Stage Scenery And Lighting: A Study Of Molinta Enendu's Production Of The Raft

Akwa Ibom State Journal of Arts

Abstract

The theatre, like every human endeavour, is in a constant state of flux. It is in this regard that Technical Theatre, which encompasses lighting, scenic design, costume, make-up, properties, sound and sound effects, is constantly evolving as theatre practitioners carry out experiments on innovative ways of communicating more effectively with the audience. Unfortunately, the efforts of many of such theatre practitioners receive scant scholarly attention. It is against this backdrop that this scholarly work, which adopts the qualitative research methodology, is an examination on the aesthetics of stage scenery and lighting of Molinta Enendu in the production of The Raft. The study adopts Edward Gordon Craig's and Adolphe Appia's "Plasticity Theory" (PL) and Adolphe Appia's "Exploration of Aesthetic Scenery in Performances Theory". The work reveals that Enendu is the advocate of "Kinetic Scenery Technique". This theory involves the mechanical introduction or removal of scenery in the course of a play without the support of such visible human assistants as stage hands but relying on the "Super Fly Man" who manipulates the machines. This study observes that Enendu consciously uses lights to intensify the illusion of reality and to create a world of fantasy and therefore recommends that theatre practitioners should adopt the techniques of Molinta Enendu in lighting and scenic design in order to achieve more effective ways of communicating with the audience.