TRANSLATING MUSE AND THE NARRATIVES OF AN ICON ON STAGE: AESTHETICS AND SEMIOTICS OF TONI DURUAKU'S DRAMATURGY

Discussing the muse behind the mask as well as the thematic preoccupations of Toni Duruaku’s dramaturgy on the pages of a limited seminal paper would be an odious task. This is based on the premise that the man is the message; the opus of his creative work, his performance space and eclectic designs as cited in Who is Who in World Drama (Duruaku, 2011); reflect the intensity and commitment of the artist. A colloquium would rather be appropriate where the speeches may not be encumbered by time and space but would be lucidly prosaic and apt. Duruaku’s Wright to dramatic works has been expressed in different dramatic compositions. His mastery of literature extends beyond drama, poetry and oratory. The interest of this paper is to evaluate relevance, contribution to knowledge and the thematic preoccupations of Toni Duruaku’s plays to the society. Thus, a qualitative methodical research process will involve the explication of stage performances of Toni Duruaku’s dramaturgy. This exercise will be viewed against the backdrop of theatre using Sam Ukala’s Folkism as theoretical backings. The findings reveal Duruaku’s commitment as appropriated in his dramaturgy as veritable weapons and instruments of change; which address local issues for local audiences using contemporary means. Though his dramas are consciously aesthecized with global concerns, the research concludes that Duruaku’s dramaturgy treat topical issues of social disparity, deprivation, unemployment and corruption. While it applauds the synthesis of cultural content, it recommends a modification of strategy for engagement.