PATRIARCHY AND THE OFFSPRING: CONCEPTUALIZING SCENERIES OF ADAPTED PLAYS IN NEW LANDS

Abstract

Dramatic adaptation has no boundaries, so in staging plays, geographical forms and architectural preferences define visual landscapes and domestic scenery. This study interrogated design rebirths in Osofisan’s plays adapted from Greek originals and performed in Nigerian universities to generate a balanced assessment. From a technical perspective, the study analyzed Tegoni, The Women of Owu, and Who’s Afraid of Solarin performances using theories and genetic origins. Findings reveal that the adapted plays studied compare to their originals only in the storylines, while the names, personalities, temperaments, sceneries, and appearances adopt the cultures of the new environments. It based its findings on the functional readings of the structural elements found in the scenic portraitures of the studied plays. It concludes by applying the theory of mathematical syllogism to dramatic adaptation. It posits that if Oedipus were a king in Greece, he would also be a king in the new land. If he lived in a palace in Greece, he would live in a palace in Africa, all things being equal. The paper calls this transfer of pure and undiluted character and environmental transfer theoretical pluralism, or ‘Theo-pluralism.’