THE PERFORMANCE OF POWER AND THE POETICS OF HEROTISATION IN THE NOLLYWOODIAN'S BASORUN GÁẢ AND AFONJA

Abstract

History (whether reconstructed, deconstructed or through the postcolonial theory of factionalism) has always served as a muse for the poetics of herotisation in political theatre. Consequently, the deliberate choice made by the dramatist to learn, unlearn or re-learn from history housed the changing tide in the conversion, and or mediatisation of the literature of the past to the reality of the present. Interestingly, Thomas Carlyle's herotisation hypothesis, Sigmund Freud's definitive theatrics on the power of consciousness and unconsciousness, Aristotle's prescriptive tragic muse on heroism in his Poetics, Niccolo Machiavelli's ruthlessness in The Prince and others have shown hero's use of crude power. Man's pristine use of power has also been confirmed to be universal. This study, through the theoretical framework of John Brannigan's New Historicism within the expanse of postcolonial theories, therefore, examines the power of performance and the poetics of herotisation in the Nollywoodian's Basòrun Gáà and Afonja. We observe that although there are a few technical and artistic errors in the production of the two films, they are nonetheless successful in theatrical cum dramaturgical interpretations. We argue that the misuse of power noted with heroes has no barrier of age, gender or culture. It is not an ancient phenomenon but the universal reality of our recent past and immediate existence. Since man will become history, we conclude this study by warning present leaders to be honest, sincere, merciful, benevolence and judicious in their use of power.