Performing facekuerade to navigate internally displaced persons desolation in the performance of Eliagwu Ameh’s Displaced

Abstract

This paper adopts Sunnie Ododo’s ‘Facekurade Theatre’ as a framework for interrogating the stage performance of Eliagu Ameh’s Displaced as Directed by Olagoke Ifatimehin. The paper highlights issues of corruption, oppression, sex slavery, deceit, destitution and suicide as dehumanizing experiences which permeates the lives of people living in Internally Displaced Persons’ camps. Drawing from the theoretical exigencies of Sunny Ododo’s facekuerade theatre aesthetics, the paper explores the semiotic use of mask (both the presence and absence of it) as a technique which aids the conveyance of double intentionality and the artistic transformation of performers/actors into multiple roles. This paper further contends ideologically that the corruption associated with the provision of aid to Internally Displaced Persons in their camps is orchestrated by inhumane and faceless individuals who profit at the expense of those in desolation and such practices should be curtailed. Women and children suffer most from displacement as they become victims of sexual predators and several oppressive conditions. This paper reveals that the deliberate aesthetic use of mask in the performance especially by the antagonist aided in enhancing and consolidating the meanings intended in the performance text. It concludes that the use of performance aesthetics such as Facekuerade theatre in framing the portrayal of social issues in theatre offer audiences the opportunity reflects on their prevailing realities.