Communication via the Language of Performance Lighting: A Comparative Study of Two Performances of Ahmed Yerima’s Yemoja

Abstract

Background: Available literature points to the fact that the actual concern of each professional theatre worker and director is to be expressive, in order to effectively capture and communicate the intended message of the play to the audience. More so, the advancement in theatre lighting technology has come to be used to concrete visual forms that further the meaning of the text; thus, evincing sub-texts. Nonetheless, many theatre lighting designers have paid less attention to deploying the potential of lighting design as a veritable tool in enhancing play interpretation.
Objective: This study sought to demonstrate the significance of deploying expressive or interpretive lighting in play performances as a means for communicating the salient but sub-textual ideas embedded in plays.
Methodology: The outcome of two performances of Ahmed Yerima’s Yemoja (tagged: Performance “A”, in which the myths surrounding the hero-gods were not projected, and Performance “B”, in which the lighting designer deployed expressive lighting – i.e. using light to tell the story) are compared. As instruments for data collection, a total of 250 copies of the questionnaire were randomly administered to the audience members who watched the performance; interviews were conducted with the play directors and the lighting designers of the two performances; and focus group discussions were also conducted with a class of students specializing in lighting design and some of the audience members. Secondary data were collected from journals, textbooks, the internet and other related extant literature. Simple percentage analysis was used to analyze data for the study.
Results: It was found that the deployment of light and lighting effects to tell the story in Performance “B” could effectively evince and communicate sub-textual ideas such as the myths surrounding the Yoruba hero-gods in the play; whereas, these myths were non-existent in the first performance “A”, in which the lighting was not effectively deployed as a tool of interpretation.
Conclusion: Design elements like light and lighting effects can play critical roles in furthering the meaning of texts in plays, if effectively deployed as interpretive or expressive tools, rather than used merely for the creation of visibility.

Unique contribution: The study has shown that in the absence of standard lighting instruments or gadgets conventionally required to produce a particular meaning, commonly found lighting instruments and gadgets can be improvised to simulate and communicate the desired effect and meanings to the audience.
Key Recommendation: For effective interpretation of a play on stage, the lighting designers should always endeavour to go beyond using light(s) merely for visibility to the point of a deliberate deployment of light and lighting effects as expressive tools – this enhances the audience’s understanding of every unfolding scenario in a play.