Congregation

UCC Introduces Plagiarism Policy

06 Jun, 2019 By louis Mensah

The Vice-Chancellor, Prof. Joseph Ghartey Ampiah, has announced that the University has instituted measures to reduce the level of plagiarism in postgraduate research work.

In view of this, he noted that the Academic Board has approved a Plagiarism Policy to be implemented in the 2019/2020 academic year.

Prof. Ampiah made the announcement at the 17th Session of the 51st Congregation held for graduates of the School of Graduate Studies (SGS).

In addition to this, the Vice-Chancellor indicated that the University has purchased the “Turnitin software” to help reduce the level of plagiarism and increase the potency and originality of research output.  “Currently, staff and postgraduate students are being trained in the use of the ‘Turnitin software’, he added.

Statistics of Graduating Students

On the statistics for the congregation, Prof. Ampiah said a total of 1, 183 graduates comprising 61 Doctor of Philosophy (PhD), 186 Master of Philosophy (M.Phil), 10 Master of Commerce (M.Com), 9 Master of Nursing(MN), 633 Master of Business Administration (MBA), 160 Executive Master of Business Administration(EMBA), 4 Master of Education (M.Ed), 6 Master of Science (M.Sc), 51 Master of Arts(MA), 54 Postgraduate Diploma in Education (PgDE) and 9 Postgraduate Certificate in Education (PgCE). He noted that out of this number, 495 students received their training through Distance from the College of Distance Education.

The Vice-Chancellor said Management of the University had not relented on its effort to improve on teaching and learning facilities on campus. He indicated that Graduate Programme Coordinators have been appointed in the Colleges, Faculties and Schools to facilitate postgraduate programmes. He mentioned that seminars on e-learning for postgraduate students were mounted on a consistent basis and had been made user-friendly. “At least once in each academic year, special seminars aimed at improving graduate studies and ensuring completion of programmes on schedule are organised for graduate students where Senior Faculty members take them through the essentials of graduate research work” he reported.

Research Grants

Speaking on Research Grants, Prof. Ampiah said the Samuel and Emelia Brew-Butler GRASAG-UCC fund was established in response to increasing demand by students and SGS for the production of high-quality graduate research and early completion of graduate degree programmes. “The Fund provides financial support to alleviate the financial burden students go through in undertaking their research projects and to produce high-quality research within approved programme duration” he explained.  He said 40 students made up of 33 MPhil and 7 PhD students received a total of GH ¢120, 000 as grants to support their data collection.

Future of Postgraduate Studies

On the future of postgraduate studies in the University, the Vice-Chancellor said SGS would increase the enrolment of students into the various postgraduate programmes and also make delivery of courses more flexible. “SGS will continue to bridge the gender gap by rolling out more flexible, career-oriented programmes through our various modes of delivery to make it possible for all who are willing to enrol” he added. He assured that the University library facilities especially, e-library would be expanded for students on campus and off campus. “Contracts will soon be awarded for a state-of-the-art Graduate Resource Centre and Research Commons and we envisage that this will boost graduate studies. We look up to these, alongside the refurbishment of the Main Library building for the next academic year,” he announced. Prof. Ampiah further noted that the University shall continue to explore both local and international collaboration to boost graduate education delivery.

Postgraduate Researchers Are Major Drivers of Innovation and Growth

The Chancellor, Sir, (Dr) Sam Esson Jonah, observed that the advanced knowledge and skills of postgraduates and postgraduate researchers, in particular, were major drivers of innovation and growth. “Products of postgraduate education are, therefore, needed to staff Research and Development Institutions, to drive scientific innovations, as well as high technology manufacturing firms,” he observed.  According to him such institutions and firms were the main vehicles through which the results of the research were infused into the local economy, transforming the technical bases of agricultural and manufacturing production.  “Postgraduate programmes are essential for training university professors and thus improving the quality of tertiary education, today and for future generations” he stressed.

SGS Producing More Graduates

The Chancellor commended SGS for providing strategic leadership and administrative structures within a diverse group of students and faculty in the graduate field.  “The School of Graduate Studies continues to enhance the intellectual life of the University by enabling graduate and professional students to undertake scholarly study and advanced research and to prepare for professional work” he noted.

Sir Jonah reminded the graduands that more innovative ways of doing business and spectacular technologies were emerging and therefore, advised them to be among the 21st Century think thanks who engineer such progress. “The University has empowered you with generic and discipline-specific research, knowledge and skills, employment-related skills and competencies. We will be looking forward to receiving feedback from your communities and the nation as a whole on how you have impacted society with these resources” he implored.

The Chancellor urged the graduates to consider investing in the agriculture sector which according to him has great potentials.

03 Jun, 2019

The University of Cape Coast invites applications from experienced, results-oriented and highly motivated individuals for the position of Dean, School of Pharmacy and Pharmaceutical Sciences.

KEY RESPONSIBILITIES

The Dean shall be the Academic and Administrative Head of the School of Pharmacy and Pharmaceutical Sciences responsible to the Vice Chancellor through the Provost of the College of Health & Allied Sciences for providing leadership to the School and for maintaining and promoting the efficiency and good order of the School. He or She shall be responsible for creating and delivering on a dynamic and innovative vision, developing, fostering and nurturing collaborative relationships with relevant partners of the School and achieving viability of the programme. In addition, the Founding Dean shall be responsible for facilitating the recruitment of other faculty members, leading the School in Strategic Planning and identifying and cultivating opportunities for research and collaboration.

QUALIFICATION AND EXPERIENCE

Applicants must be scholars of high repute and of professorial status. They must possess a PhD in Pharmacy or related field. In addition, applicants must be Registered Professional Pharmacists. They must be individuals of stature and high integrity with strong leadership, interpersonal and communication skills capable of executing the responsibilities outlined above.

In addition, applicants must also show evidence of the following qualities:

  1. Understanding, commitment and ability to promote the mission of the University, School of Pharmacy and Pharmaceutical Sciences and its Departments
  2. Ability to inspire the Faculty and articulate a clear vision that showcases the school’s strengths while developing new levels of excellence.
  3. Proven ability to work effectively with academic administrators, faculty, students, alumni, donors, health system and health professionals to foster effective teaching, learning and research.
  4. Proven ability  to build consensus and effectively manage conflicts
  5. Ability to foster an inclusive environment that welcomes faculty, staff and students of diverse backgrounds  and experiences

TERM OF OFFICE

The Dean of the School of Pharmacy and Pharmaceutical Sciences shall hold office for a period of three (3) years and shall be eligible for re-appointment for another term only.

CONDITIONS OF SERVICE

Salary and Fringe benefits attached to the position are attractive and will be specified in the letter of appointment.

Mode of Application & Closing Date

  1. Interested applicants who meet the above criteria should please submit applications and  comprehensive curriculum vitae, together with relevant supporting documents, and a Three-Page Vision Statement to:

The Registrar

University of Cape Coast

Cape Coast

  1. Applicants should request three (3) referees to submit reports on them directly to the above address
  2. The closing date for the receipt of application is Friday, 21st  June, 2019

Application forms are obtainable from the Senior Members Section, Directorate of Human Resource, University of Cape Coast. The forms could also be downloaded at Senior Members Application Form - Teaching

REGISTRAR

Graduating Students singing the UCC anthem

UCC Graduates Students from Health Training Institutions

03 Jun, 2019 By louis Mensah

UCC Graduates Students from Health Training Institutions

The University has conferred diploma on 1, 555 students who pursued their studies in 23 Health Training Institutions across the country at the 7th Session of the 51st Congregation.

 The graduates included pioneer students who enrolled on the UCC Diploma in Midwifery. As part of the ceremony, 18 graduates from the School of Anaesthesia, Ridge and 78 graduates from the Public Health Nursing School at Korle-Bu were also conferred with Bachelors Degrees.

In his address, the Vice-Chancellor, Prof. Joseph Ghartey Ampiah, said UCC had played a significant role in putting smiles on the faces of the pioneer graduates of the Diploma in Midwifery programme. He noted that this category of midwives had been relegated to the background in the profession in terms of academic progression. “There is no doubt that the conferment of Diploma in Midwifery on the pioneer graduates will motivate them to give off their best to strengthen Ghana’s Health System, especially in the area of maternal and Child Health” he noted.

UCC to Introduce 2020/2021 Bachelor of Science in Midwifery

Prof. Ampiah announced that from the 2020/2021 academic year, the School of Nursing and Midwifery would begin its Bachelor of Science in Midwifery programme. He, therefore, encouraged the graduating students to take advantage of the programme to upgrade themselves to improve their professional competence and also remain more relevant in the Midwifery profession. 

             

Background of Diploma in Midwifery Programme    

Giving a background to the Diploma in Midwifery programme, the Vice-Chancellor explained that the programme emerged out of the Ministry of Health and the Nursing and Midwifery Council (N&MC) quest to upgrade students pursuing the Post NAC/NAP programme to the status of Diploma Holders after graduation.  He indicated that the University accepted the request and the programme was officially launched in Accra in 2018.

The Vice-Chancellor said UCC has been engaging stakeholders in the developing of the Curriculum and planning various activities for the programme and further indicated that he was privileged to chair one of such meetings to consider the report on the final results of the pioneer graduands.

UCC’s Approach to Affiliation

On UCC's approach to institutional affiliation, the Vice-Chancellor said the relationship between the University and its affiliate institutions has always been mutually beneficial to all partners. “We don’t believe in a confrontational approach to mentorship but establishing healthy professional relationships with our affiliate institutions leading to quality academic development and training of highly competent human resource for the nation” he stressed.

             

The Vice-Chancellor said the Ministry of Health can attest to the quality of service UCC is offering to Post Basic Health Training Institutions leading to the award of B.Sc. Degrees in specialised fields in the areas of Anaesthesia Ophthalmic Nursing, Public Health, Peri-Operative and Critical Care Nursing. “The decision by the Ministry of Health to affiliate 36 Midwifery Institutions did not come as a surprise to us, considering the positive impact our services to the Post Basic institutions” he indicated.

UCC Making Strides in the Health Sector

According to the Vice-Chancellor, the University was making great strides by training highly competent human resource in all facets of the health sector. “Mention can be made of our highly cherished medical doctors, optometrists, laboratory technicians, biomedical scientists, health administrators, nurses in addition to our new midwives who are graduating today” he stated. 

In addition, the Vice-Chancellor indicated that the College of Health and Allied Sciences offered innovative health programmes at the undergraduate and postgraduate levels. These include Medicine, Physician Assistant Studies, Nutrition and Dietetics, Medical Laboratory, Biomedical Sciences, Sports and Exercise Science and Medical Imaging and Sonography and Health Information System.

Advice to Graduates

The Vice-Chancellor advised the graduates to be exceptional in the discharge of their duties to the satisfaction of their clients. “Always remember that a patient is the most important visitor on your premises. He/she is not an interruption in your work. He is the purpose of it,” he advised them.

Award Winners

Ms. Comfort Manu from the Presbyterian Nursing and Midwifery Training College, Dormaa with Cumulative Grade Point Average (GCPA) of 3.900 was the best graduating student for the Diploma in Midwifery programme. Oforiwaa Margaret emerged as the best student for B.Sc. Public Health Nursing, whiles Samuel Osei-Mireku Jnr. topped the graduating class for B.Sc. in Anaesthesia. They received cash prizes and a set of books.

  

             

The Graphic MD, Mr. Atto Afful and his team with the Vice-Chancellor

General Manager of Graphic Communications Group Limited Calls on Vice-Chancellor

03 Jun, 2019 By louis Mensah

The Vice-Chancellor, Prof. Joseph Ghartey Ampiah has called for collaboration between the Graphic Communications Group Limited (GCGL) and the Department of Communication Studies to enhance the training of professional journalist for the media industry in the country.

Prof. Ampiah made the call when the Managing Director of GCGL paid a courtesy call on him in his office.  He noted that the collaboration would enable professionals from GCGL to provide hands-on training to students to become good journalists. “I want you to see the Department of Communication Studies as your own baby so that you can nurture the Department to grow,” he said. Prof. Ampiah implored the Managing Director of GCGL to assign experienced and senior journalists to facilitate training at the Department of Communication Studies and also deliver public lectures and seminars for both students and the University Community on topical issues.

The Vice-Chancellor noted that GCGL was one of the University’s biggest business partners. “Your reporters have been covering our programmes to make us visible but I believe more can be done to project UCC,” he noted. He said the University was happy to have GCGL as a partner and indicated that “there are many things we can do together through this relationship”.

Gratitude to UCC

On his part, Mr. Atto Afful who is an alumnus of UCC said he was happy to visit his alma mater. “I have come to where it all started and I must thank the University for making me who I am today,” he said.

The Managing Director of GCGL said his outfit was committed to projecting state-owned organisations and institutions through communication and engagement. He, therefore, called on the Vice-Chancellor to furnish GCGL with names of lecturers who could serve as experts to be consulted when the need arose.  “GCGL is the biggest employer in the media space and we are ready to partner institutions like UCC which is a breeding ground of knowledge” he noted.

GCGL is Ready to Partner GCGL

Responding to the Vice-Chancellor’s request, he said GCGL was ready to partner the Department of Communication Studies and also provide internship opportunities for its students. Mr. Afful assured the Vice-Chancellor that experienced professionals would be tasked to engage faculty and also facilitate training for students of the Department. “We will take a critical look at the Department of Communication Studies and give them all the necessary support,” he added.

Mr. Afful seized the opportunity to congratulate the School of Business on winning the maiden edition of Graphic Business Sense Challenge adding that “I was excited when my alma mater won the maiden edition”.  He urged the University to get copies of the special editions of the paper that published issues on business-related topics during the competition period.

African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye

African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye

Preface

African culture and performance dynamics in the dramaturgy of AbdulRasheed Abiodun Adeoye is an ensemble of artistic conversations that are dedicated to the cerebral scholar, Prof. A. A. Adeoye. A wide number of subject matters in the African culture and performance space are treated in the chapters with the intent to examine, and in cases of necessity, re-examine the structures and superstructures that govern them. This is done within the frescoes of the socio-political dynamism and topicality of the issues raised. Contextually, the forte of the chapters is premised on the spiral applicability of the wide range of perspectives discussed, in light of their locality, nationality and indeed, universality. Therefore, the various chapters tilt towards the poetics of glocalisation which is an unavoidable demand of the postcolonial theatre of the third world discourse. This timeless and borderless import translates the book into a castle of intellectual (artistic) distillation and effervescence.

The Form of Total Theatre Aesthetics in AbdulRasheedAbiodunAdeoye's Selected Works- Oludolapo Ojediran

Through textual perspective, the paper discusses the intertwining roles of the major components of total theatre; music, dance and dramainAbdulRasheedAbiodunAdeoye's the Killer (A Social Drama) and the Smart Game (A Neo-alienation Script).

Social Drama and Political Discourse in the Dramaturgy of AbdulRasheed Abiodun Adeoye's the Killers- Abdullahi, KadirAyinde

This work analyses the epic dramaturgical techniques in Adeoye's the killers and how they are influenced by the writer's commitment to nation building.

Exploring Theatre of Performance and Responsibility in AbdulRasheedAbiodunAdeoye's Neo-Alienation Style- Adenekan, 'Lanre Qasim

This paper analyses Neo-alienation as a performance style. Using Adeoye's the Smart Game to explore the dramatic aesthetics inherent in the theatrical concept.

Nation Building and Attitudinal Constructs in Nigeria's Post-Colonial Drama: AbdulRasheedAdeoye's the Killers as Paradigm - Agboola Michael

The work examines the attitudes that have impeded Nigeria's development as portrayed in Nigerian drama. With Adeoye's the Killers as the archetype, it exposes the centrifugal attitudes that have distracted the nation from its prosperity.

Ideological Projection in Adeoye's Plays: A Critical Discourse Analysis of the Killers and the Smart Game- Taofiq Adedayo Alabi

The study analyses Adeoye's the Killers and the Smart Game with the aim of distilling the ideological commitment of the playwright.

Mood Choice and Modality in Adeoye's the Killers and the Smart Game- Taofiq Adedayo Alabi and Mary Titilayo Olowe

The paper examines conversational extracts from the two play-texts to explore the relationship between the dialogue and the authorial intentions for mood and modality.

Seeking Classical Parallels in AbdulRasheedAdeoye's Collective Characterisation: An Examination of Neo-Alienation's Eclecticism - Foluke R. Aliyu-Ibrahim

The study investigates the eclectic nature of Adeoye's Neo-Alienation. It presents the classical Aristotelian principle of empathy as much of an influence on the style as Brecht's Epic theatre.

Indigenous Aesthetics in the Production of Tornadoes Full of Dreams as Directed by AbdulRasheedAbiodunAdeoye - Aponmade Ayobami Afeez

This paper discusses the influence of indigenous African aesthetics such as rituals and festivals on the directorial technique of AbdulRasheedAdeoye in his Production of Bode Sowande's Tornadoes Full of Dreams.

Drama and Social Transformation: A Study of AbdulRasheedAbiodunAdeoye's the Killers and the Smart Game - Elegba, Florence. A.

Through textual analysis, the study examines AbdulRasheedAbiodunAdeoye's social interests in his plays, the Killers and the Smart Game, using the Marxist ideology as the theoretical framework.

Religious Intolerance and Disunity in AbdulRasheedAbiodunAdeoye's the Killers (A Social Drama)-AbdulGafar Olawale Fahm,

The study examines, with Adeoye's the Killers as a case study, the role of religious intolerance and disunity as a culture of violence threatening the society and how this leads to the destruction of ethical fabrics of the society.

Questioning AbdulRasheed A. Adeoye's Feminist's View in the Smart Game and the Killers - Olayinka Magbagbeola

The study adopts the textual analysis method to analyse and question the inference of feminist's view in Adeoye's the Smart Game and the Killers. Lectalism and Code-switching in AbdulRasheed Abiodun Adeoye's the Smart Game (A Neo-alienation Script)-Rafiu, Kamar Adewale This work examines lectalism and code-switching in the dramatic language of AbdulRasheed Abiodun Adeoye's the Smart Game (A Neo-alienation Script).

Philosophising Adeoye's Neo-alienation Dramaturgy in the Smart Game and the Killers within African Performance Tradition – Sanni Musliu

This paper philosophises Adeoye's neo-alienation dramaturgy in the Smart Game and the Killers within African performance tradition. It examines the textuality, inter-textuality and extra-textuality of the play with the aim of regarding the playwright as a philosopher.

Character and Characterization of Omoluabi in Adeoye's the Killers - Layo Ogunlola Ph.D.

This study analyses Adeoye'se Killers within the philosophical context of the Yoruba concept of virtue.

AbdulRasheedAdeoye's Purpose and Approach to the Use of Music in Play Productions - Taiye Shola Adeola

This paper discusses the purposes and approaches of AbdulRasheed Adeoye to the use of music in his written and directed plays.

An Analysis of Director and Choreographer Collaboration in AbdulRasheed Abiodun Adeoye's Productions - Felix A. Akinsipe

The paper explores the cordiality, constraints and prospects in the collaborations between choreographers and directors with particular reference to the productions experienced with Adeoye as a director.

Ritualising the Dramaturgy of Neo-alienation style in Selected plays Directed by AbdulRasheed Abiodun Adeoye- Arinde, Tayo Simeon

The paper examines the distinctive ingenuities in AbdulRasheed Adeoye's directorial style, Neo-alienation using two selected plays; Bode Sowande'sTornadoes Full of Dreams (1990), and Kola Ogunmola's Palmwine Drinkard (1972).

Theatre, Culture and Society – Elolo Gharbin

The paper investigates circumstances in which Western nations tend to influence the cultures of the less endowed cultures. It also seeks to analyse the power of theatre in strengthening the bond between nations and cultures.

A Comparative Analysis of Content and Themes of Ghanaian and Nigerian Home Video Industries- NAI, Samuel Anyetei

The study compares the content and dominant thematic preoccupations in Ghanaian and Nigerian Home Videos, vis-à-vis the cultural, sociological and political nature of the societies from which they were created.

Conceptualising Jimi Solanke's Theatre for Development Practice- Taiwo Afolabi

This paper analyses evaluates and presents the work of Jimi Solanke, a theatre practitioner who is not within the academic institution but has contributed immensely to the development of TFD in Nigeria.

An Ecocritical Reading of Camara Laye's the African Child –Moussa Traoré

The paper unearths how Ecocriticism is at the centre of the African Child, by scrutinising certain factors like recycling, the forest and its role in the initiation of the young ones in the community and many other practices that are related to Ecocriticism.

Examining the Impacts of Colonial Film Legacies on the Nigerian Film Industry- Osunkojo Adeola Abiodun

This paper examines the origin of colonial films in Nigeria and how their production became a foundation of the emergence of the Nigerian lm industry.

The Religious Philosophy Regarding Retribution in Aeschylus Oresteia - Elolo Gharbin

The study analyses Aeschylus'Oresteian trilogy with the aim of identifying the solution to the retribution as observed in classical Greece.

Style and Language in the Yorùbá Indigenous Dramatic Tragic Plays: Insights from Rẹrẹ Run by ỌladẹjọOkediji – Òkéwándé Oluwọle Tẹwọgboye

This study examines the use of style and language of the actors in Rẹrẹ Run and stylistic use of songs in the text in order to demonstrate the effect of these stylistic dramatic elements in the text.

Stand-Up Comedy as an Alternative Theatre Practice in Nigeria - Helen Paul

The study examines some selected Stand-up comedy acts and programmes in Nigeria in recent years so as to appropriately evaluate the strategies for their successes with a view to recommending such towards the invigoration of the live theatre tradition in Nigeria.

(De)Construction of Language of Environmentalism and Resilience of the Poor in Some Selected Commonwealth Movies - Afutendem Lucas Nkwetta

This paper analyses No Mercy (2016) by Obi Olisa and the Liquid Black Gold (2013) by Aniekwe Ikenna Emma with the aim of portraying the vital role the poor play in fighting to protect the environment and mitigate climate change.

The Socio-Cultural and Economic Impacts of the New Yam Festival in Boki Local Government of Cross River State - Odeigah, Theresa Nfam

This study examines critically the socio-cultural and economic impacts of the New Yam Festival in Boki Local Government Area of Cross River State, using historic-structural and multidisciplinary approaches.

A Critical Overview of the Principles and Characteristics of Islamic Literature - Lateef Onireti Ibraheem & Aliy Abdulwahid Adebisi

The study posits that Islamic literature, as a sub-literary tradition emanating from Muslims, consistently conforms to Islamic ideology and is characterized by truthfulness and service to humanity.

Media Roles in Harnessing Art for Peace Building in Improving Socio-Cultural Community Life- Silas Oghenemaro Emovwodo

This paper highlights how media can harness art for peace building and sustenance to improve socio-cultural community life.

Indigenous Knowledge System and African Musical Art Education: Toward a Responsible Pedagogy - Odujobi 'Kayode

This paper is an attempt to explore indigenous knowledge system and the aspect of content in-built of the musical art education as reflected in the Cultural and Creative Arts curriculum.

Re-Reading Spectacles: Historicizing Occupy Nigeria- Dotun Ayobade

This paper examines the arts of the Occupy Nigeria protest at the Lagos site, how performances enacted around the protest grounds became performative expressions of subaltern identity that ultimately shaped the protests.

Identity and Politics in Nigerian Dance Practice and Scholarship: A Critical Examination- Kene Igweonu.

This paper examines questions of identity and politics in Nigerian dance practice and scholarship. It uses A Ritual for Survival (1989) by Peter Badejoas a metaphor to contend that there is a need to revisit the issue of identity and politics in Nigerian dance practice and scholarship.

Conclusively, the chapters highlighted above are critical summations of creative masterpieces that are engineered towards the need to build, re-build and re-appraise the interrelations between man and his culture, man and his social realities as well as man and his religious activities. While this book explores the sociological, cultural, political, economic, etc., activities of a nation, it is a reminder of the functionality and dysfunctionality of the society. It also discusses the role of art and the artist in identifying and correcting the various ills and vices therein. However, this book is recommended for everybody.

Professor Ayobami Olubunmi Akinwale

The Department of the Performing Arts

University of Ilorin Ilorin Kwara State

PDF File: 
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Collaborating Department: 
Department of the Performing Arts, University of Ilorin, Ilorin, Kwara State

Exploring Theatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style

Dramatists in the Nigerian and by extension African theatre space through their works have shown and are showing little or no sign of servitude to the western theatrical modes. This is an attestation to the creative efforts of these individuals especially the academics, who propound and experiment with theatrical styles that can resonate with the African people. To start with, Efua Sutherland adapted a folklore of the Ga people of Ghana, 'Ananse' to theorize 'Anansegoro' which she experimented in writing and staging her play Marriage of Anansewa in 1971 which Rotimi (2001, p.4) says is an action borne out of her “search for a form of drama that is at once modern and intrinsically African”. Equally, Sam Ukala modeled his play e Placenta of Death aer his theory 'Folkism', which he called an indigenous dramatic aesthetic principle that is typical African in content and form (Ukala, 2007, p.33). Deducing from the theatrical exploits of Sutherland and Ukala, we can note that African dramatists and theatre practitioners are exploring the world of avant-gardism. To further buttress this, Adeoye (2012, p.28) enumerates various experimental modes of theatrical presentation by some Nigerian dramatists such as Ola Rotimi's Festival theatre, J.P Clark's Neo-classical theatre and ritual aesthetics, Ojo Rasaki's Total theatre Performativity, S.E Ododo's Facekuerade theatre, Segun Oyekunle and Tunde Fatunde's theatre on the wheel of Pidgin etc. These African theatre avant-gardes focus on creating new theatre ideology with a direct connection to their cultural milieu and social happenings. is can be said to be in tandem with the position of Sell (2008, p.206) that “avant-garde focused on performance not simply as a theoretical principle, but also as an activist lever, a kind of selfcontained…recipe for social action”. Nonetheless, a larger percentage of these dramatists prioritise the content of the 
24
drama while only few experiment with both form and content. Another dimension is that not all of them have a well formulated and written document guiding their works because some of the aforementioned styles are just deductions or coinage of critics who frequently experience the theatrical practices of these scholar-artists/practitioners. is paper therefore explores the performance structure and aesthetics of 'Neo-alienation theatre' as propounded and experimented by AbdulRasheed Adeoye through e Smart Game: A Neo-alienation script. It also examines the responsibilities and relationships between performers and the audience in this theatre.
What is Neo-Alienation?  Apparently, 'Alienation' is not a new word neither is 'Neo'. But for the purpose of scholarship, the two words will be dened. e Longman Dictionary of Contemporary English denes “Neo” “a recent or later kind of a former system style”. e same dictionary however denes “Alienation” as “the feeling of not being part of a society or a group; separation from a person who you used to be friendly with” . e above denitions are somewhat pointers to what Neo-Alienation tends to represent. Meanwhile, Adeoye (2009, p.vi) discloses that Neo-Alienation “is a new theatre style that necessarily revisits, remolds and reworks Brecht's alienation effect”. He further explains that “it seeks to create the African festival theatre and the epic theatre of the western world into one unique performance motif where the artistic director is in total control of the theatre” . Before we dwell much into the style, let us comment on the meaning of 'Neo' and 'Alienation' as posited by the Longman Dictionary of the Contemporary English, in consonance with the muse that informed  the exponent of the style. Alienation is not a new word in theatre parlance because it was propounded by Bertolt Brecht, a German playwright, director and theatre experimentalist in his Epic theatre as Verfremdungs Effekt –a German term, which means distancing, defarmliarisation, estrangement and disassociation of the theatre audience in the course of watching the play. He submits that the theatre audience should watch a theatre performance dispassionately; without any emotion involved or attached to it (performance). He maintained that they should apply reasoning while the story and actions unfold onstage with the aim of making personal judgment about the experience. Given that Neo is the recent of a later kind of a style, Adeoye moves away from the alienation effect postulated by Brecht to invent his own style. Adeoye (2009, p. vi) avers that Neo-Alienation “resists alienating yourself'. rough his words, it is understandably clear that Neo-Alienation is an offshoot of the alienation effect. Having provided background information on the intention of the propounder on the style, it can then be simply deduced 25 Exploring eatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style that the style is a “theatre of performance rather than the theatre of literature”. On this, Adeoye buttresses that Neo-Alienation style seeks for a decline in the use of long dialogue in performance and then introduces “a theatre in which every spoken word is capable of numerous meanings”. He notes that: As conceptualised, the Neo-alienation theatre is a theatre of contrast and that which must create an alternative vision in the stage iconography. This theatre, to all intents and purposes, relies heavily on the theatre of performance rather than theatre of literature. Neo-alienation is a realistic reworking of the robust African festival theatre which aesthetically celebrates the total theatre idiom while benetting at the same time from the Aristotelian empathy as creatively adopted by …Stanislavski. Corroboratively, Ugwu and Orjinta (2013, p.79) assert that a relevant African theatre is the type that is skillfully hybridized and synthesises Nigerian indigenous theatre forms and the Western oriented dramatic conventions, in such a way that the Nigerian elements constitute the dominant and basic structural frame of the artistic combination.  It is however imperative to examine the script used to experiment with the theatrical style, e Smart Game. erein, Adeoye submits 'Twelve Aesthetics' that constitute the structure of Neo-Alienation theatre and they are: 1. The Aesthetics of theme Song of Audience/players' systemic fraternization. 2. Multiple Role-Playing Aesthetics 3. e Aesthetics of Artistic Deconstruction 4. e Aesthetics of Human Props and Demystication 5. The Multiple Narrator Aesthetics 6. Thee Aesthetics of De-technicalisation 7. On Stage Make-up and Costuming Aesthetics 8. The Aesthetics of Complete Instrumentation on Stage. 9. Photoramic/Captions' Aesthetics 10. e Modern Operatic Aesthetics 11. Trado-Modern Dance Aesthetics 12. The Critical Recalling Curtain Call Aesthetics. e Smart Game is a play that exposes social evils, specically prostitution and adultery as they relate to poverty. It also explores other germane social issues such as bribery and corruption etc which are regarded as the bane of social and economic development in Nigeria. It revolves around a family headed by Oloriebi whose wife Ebun, goes into 26 African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye prostitution as a way of alleviating herself and family from poverty. Her waywardness makes her to meet chief Olowolayemo who at the same time is a capitalist. He uses his power to oppress the less privileged, as he extends it to occupy a land belonging to Oloriebi Ebun's husband. Afterwards, he realizes that Ebun is married to Oloriebi, he then gives her a charm to use on him which therefore leads to Oloriebi's demise. Thus, Olowolayemo is ready to marry Ebun who contrarily is furious about the death of her husband as a result of the charm she collects from Olowolayemo. Ebun kills Olowolayemo in the same way as that of her husband Oloriebi and is arrested by the police for murder.
Exploring Neo-Alienation through e Smart Game The Aesthetic of eme Song of audience/Player Systemic Fraternisation Adeoye (2009, p.viii) explains that this “calls for a systemic theme song and other catchy phrases at the beginning of the play, the shaking of audience hand and the distribution of hand bills. e aesthetic of theme song of the audience and player systemic fraternization is achieved or incorporated in the rst action of the play titled “Rumbling Tongue”. e theme song, titled 'First Song of the Play' emphasises thus: eatre is the house of truth. And what you are about to see and to watch is nothing but the truth and the essence of our being bury your head in deep thought LEARN greatly still Do not alienate yourself (2ce) From this artistic experience, theme song portends that audience should learn from the story and see all the actions on stage as exact picture of the original. 
Multiple Role-Playing Aesthetics is aesthetics shows a direct connection to the performance construction of storytelling in Africa in which participants are assigned multiple roles to foster the plot of the story. In this aesthetics, performers are not expected to xate themselves to a single character, rather they should be ready to assume additional roles within a single performance. e Smart Game provides us with an apt example, characters like Surveyor Wale, Akin, Chief Olowolayemo, Lead Drummer, Nike, Babalawo, Hassan among others played more than a single role (Adeoye, 2009, p.xi). For instance, Surveyor Wale starts as Player One and then assumes the role of First Police. is succinctly means that he assumes three vital roles. Just like in the African storytelling performance, performers voluntarily assume and play additional roles in order to advance the plot. To validate this, players unanimously agree to perform e Smart Game aer series of disagreement on the choice of story, thus they begin to assume their second roles. 27 Exploring eatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style  Akin: I am the husband of the Ajuba woman but call me Mr. Oloriebi. All: Mr. Oloriebi, carry on with your role. Kike and Gbenga: (Walking out of the stage) We are your children and we are going to  the school… Oloriebi: I am your father and don't come home late from school. The rest of you should (Pointing to stage-le) watch the play and comment on it. The Aesthetics of Artistic Deconstruction e structural formation of Neo-alienation indicates a remake and merger of related and unrelated theatre concepts or theories into an integrated whole for a performance centered theatre. Neo-alienation style reworks Brechtian alienation and Stanislavskian emotional involvement (empathy) and truth within the paradigm of African festival theatre.  e essence of this can be said to be an artistic search for a unique way of synchronizing the vital elements of these three concepts in creating a new theatrical experience. Let us examine how Adeoye unies African festival theatre, Alienation and emotional truth. As the drum rolls affectionately from the open space in the orchestra pit, a creatively dramatic, lively and visible…orchestra populated by eager and enthusiastic Thespians contest for space in the auditorium. They are singing and distributing handbills of the First Song of the Play to the audience to ring the bell of audience/players systemic fraternisation. Simultaneously, Two Masked Players, donning white cardboards with the major inscriptions of the song clearly written on the front and back of the cardboards move slowly to the rhythm of the song and beat to the stage…  (Adeoye, 2009,p.1) A careful digestion of the above stage direction will give a clear understanding that the play opens with dance and music engagement of all the players relating with the audience which is typical of African performance attributes. A typical African festival performance incorporates dance, music and audience participation to sustain the performance mood. Furthermore, the adoption of Brechtian alienation which is however reworked becomes apparent when Two Masked Players wearing cardboards inscribed with the First song dance rhythmically to the stage. e fraternisation between the audience and the players is an element of truth which according to Stanislavsky is an important factor to creating an appearance of reality or truth on stage (Sawoski, n.d, p.7). Another perception to artistic deconstruction in Neo-alienation is a break away from the conventional mode of opening a curtain for performance. Deducing from the above excerpt, one will discover that the play begins from the audience space before moving to the 28 African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye stage. This therefore, suggests that neo-alienation adopts procession,which has been acknowledged as one of the identities of Africa festival theatre, as a performance technique. The Aesthetics of Human Props and Demystication The use of performers as props onstage further accentuates that Neo alienation demysties and nullies the adoption of stage hands for a theatrical production. It announces a non-reliant approach on materials for stage properties and objecties performers for props. This is believed to be a way to further accommodate more players in the performance and ensure smooth transition of scenes. This is exemplied in the script and production of e Smart Game as thus: A Bar Inside Hotel De Love Miming session for the arrangement of human beings as chairs and tables at stage le… Chief Olowolayemo is conspicuously placed in the bar. Costumers are busy drinking drinking and dancing …a bubling scenario for chidren of the night (p.28) With this, one could imagine the herculean task expected from the players designated for the role. It is obvious that they are meant to freeze from the beginning of the action to the end in order to achieve the spine of the scene. Equally, this aesthetic poses a challenge to the theatre director in creating a pleasing stage pictures with the human props.Te Multiple Narrator Aesthetics Conventionally, narrator is someone who tells a story but the usage in Neoalienation is for commentary.  In essence, different characters/players are provided with the opportunity of making comments in this theatre. For example, characters like Player One, Player Two, Player ree, Gbenga, Tunji, and others played the role of narrators.  The dialogue of play kicks off with Player One, Player Two and Player ree who dwell on concepts of feminism. This aesthetics is further engraved in the lines of some characters that emphasise this: Gbenga: Now that we have nished with the children's theatre with its natural fangs, shall we then start the story of the superwoman? Nike: (Angry) Stop that today. There is no single storyteller or narrator today. Everybody is everything for everybody here is a narrator, a commentator, a linker of story…(p.4) As enunciated above, the major function of the narrators is to make vital comments in creating the story and building the plot. 29 Exploring eatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style
The Aesthetics of De-technicalisation Neo-alienation shows deance to set construction for dramatic performance. The importance of scenery in a theatrical performance is jettisoned because human beings are designed to perform the role. Players are expected to use their body to demarcate stage areas as an indication of creating locale. The essence is just to create a special attention from the audience about an important scene and also give them an idea of the setting of the action. This is enshrined in the script that: Part of the stage-le, Olowolayemo's office, players demarcate the office from other acting areas with their bodies (p.44) The application of this shows that Adeoye also borrowed from Vsevelod Meyerhold's Biomechanics, looking at the way he objecties players for scenery and props. The On stage Make-up and Costuming Aesthetics This can be called an aesthetic of making the audience to be aware of when player is playing a role or a character in the play. It also makes the beautiful. In “The Smart Game” on stage make up and costuming is presently and aesthetically used. The excerpt in page 10 below will buttress the point raised above: Bola: I will play the Ajuba woman but call me Madam Ebun All:  Madam Ebun get into your costume (p.10) Player one: (calling) Tunji….. Tunji: Yes Player Three: It is your turn to play your part as Chief Olowolayemo. Player One: Change quickly into your roles…(p.23) The excerpt above gives a clear understanding that the players wear their costumes and make-ups onstage. This is born out of the fact that they are all players onstage before playing the assigned role. Aesthetics of Complete Instrumentation Onstage This aesthetics in the Neo-Alienation style has its origin in the African festival theatre. e complete instruments such as drum ensemble, gong, rattle etc are brought to the performance arena as this is to motivate both the actors and the audience during the performance. It is believed that Wole Soyinka is the rst Nigeria to bring onstage a drum ensemble, for the productions of his plays e. g Death and the king's Horseman which has its  30 African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye aesthetics in ritual festival. Furthermore, aesthetics of complete instrumentation on stage is equally not a push over among others. Using the stage instruction in page 3 as a reference point: (…Second song of the play which brings the Entire Orchestra- now as Dancers and Drummers to the stage… e drummer as part of Neo-Alienation Aesthetics must lay varieties of sounds… throughout the performance and using the talking drum or its alternative to make proverbs, punctuate the play, advance its plot and comment on important action in the play). It can be deduced from the except above that the aesthetics of complete instrumentation onstage does not only produce sound but also punctuates advance plot and comments on important action in the play. The reason is that, the drummers in the play are also players especially the “Lead Drummer”. It therefore becomes easy for role switching and role playing. The Lead Drummer submits that: Lead Drummer:  (Distorting the lyric of the Second Song of the Play) Don't mind me for expressing my dissatisfaction about roar slow song and the unethical movement of your dance steps. Like birds you should have sung well… Dancers: (Pushing the lead drummer) whose built if we should ask? Drummer: Yours of course (p.3) Photoramic/Captions Aesthetics is aesthetics is synonymous with that of Bertolt Brecht 'Epic theatre' aesthetics. Probably, because Neo-Alienation style is a style that re-invents and recreates the Brechtian alienation effect, the photoramic and caption aesthetics are used to give information about events in a play. In the case of Bertolt Brecht, the photoramic effect is depicted through the use of projector to emphasise scene changing and scenes in his plays. However, the photoramic/caption aesthetics is used in e Smart Game to introduce the play,  and the players to the audience.  It also gives the audience information about the happening in the play. e excerpt below will be used to buttress this position: Rumbling Tongue …Simultaneously, two masked players, singing while cardboards with the major inscriptions of the song clearly written on the point are back of the cardboard…(p.1) is explains that audience is carried along in the Neo-Alienation theatre. They will be able to sing along or read the inscriptions or captions which will at the same time enhance their understanding of the play. 31 Exploring theatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style
the Modern Operatic Aesthetics The reason for this aesthetics is not farfetched, due to the fact that the NeoAlienation has its source from a medley of western theatre tradition and the African festival theatre. The Neo-Alienation theatre is a total theatre in the sense that there is dance, music and drama embedded in it. As a result, the modern operatic aesthetics is prominent in the songs created in the play. For example, the 'First Song of the Play', 'Song of Affluence', 'Song of the Elephant', 'Song of It is Different' etc are well adopted songs incorporated in the course of dramatic actions in the play.Trado-Modern Dance Aesthetics The trado-modern dance is the meddling of the dance tradition of the Africans and the western dance tradition. e Smart Game paves way for the two dance tradition. e traditional dance is depicted by the dancers in page 3. It is obvious that it is a traditional dance with well-choreographed dance steps because the African drum ensemble is at work. The lead drum is prominent here: Dancers: (Pushing the lead Drummer) whose fault if we should ask? Lead Drummer: Yours of course! Dancers: No! You set the pace and dictate the tune, you drum for us and we dance… (p.3) In the same vein, the Trado-Modern dance tradition is unveiled at the Hotel De Love (p.28). Reading through the stage instruction: (… This is over taken by Ebenezer Obey's popular lyric of Alowo Ma Jaye… costumers are busy drinking and dancing…) It is not new that popular dance tradition is the fusion of African and western dance. The performers dance to the popular music which in turn brings about a Trado-Modern dance.The Critical Recalling Curtain Call Aesthetics Curtain Call in the theatre parlance is the dramatic action scene that announces the end of a performance. e critical curtain call aesthetics as the name implies is the calling back of the key players in the play to their normal characters. Going by the position of the playwright in page 69, tagged as the 'Critical Recalling Curtain Call Aesthetic', “Celebration time. Players are running on a spot” Also through each character, this aesthetics will be understood. Nike: (Jumping and coordinating) To end this play, I think we have to return to the 
32 African Culture and Performance Dynamics in the Dramaturgy of AbdulRasheed Abiodun Adeoye basis. All: we are here with you totally, tell us what to do! Nike: where is Chief Olowolayemo? Olowolayemo: (Ghost-like. He enters from backstage) I am here and I thought that I have played my own part. Why are you calling me again? Do you still want us to continue our illicit affairs? e aesthetic of critical recalling curtain call in e Smart Game brings back the characters onstage aer ending  the real story. ey are recalled to give a rethink on their former self. Oloriebi: (Enters from the backstage with a whip) Headren was good place to be but where is Ebun? Ebun: (Pleading) the only thing in my life, the father of my children, forgive me! Renew me! Refresh me! Remarry me! Oloriebi: (moving round) no one Nike's house for she is a prostitute. It can be deduced here that the curtain call aesthetics recalls the actions of the characters and also reconciles the family. This aesthetics advocates for human reasoning and thinking of their misdeeds and inactions.

Conclusion Through this paper, we discover that Neo-Alienation is a theatre of performance, given that its spine of creating stage pictures is foregrounded. This can be further attested to as a result of the pictorial construction of the play as well as the use of dialogues that automatically drive actions. Also, Neo-alienation gives responsibilities to both performers and audience. Apart from the fact that they fraternize, it demands that the audience should believe every action and see it as the exact picture of the original. It also encourages them not to totally drench themselves into the unfolding actions rather reason with the happenings. It however demands that the performers should internalize their roles without relegating their senses in the process.  Essentially, the players in the Neo-Alienation theatre are three; the 'primary audience' (those that came to watch the performance), the 'stage audience' (those players that are placed permanently onstage for activation and reactivation of the production) and the 'player audience' who perform as audience members and comeback to the stage. The NeoAlienation style is a true eclectic and total theatre style. Owing to its structural formation and pictorial possibilities, Neo-alienation is a theatrical concept that directors can adopt. We therefore nalize that it is a skillfully woven theatre of dramatic action, performance, 33 Exploring eatre of Performance and Responsibility in AbdulRasheed Abiodun Adeoye's Neo-Alienation Style
reasoning, responsibility, music, dance, and above all medley of African festival theatre and western theatre. References Adeoye, A.A. (2009). e killers (A Social Drama). Ilorin, Nigeria: Department of the Performing Arts. Adeoye, A. A. (2009). e smart game (A neo-alienation script). Ilorin, Nigeria: Department of the Performing Arts. Adeoye, A.A. (2012). Aesthetics, dramaturgy and directorial poetics of Ayo Akinwale's theatre. In: (ed.) Adeoye, A.A. e dramaturgy of a theatre sociologist. Festschri in honour of Ayo Akinwale, pp. 26-60. Ilorin: Department of the Performing Arts. Longman Dictionary of Contemporary English. (2008). Oxford: Longman Rotimi, O. (2001) (ed.). The attainment of discovery: Efua Sutherland and the evolution of modern African drama.Issues African eatre. pp. 1-8. Ife: Department of Dramatic Arts. Sawoski, P. (n.d). (2017). e Stanislavki system: Growth and methodology.Second Edition. thRet rieved from e system.  16 November, 2017. https://kupdf.com/stanistlavski Sell, M. (2008).Avant-garde performance and the limits of criticism: Approaching the living theatre, happenings/uxus, and the black arts movement. USA: University of Michigan. Ugwu, I. and Orjinta, I. (2013). Folkism and the search for a relevant Nigerian literary theatre: Sam Ukala's e Placenta of Death and Akpakaland as Paradigms'. Research on humanities and social sciences 3(13): 79-85. Ukala, S. (2007).African theatre: Beast of no gender. Abraka: Delta State University.

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