Yorùbá Journal of the Yorùbá Studies Association of Nigeria Vol. 7 No. 3 ISSN 1595-1324 June 2014 © Yorùbá Studies Association of Nigeria 2014 - All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without permission. First published June 2014 Direct all enquiries to: The Editor-in-Chief Head, Department of Linguistics and African Languages University of Ibadan Ibadan Design: Update Nigeria & BrightZity Technologie ii Editorial Board A - Consulting Editors - - Prof. O - - - – Schleicher (Indiana University, Bloomington, (University of Florida, Gainesville, U.S.A.). Yorùbá: Journal of Yorùbá Studies Association of Nigeria is currently published by the Yorùbá Studies Association of Nigeria (YSAN) twice a year (January and June respectively). The Editorial Board welcomes scholarly contributions on various aspects of Yorùbá language studies as well as on literary, cultural, anthropological, scientific, communication, and historical studies. iii Àkóónú (Contents) - Èdè - Pg. 1 - Pg. 32 n More on the Source of the High Tone Syllable in the - Pg. 47 Grass-Roots Movement and Propagation of Indigenous Selected Plays - Pg. 60 iv The Photo-Dramatics of Photoplay Magazine - Pg. 88 A New Historicist Analysis of Power and Politics in the - Pg. 130 n ti Ṣe r - - Pg. 168 - Pg. 185 The Motif of Marriage Betrayal in Selected Yorùbá Literary Works - Pg. 208 v Arówóṣ gb Deborah Bámidélé - - - Pg. 239 Adesanya Ahmed O. Objectific Codes in Nonverbal Communication - Pg. 261 Ṣàngótóyè William ládélé Representations of Political Cankerworms in Nigeria - Pg. 287 vi The Photo-Dramatics of Photoplay Magazine Department of Library, Archival and Information Studies University of Ibadan, Ibadan akangbeclem@gmail.com Abstract The photo-dramatics of implies the various dramaturgical devices employed in creating photoplay magazine. The composition of the photoplay magazine relies extensively on the editorial and creative ingenuity of (editor) who controls the three-modal arts of , namely: dramatic art, photographic art and publishing art. tells its stories primarily in photographs, hence series of artistic and technical manipulations to convey its dramatic story vividly to its readers. This paper which adopts Roland Barthe‟s photo-semiotics examines the photo-dramatics of , dwelling on its various dramaturgical devices of adaptation techniques; photographic shots, shots imposition and continuous dialogue; editorial intervention: speech balloons, thought bubbles, and cap prints; and intro and recap devices. Keywords: , photoplay magazine, photo-dramatics, photo-semiotics. Introduction photoplay magazine was a unique publication that was prevalent in the Southwestern Nigeria from 1967 to 1991. Published by West African Book Publishers (WABP) and printed by Academy Press (AP), it was a dramatic collaboration of theatre practitioners and publishers which aimed at bringing - entertainment in form of play productions to the door steps of the teeming theatre lovers in printed form. Christened Photoplay Series at inception, adopted its name in January 1970. It sustained regular bimonthly publications until the mid-1980s, and went out of circulation in 1991. had two broad contents: drama and additives ( ). The dramas in are diverse, and they are from multiple sources. A great percentage of the plays are from the repertoires of the various theatre companies, many of which had been produced on stage. The plays in the repertoire of photoplay magazine are classified into three, namely: mythical, historical, and non-historical. In addition to this, however, are series of secondary materials which we referred to as additives. The additives are medley of add-ons or supplements which feature regularly and are meant to flavour and enrich the publication. These additives comprised (prose-fiction), (poetry), (pen-pals), (comic news), (cartoons), (advertisements), (general counseling) and (love counseling). Our focus in this paper is on the drama component. was the first and longest-serving version of photoplay in Yoruba that made a long-lasting impression on the social, cultural, and economic planes. As the name „photoplay‟ implies, the magazine employs the real pictures of the actors and 89 3) actresses to tell its dramatic story; photography is therefore a principal medium of expression in . Literary study on photoplay magazine was pioneered y g nd j 98 :8-12). This was followed by Ar hunmo l 98 , Ad oy 98 , d l -Bo l j 98 , Ad l k 99 and k ng . These scholars have examined aspects of but none has carried out an analysis of its contents, done a comprehensive study of the components of its arts or investigated its dramaturgy. This study therefore sets out to fill this vacuum by identifying the dramaturgical devices of drama, evaluating how these devices impacted on its contents, thereby enhancing the patronage and longevity of photoplay magazine. Photo-Semiotics Semiotics, otherwise called semiotic studies, can be simply defined as the study of signs and sign processes. According to Morner and Rausch 997: 98 , it is “the study of signs or signals of communications”, while to Eco 976: 7 “semiotics is concerned with everything that can e taken as a sign”. A sign in the context is everything which can be taken as significantly substituting for something else which may not necessarily exist or actually be somewhere at the moment when a sign stands in for it. 90 - Photographic semiotics (photo-semiotics) is a branch of semiotics, and it began with Roland Barthes in a short text 96 entitled “le message photograpique”. In 96 , he wrote “La rhetorique de l‟image” which was his second text on pictorial semiotics, and a real classic of the domain is about a photograph showing Panzani Spaghetti and other kindred products offered for sale in the shape of a market goer‟s still life (Sonesson, 1989:7). An emerging idea of Barthes in his second article is that no picture contains information in itself or alternatively that it contains so much contradictory information that a verbal message is needed to fix its meaning. Barthes notion therefore presupposes that a photograph or still image has no meaning on its own except with verbal caption or explanation. By implication, the ‟s drama in photos conveys little or no messages without the dialogue. This, of course, in our own view, is far from being correct. Schaeffer (1987:99) corroborates our opinion by stating that it was ecause Barthes has mainly studied “strongly organised communicational contexts” that gave him the opinion that verbal language plays a leading role in the understanding of pictures. Schaeffer maintains, to the contrary, that “neither art photographs nor scientific photographs would seem to be determined linguistically to a compara le extent” though linguistic expression can intensify and specify the photographic message (if the text is not incongruous with or negating the 91 3) photographs). It seems that, to Barthes and his followers, information itself is conceived to be something that is verbal in nature. As a matter of fact, Prieto 97 o jects to Barthes‟ peculiar brand of linguistic determinism in the Panzani article which he (Barthes) used to illustrate semiotics of photography. Prieto pointed out that the Panzani picture was really much more informative than the verbal text which Barthes depicts on the picture. This points to the fact that photograph is a stronger signifier and meaning carrier than linguistic text. As submitted y Sonesson 989:9 , “pictures give us much less linguistic information than verbal text except in those cases in which the picture itself contains the reproduction of written messages”. It is factual that images are the central medium of information, and the role of language has become that of a medium of commentary (Kress & Van Leeuwen; 1996:38). Actually, in today‟s new world order, visuals are dominant means of communication, and this is quite true of photoplay magazine. Ad l k 99 : also corro orates this that “the photoplay magazine does not require as much mental effort as demanded in the reading of newspapers and books, since it is pictorial. With the aid of the action pictures sequentially arranged on every page of the magazine, the use of words is minimised”. Photo-semiotics, therefore, is the study of the social, cultural and historical processes through which photographic 92 - signs acquire and circulate meaning. It is a useful meaning- centred critical approach with which to interrogate simplistic beliefs in the realism of the photographic image. Photo- semiotics emphasises that in all signs, the relationship between the signified (the meaning of the content) and the signifier (the form of the message) is arbitrary and that meaning is context- determined. The photo-semiotic branch of the theory of semiotics is an ample tool for literary dissection of photoplay magazine. Dramaturgical Devices k a adopts four basic dramaturgical devices. These are adaptation techniques, photographic shots, editorial intervention ( - ), and intro and recap devices. These devices are discussed in turn in the following sections. Adaptation Techniques – The drama are diverse, and they are from multiple sources. Adaptation was a very common practice in plays, and this was carried out at different levels. These were adaptation from stage to photoplay medium; adaptation of published text from drama text to performance text, adaptation at the level of playwriting; adaptation from the genre of prose fiction to drama; and change of titles. Adaptation of Plays from the Repertoire: The common practice was to adapt the stage plays for the photoplay medium, and 93 3) such plays were usually notable and prominent with the theatre company concerned. Such adapted plays were made suitable for k a; they were fragmented into parts and generally adopted photoplay characteristics. Several examples abound particularly 1 with the first generation dramatists. the maiden photoplay production, was a popular stage performance by 2 Hubert Ogunde. His other stage plays, which also appeared in include and Ko l g nmo l ‟s titles which had earlier appeared on stage include and In the same vein, D r Ladip had earlier produced his mythical plays, namely - and for stage before appearing as photoplays in . His other plays in this dual media are and . For Oyin Ad j , we have and the like first appearing on stage then in photoplay magazine. This is also applica le to Akin g ng who had earlier produced and on stage and later as photoplays, e g un Ol k n also produced and on stage efore adapting them for photoplay, while y nl Ol me g o n also had 94 - n and on stage initially and later as photoplays. Several other examples abound. Adaptation of published texts: Adaptation of published texts is carried out at three levels namely: adaptation from drama text to performance text, adaptation at the level of playwriting, and adaptation from the genre of prose fiction to drama. Multiple examples abound for each of these categories. i. Adaptation from drama text to performance text: A num er of or drama texts pu lished y nota le pu lishers were adapted by theatre companies for as photoplays. Due to the technical nature of the photoplay medium, such full length plays are usually abridged to fit into the regulated and regimented size of photoplay magazine. This was carefully done by excising certain parts of the published plays outrightly or reducing them without necessarily tampering with the logicality of the plot and the meaningfulness of the message; after this, such plays are then adapted for These include e g un Ol k n‟s , an adaptation of Ad yo F l t ‟s , an adaptation of Ba t nd l t nj ‟s text with the same title y o l g n l ; and both adapted from Ak nw mi o l ‟s pu lished plays in the same titles also y o l g n l . was also adapted y K mo r re m 95 3) from the pu lished play written y Ba atunde l t nj , while y Oyin Ad j was from the play written y Ol D ramo l . in this regard provided educational information to students not only on or history and culture ut also on the West African Examinations Council (WAEC) syllabi as these adapted plays were from the WAEC recommended or literature books for drama and prose. These were produced by the theatre practitioners in for the educational enefits of the teeming students who sat for or in the Ordinary Level Certificate Examinations. ii. Adaptation at the level of playwriting: At this level of adaptation, we found Yoruba theatre practitioners creating a play out of published texts written in a foreign language which may be in the genre of drama or prose fiction. Here, dual tasks of adaptation and translation were carried out. Notable examples were adapted y Ko l g nmo l from Amos Tut l ‟s novel titled Palm-wine Drinkard pu lished in 9 6, and D r Ladip ‟s famous play which was adapted from the popular medieval play titled Everyman. iii. Adaptation from the genre of prose fiction to drama: A number of plays were also adapted from published prose fictional texts. Such novels were adapted as plays for medium. Notable examples from this category 96 - include adapted y Oyin Ad j from J.F. d nj ‟s novel titled from J.F. d nj ‟s and adapted for photoplay y Ko l g nmo l from D.O. F g nw ‟s iv. Change of titles: Change of titles of known plays to a new one is another dramaturgy that is prevalent in photoplay magazine. For example, , a pu lished play written y Ad yo F l ti was changed to when adapted to photoplay y Ad yo F l t and his Al o Theatre. Also, “ to j K nl ” from J.F. d nj ‟s was changed to in photoplay magazine in Oyin Ad j i‟s adaptation, while on stage was also changed to in Another example is L r P mo ‟ s that was changed to in . Camera Shots Technique - The greatest differentiating art of the photoplay magazine is the use of photograph. As the name „photoplay‟ implies, employs the real pictures of the actors and actresses to tell its dramatic stories, photography is therefore a principal medium of expression in where acting and photographing take place simultaneously. The art of photography is dependent on acting, and it is a process of making the fleeting and transient art of acting permanent in visual form. Camera is the principal tool of photography; 97 3) therefore, camera distance, camera movement and camera angle are critical indices of production in still photography. Camera distance implies the level of physical distance between the camera and the subject or action. It is the distance that determines what the camera sees of the subject or action. Camera movement refers to the movement of camera from one point to another (spatial movement), while camera angle is the position or direction of the camera relative to the subject or action (Ekwuasi, 2002). Photography as a narrative device in is quite technical. Alamu (2010) opines that the movement and angle of camera are fundamental to camera shots. Camera angle is the capturing of objects from a preferred side for narrative emphasis, and this is principally functional. Stressing the functional purpose of photographs, Enwezor and Zaya ( 996: maintain in Ad e k o : that for photographs to have any meaning beyond their functions as memento mori and as instruments of evidence and record, we must acknowledge another stabilizing factor: the gaze, which Gordon Bleach has aptly termed „the negotiated space of viewing‟. „Negotiated space of viewing‟ entails varia les like gaze, posture and outlook and as argued by Geoffrey Batchen, “camera placement, the position of the photographer in relationship to the su ject and the „natural‟ environment 98 - selected y the photographer to enact the su ject‟s authenticity” are all fundamental factors in photography Ad e k o : 6 . Photographic images are captured in shots through the camera. A shot refers to a photographic view or exposure recorded on film with a camera. The photographer worked hand-in-hand with the Editor at location to record the play by capturing different shots of the actors and actresses and the general locale of the performance. Each shot had a different purpose and effect, and the photographer was always conscious of these. Camera angles were essential factors in photographic shots (www.mediaknowall.com). In other word, the framing or the length of shot and the angle of the shot are crucial factors of consideration. A change between two different shots is called a cut. Different types of shot are obtainable in photography. Cleave (1977: 20) and Ekwuasi (2002:89) identified Long shots, Medium shots and Close shots as the three basic types of camera distance with each having its sub-classifications. This study also identifies three basic types – Long, Medium and Close-up. These three are actually the basic types of shots though each has its own sub-branches based on the length (distance) of the subject from the camera. Moreover, these three are the basic relevant shots which are applicable to still photography and are obtainable in photoplay magazine; others are of use to moving pictures. Long Shot (also called Full 99 3) Shot (FS) or Wide Shot (WS)) is used as an establishing shot, and it normally shows the exterior like the outside of a building or a landscape. In a long shot, there will be very little detail visible; it is meant to give a general impression rather than specific information; therefore, there is no emphasis on any particular object. As buttressed by Ekwuasi, Long shot is primarily used to establish in the audience, as a sort of frame of reference, the locale and the action in which closer, more detailed shots take place…Every new set must be represented, either at the opening of the sequence of shots or very early in it, with an establishing full shot (2002:92). Long Shots are used appropriately as establishing shots in . Its use is also of cultural import which functionally depicts the communal nature of the or a society. Medium shot has variations such as “Medium Long Shot (MLS) and Medium Close-Up but it generally implies that the camera is fairly close to its subject and probably includes something less than the full figure” Cleave 977: . Ekwuasi notes that because medium shot is the combination of the two extreme shots (the long shot and the close shot); it, in effect, partially demonstrates the attributes of the two (2002:93). It is noteworthy that Medium shot is the most used type of shot in a, and as also opined by Ekwuasi, its use introduces major characters, induces dramatic effects and functions as a re- 100 - establishing shot. In Close-up is the most potent device which is capa le of drawing the reader‟s attention to any detail of the „scene‟ as the editor wishes, e it facial expression, gesture, hand or leg movement. It practically highlights the importance of an object in a particular story by giving it a close focus. It also particularises a subject or action by isolating it. Close-Up is therefore a shot of emphasis. In the photographic shooting of Pa. A im ade 3 l de j identified wide shot, close-up shot and medium shot as those commonly used in . He referred to wide shot (WS) as full shot or „scenery‟; while medium shot is also referred to as three-quarter view in parlance. According to him, – - - - – . Medium ni three-quarter view. Wide shot – perhaps two, three or four people are there, if you want to capture all of them, wide shot is employed …. if it is Close-up, which is for subjects that are extremely close. You find some Close-ups that will capture from neck or the head… Three-quarter view is from knee upward… Full view is for capturing the entire body from feet to the 4 head. Medium shot is the three-quarter view. 101 3) The use of shots in k a has cultural implications. Space is communal, and space is also economic. Communally, space is of essence in Yoruba society where existence is communal. The use of Full shot therefore is of communal signification. is a visual storytelling, and storytelling in communal Yoruba society was public and collective. Full shot is therefore employed to capture communality scenes such as market, naming, funeral, celebration, war, and the like. Despite joint ownership of space at the communal level, individuals also own spaces for economic reasons. Medium shot and Close shot are therefore employed to indicate spatial restrictions. A close examination of photoplay magazine shows that, true to Pa. A m d l de j ‟s su mission, wide shot, close-up shot and medium shot are the most employed. Wide shot is very common in the photographs used for the cover pages. Quite a number of cover pictures are in wide shot, giving a full view of the characters and the environment of the scenery. Examples include the covers of and Part 1 by Hubert Ogunde; Part y Fe m i Ad y m ; Part y Ol yo l Theatre; and several others. These are clearly shown in Plates 1 -3. 102 - Ogunde‟s No. Ogunde‟s No. Fe m i Ad y m ‟s No. 1 Plate 1 Plate 2 Plate 3 The use of wide or full shot however is not limited to the cover alone. Though not so common in the text, we still find it here and there in different plays. In Num er , an historical play, for example, when y po is going to visit r o n kaka f , he rides on a horse and several people are greeting and honoring him on the street as a war leader. We see examples of this on pages 3, 4 and 5 as illustrated in Plates 4 and 5. Also, in Num er , produced y a l Theatre, a non-historical play, in the opening scene where we see Mos n in the market to shop for food stuff and ingredients, a number of wide shots are effectively employed. All the shots on pages 1, 2, 3, 5 and 6 are wide shots. This is understandable because no other shot can effectively orientate the readers to the place where the action is set y capturing a full view of Mos n, the seller, the stuffs and other buyers and sellers in the background, conveniently, other than the wide shot. As stated, a number of wide shots are found here and there in different 103 3) plays, particularly in scenes relating to celebrations like marriage, naming, funeral and partying; war, market, and crowd scenes in general. Again, in - , a mythical play, wide shots are employed in the marriage scene in Il On k y when m l l is eing given in marriage to Ajagun- l on pages 9 – 20 and 21. Plate 4 104 - Plate 5 Iyap , a warlord, passing through the market, riding on his horse to r -O n kaka f ‟s house in Part y Ol yo l Theatre From the examples above, we can see that all the plays in the three classifications: mythical, historical and non-historical, all make use of wide shots in their photodrama. Medium shot (Mid-shot) is another type of shot that was commonly employed in photoplay magazine. To start 105 3) with, some covers are also shot in medium shot, and this is not limited to any of the three categories of drama. Examples include Num er y Moses l y a. k. a. B S l ; Num er, y o l g n ol ; Number 5, by Hubert Ogunde; Num er , y e g un Ol k n and Num ers and , y D r Ladip . Plates 6 – 8 clearly illustrate this. l y ‟s No. 1 o l ‟s No. Ogunde‟s No. 5 Plate 6 Plate 7 Plate 8 In the play-texts, medium shots are the most utilised than wide shot and close-up. In Number 1, a non- historical play y y nl Ol me g o n , for instance, when y nd B Mo s r is lamenting a out the fall of his storey uilding at Agodi in d n and his houses which were demolished due to the express road construction on pages 12, 13 and with his wives commiserating with him; medium shots are used extensively. Also, on pages 6 – , when y nd is painfully narrating the experience of his losses to On r r and the On r r ‟s promise to introduce him to a very potent 106 - a al wo who will resuscitate his wealth, the actions are captured in medium shots all through. In Num er , y Omilan , a non-historical play, at the eginning of the third part when B k n has successfully convinced his wife y k n a out the foreign goods he would receive the following day from the foreign business partner whereas he is only deceiving his wife that he wants to use for ritual sacrifice; medium shots are predominantly employed from pages 1 to 5. This is captured in Plates 9 – 11. Plate 9 107 3) Plate 10 Plate 11 y nd in his shop is convincing his wife a out the „foreign usiness‟ he wants to ventu1re0 i8n to. - Close-up shot has an emphatic and dominant effect; it is also functionally employed to stress some actions or create effects. In , the use of CU is seen on the cover photographs but with very less frequency. As a matter of fact, its use is very rare; in fact, it is almost non-existent in the play proper. Oyin Ad j ‟s Number 1 for instance has its cover photograph in Closu-Up. The same goes for Num er y y nla Ol me g o n , Num er y L k Aj and Num er y Akin g ng ; among others. Close-Up is illustrated in Plates 12-14. No. 1 No. 4 No. 5 Plate 12 Plate 13 Plate 14 Thus, the three shots, Long shot, Medium shot and Close-up shot, are all made use of but in varying quantities and differing frequencies. The shots are functionally and effectively utilised. However, only one camera was used in recording the play productions at locations. In our own opinion, the use of one camera, no doubt, has its shortcomings. It limits the production richness and creative depth, compounds the photographer‟s 109 3) stress and permits loss of valuable actions which perhaps might not have eluded the lens of a second photographer. Imposition of shots: This is another unique production ingenuity of the editor and his production team. Imposition of shots is the mounting of shots on each other to create special effects. In - Num er , pages – and Num er pages 7 – , we see four skeletons torturing y nd B Mo s r and Akin in the forest at different times when each of them ventures into making money through ritual. They oth seek to have “ar ow ” lame wealth which can never e exhausted. The four skeletons representing the spirits of the deads which are supposedly assigned in the spiritual realm to attend to y nd in Num er and Akin in Num er flog their victims until y nd takes to his heels and Akin, in his own case, runs mad. To create an impression of 5 metaphysical effect, three production steps were taken . The first step was that the picture of y nd and Akin who were in pain were shot at different instances. The second step was that the artist created artistic impression of skeletons around the photograph through drawing and painting. Finally, the photographer then re-shot the picture to give the effect desired. This was no doubt effective and convincing to readers. If human characters have put on masks or special costumes, it would not have had such arresting effect. 110 - HOOO EE EE EE HA B ni Mo g d s‟ kunrin Mo g d s‟ kunrin e Plate 15 111 3) EE HA E E J HA B ni Nw n ti ni maa dan mi wo, Ha j . . . Plate 16 Ayinde who is alone in the forest at midnight is being tortured by ghosts. Continuous Dialogue: Creative ingenuity of the Editor is also reflected in the handling of continuous dialogue. When a character has long lines that occupy multiple balloons, rather than replicating the character in different photo plates and thus occupying space unduly, what (the editor) simply does is to duplicate speech balloons around the character in the same picture sequentially thus conserving space utilisation and creating editorial and visual effects. There are two examples of 112 - this in - Number 1, pages and . On page , we see Are s chanting his or k which occupies three speech alloons which are linked together to show the sequence, while on page , we have On k y ‟s presented in four speech balloons arranged sequentially around him creatively. Both long speeches are however set on bogus medium shot with each occupying more than half of the pages. Perhaps, it is in Num er , page , y o l g n l , that we have the greatest ingenious display of artistry y the editor as seen in Plate 8 where a single photograph of L j serves different speech balloons effectively. The 15 speech balloons are sequentially linked to help the reader in following the trend of the speech. On k y chanting his or k in Ajagun-nla Part 1 Plate 17 113 3) A i ojare, nw n ni ‟ori a p nil a di „re … G og o nkan to wa s l pap l kan o yi k ja g nikan . . . Asiko na to loju Baba loke ni . . . nyin wo j ti moti m aa p lu ga mi ti k o gori iye to tin san fun mi lati i r – ko si s‟ ni ti o m i g og o nkan ti w n to nsinyi . . . . . Iyawo yi ti ti fi s ‟re w le na. Se al yi to de na ni g og o nkan to daa to‟yi ti ga mi tun fun mi Ago- w mi ti si wa l w iyawo d‟isiyi na – kii yaa s l si mi. Nj a o ti m lo u kan ki nfi se pe mo g ag e, sug n ik kan laa yo‟s n‟nu i j iwaju e maa ri na . . sinmi – Ha! Bi ala gun O ee e ki nfi g a tuntun pada l w ga . . . lo si ri loju mi! . . . . Dajudaju, ga mi a ti ee a lo nsinyi ti o inrin d ti m aa g e‟le. nit‟o haw to g ti kii f ra a si „ra l run, ka ma s wa s pe ko soju anu f lomii. nikan o ni k ko to law G og o aw n m inrin nsinyi. Ti m aa si f g a nkan l w , mo kuku ti m niti mma a ti nw n si ny mi l nu ran sii. . w ny n, asiko to fun onikaluku lati a na ti l On na gan-an asiko m to loju l un ni a o. sa m Ati A ak alara ati a uro r , asiko na to fun w n lati i o ti wa iyawo to lati risi i ujoko w n ni dun melo wa. Nitorina, e ri isimi ti mo g a yi. A ule wa ni mmaa Nitoripe asiri kekere kan ni mo f so fun yin yi o emi gan- dorik . I ni mo ti maa m an maa wa wa l alail l run kan ti mmaa f . Ki emi oko kan i temi ayi f . naa wa kuro ni aja t‟ ni m fa m oj e – a i, owo mi a d F kan t l emi o ni nnkan fi aw n m inrin ilu yi e; ti kuro ni t e r e owo inaj … owo ti si lapo mi ni ko ti j ki n e‟f inu mi … Mo m pe eyiti mo f e yi a pa g og o w n l kun, ug n nkan to le pari ija fun g og o w n na niy n. Iy n j o ti j … Koi p na ti mo m pe ti ti nworan g og o nkan to n l si emi ati ga mi lati ij ta. Ko i mi n‟nu rara o. Pe.lupe.lu, dada na lo g hin g og o . A i, i a ti nf ko ri, lo a ri. To, a o tun maa tun „ra ri. O dig a kan na. Plate 18 L j in the euphoria of his freedom in produced y o l g n l 114 - Editorial Intervention: Speech balloons, Thought bubbles, and Cap prints: The employment of the three editorial devices of speech balloons, thought bubbles and cap prints serves as the main anchor of the editorial photo-dramaturgy in photoplay magazine. Speech balloons are the rounded space in which speeches (dialogues) are written and introduced with an arrow to the mouth of the speaker. Thought bubbles refer to the series of bubbles that come out of the head of a character which contain the thought of that character, while Cap (capital) prints are usually placed at the top right or left corners of each shot where they are relevant, and they serve as the confirmation of the narrative voice of the editor. These three constitute the tripartite editorial devices of the in composing photoplay magazine. Speech balloons convey the dialogues, while photographs bear the matching actions. Let us examine the mechanics of speech balloons and thought bubbles. In a speech balloon, we see the speech enclosed in a balloon, and at the end of the balloon is an arrow pointing directly to the mouth of the character. In drama, speeches make up dialogue in responsorial pattern, it comprises both the speech and the response; the speech balloons therefore bear the dialogues, while the pointing arrows indicate the characters who utter the speeches as seen in Figure 3.1. 115 3) Arrow Balloon Speech Fig. 3.1: A diagrammatic illustration of Speech balloon In Fig. 3.2, the smallest bubble is nearest to the head of the character while the biggest constitutes the final of the u les which ears the character‟s thought. The thoughts in the biggest bubble are reflective of the inner thinking of the character. It should be noted that in cartoon registers, speech balloon and thought balloon are standard terminologies, but for the purpose of clarity and distinctiveness, the researcher employed the term thought bubble to demarcate the two concepts. Ogundeji (1981) has also used the two terms in line with the cartoon register. Thought bubble presents the thought going on in the mind of the character; so the thought is 116 - graphically represented in bubble oozing out of her/his head. It depicts what is going on in his/her mind. Small bubbles Biggest bubble Thought Fig. 3.2: A diagrammatic illustration of Thought bubble However, it is sparingly used as its occurrence is far in- between. It is possible not to have one instance in a volume. For instance, there is no single thought bubble in (3 parts), (four parts), and (three parts). This implies that the editor only employed thought bubble sparingly and functionally as occasion demanded. The use of thought bubble, at times, is seen as an unnecessary and needless emphasis by the editor. This is because its use, in such instances, added no value or made no impact on the story or its 117 3) action. Thought bubble can readily take the place of the character‟s normal utterance as a soliloquy or monologue in stage plays. There is a third literary feature in the presentation of photodrama apart from speech balloon and thought u le which Ogundeji 98 : identifies as “ old prints” in his work which focused on a few plays of Oyin Ad j . 6 According to him (personal discussion), this was the in-house terminology used by the practitioners of the photoplay magazine. These are texts, written in capital letters, boxed in a rectangle and usually placed at the top right or left corners of each shot where they are relevant, and they serve as the narrative voice of the editor. However on taking a critical look at the term “ old prints” as employed y Ogundeji and the photoplay magazine practitioners, we find it inadequate. It does not adequately capture the concept it is used to describe. Though it is possible to see capital letters as a type of bold print in a sense because they are big, but there also exist bold prints in both lower case and upper case as distinct from normal prints. The concept of bold in typesetting is applicable to both small and capital letters. The so-called bold prints in Ogundeji (1981:11) are really capital prints. It is therefore better to so call them to avoid any confusion. Cap prints serve multiple purposes at various times by representing stage directions to aid reader‟s understanding. 118 - They also serve as linkers by giving additional information that will assist the reader to link the previous happening in the story with the new. For instance, when the pace of the story is quickened by fast-tracking sequence of events, the editor may introduce reader‟s aid to keep them informed that certain events have taken place both in space and in time. This is why Adeleke 99 : also refers to it as “vacuum-fillers and „ ridges‟ to aid reader‟s comprehension y linking the previous action with the new”. Cap print device is also adopted to indicate changes in settings and locations. It can also serve as illumination of characters by making a cursory revelation about the character of a certain performer. However, the use of this readers‟ aid is not instructive in all instances. There are occasions when its use is redundant and may be of little value. Ar hunmo l 98 :8-21) however disagrees with and criticises Ogundeji on his views on bold prints (i.e. cap prints) and thought balloon (i.e. thought bubble). According to him, … we are not sharing his Ogundeji‟s views that they are superfluous, and that in fact they give little information and rarely contribute to the movement of the plot. (p. 12) Our reaction to Arohunm la ‟s stand is that though cap prints could be functionally utilised in a number of respects, a view which Ogundeji also subscribed to, it is not so in all cases as there were instances of mere repetitions and redundancy. Thus, 119 3) Ar hunmo l ‟s su mission that old prints are useful in all respects is a baseless generalisation. It is also a statement of fact, as maintained by Ogundeji, that „thought alloon‟ that is thought bubble) does not quite advance the plot in any way. Though it was an ingenuous editorial invention whereby the editor gained entry into the inner mind and accessed the unuttered thoughts of characters, it did not reveal a new thing which the speech alloon has not expressed. In our own view, Ar hunmo l ‟s posture is that of „criticism for criticism‟s sake‟ as he does not interrogate or tackle the real su stance of Ogundeji‟s su missions. It must be pointed out that the story is highly dependent on the editor who could e regarded as the “Alpha and Omega” of the photo-dramatic art. The dialogue composition depends on him highly. The editor is at liberty to recompose, remodify and alter the dialogue recorded on tape recorder to agree with the general trend and purpose of sequentialised photo-shots that reveal the plot of the play. The editor‟s position is understanda le. Since he must illustrate the dialogue with the right picture, there is need for coherence between the picture and the dialogue; hence the crucial need for editorial ingenious intervention. This is an important licence which the editor enjoys. 120 - Intro and Recap devices: In addition to these is the intro and 8 recap device of the editor. All the five editors employed these opening and closing devices to either introduce the story in each Number (edition) or conclude it. The intro serves as the prologue, while the recap serves as the epilogue. The intro in a way presents a summary of the story, while the recap serves as commentary and hints the reader about what is to come. In the recap to the concluding part of a play, however, usually the next play and the theatre company that will produce it is mentioned. Let us cite Volume 34 series 97 – 98 of March 1972 as example. is a two-part photodrama edited y e g un f wo t e , the founding editor. The intro to Number 1 goes thus: - - 121 3) Ba a Ajadi has three children. The name of the most senior is la impe who change his name to - t . The second orn is a female named ade. The last born is Ajadi. Of the three it is only Ajadi that is known with a vocation even though he is not serious with it. He calls himself a hunter. The other two have no defined job and they are wayward. These children bring sorrow to their father to the extent that he becomes ill. It is while on his sick bed that Baba Ajadi sends for his three children because their ways of life cause him pain and more so he is getting old. Clearly, this intro lets the reader into the world of the story. The major characters are mentioned and described; the background of the play is given, and the direction of the storyline is hinted at. As a matter of fact, the intros and the recaps cumulatively give a complete synopsis of the entire story. Below is the recap to a, Number 1. - - - - ke 122 - After all Ba a Ajadi‟s admonition to his children, they were neither ashamed nor changed from their illicit ways. Sade continues in prostitution, Obente does not stop his stealing. You have seen how he caused sorrow for A l m pe. It was after his nefarious act that he went to eer parlour where he was narrating his escapade to his sister – ade and in the process get himself trapped. Now, both the brother and sister are in police net. How do they end up? You will see the concluding part of the play in part two which will be on the stand soon. Look forward to it. This recap is partly a recapitulation and partly a summary of Number 1. With a question to awaken the eagerness of the readers about what to expect in the next edition, the recap ends with a subtle promo of Number 2 to the readers. The trend of both the intro and recap is the same in all the Parts even for a 8 six-part volume . It is remarkable to note that the intro and recap in , Volume Num er produced in Novem er 97 y e g un Ol k n is all set in caps as different from the initial one considered in Number 1 which incidentally were oth edited y the same editor – Mr. 9 gun of w t . As a corollary to this, the intro to Number ears the pictures of the three lead characters – l mp a.k.a t , ad and j d , whereas there is 123 3) hardly any other edition where the photographs of the characters are placed in the intro. This is a reflection of the rigidless style of and recaps. Though the twin-device is functional, it does not have a definite style. Conclusion In conclusion, the various dramaturgical devices of k a photoplay magazine discussed are no doubt effective. Each device made unique contribution to the production of the periodical. The effectiveness of these devices contributed a lot to the survival of the magazine for a quarter of a century. The photo-shots were efficiently and purposefully deployed with Long Shot functioning as establishing shot, Medium Shot highlighting movement and action, and Close-Up laying emphasis. Shots imposition and continuous dialogue created visual and editorial effects and conserved space; speech balloons conveyed dialogue, thought bubbles expressed soliloquy; cap prints bore stage directions and off-stage events, while continuous dialogue conserved space and also created editorial and visual effects. End notes 1. Chief L r P mo in k ng : listed Hu ert Ogunde, D r Ladip , Ko l g nmo l , Oyin Ad j and Akin g ng as elonging to the first generation of dramatists in Ogunde tradition. 124 - 2. produced by Hubert Ogunde in 1967, was the first production of photplay magazine. 3. Pa. A m d l de j was the maiden photographer of right from inception. He worked for from 1967 to 1974. 4. Pa. A m d l de j revealed this in the course of th interview with the researcher on Thursday 20 June, 2013 in his residence at Block 269 Jakande Estate, Mile 2, Lagos State. 5. Pa. A m d l de j revealed this on Thursday June 26, 2014 while shedding light on how the effect was achieved. According to him, Mr. Jide Salisu was the West African Book Pu lisher‟s WABP in-house artist who carried out the impression. 6. Professor P.A. Ogundeji, the supervisor of my doctoral thesis on in his bid to enrich the study, had series of informative and rewarding tutorials with me. He made this submission in one of those sessions in his house on th Sunday, 20 April, 2013. 7. The five editors in succession were: e g un f wo t e , L oy E g nj , M r t l Ol w moj o r e , Ad l F t nmi e and ni l Ad y m . 8. by Hubert Ogunde was the only production that had six parts. 9. e g un f wo t e was the maiden editor of 125 3) References Adeeko, Adeleke (2012). From Orality to Visuality: Panegyric and Photography in Contemporary Lagos, Nigeria. In Critical Inquiry 38 (Winter). Adele-Bolaji, W.A.A. (1985). “Isola Ogunsola‟s Travelling Theatre: A critical study. Unpublished M.A. Project, Dept. of Linguistics and Nigerian Languages, University of Ibadan, Ibadan. Adeleke, D.A. 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