Who Is Ola Rotimi? Biography, Net Worth, Family, State, Career, Awards, Life Story, Parents, Relatives, House, Cars & Wife.
Ola Rotimi was considered one of Nigeria’s main playwrights and theatre administrators. He has been known as “a complete man of the theatre. Today 13th of April Google celebrates the icon. Here’s all you must know about Ola; Biography, Age, Wife, Family, Occupation, Children, Career, and more
Before we get to ola Rotimi Full Biography, let’s know more about his Early Life, Background, Parents, Books, Awards, Facts and lots more about him.
Olawale Gladstone Emmanuel Rotimi, best known as Ola Rotimi (13 April 1938 – 18 August 2000), was one of Nigeria’s leading playwrights and theatre directors.
He has been called “a complete man of the theatre – an actor, director, choreographer and designer – who created performance spaces, influenced by traditional architectural forms.
Ola Rotimi Biography
Rotimi was the son of Samuel Gladstone Enitan Rotimi a Yoruba steam-launch engineer (a profitable director and producer of novice theatricals) and Dorcas Adolae Oruene Addo an Ijaw drama fanatic.
He was born in Sapele, Nigeria; cultural variety was a recurring theme in his work. He attended St. Cyprian’s School in Port Harcourt from 1945 to 1949, St Jude’s School, Lagos, from 1951 to 1952 and the Methodist Boys High School in Lagos, earlier than travelling to the United States in 1959 to check at Boston University, the place he obtained a BA in effective arts.
In 1965, he married Hazel Mae Guadreau, initially from Gloucester; Hazel additionally studied at Boston University, the place she majored in opera, voice and music schooling.
In 1966 he obtained an MA from Yale School of Drama, the place he earned the excellence of being a Rockefeller Foundation scholar in playwriting and dramatic literature.
Career Of Ola Rotimi
Rotimi usually examined Nigeria’s historical past and native traditions in his works. His first performs, To Stir the God of Iron (produced 1963) and Our Husband Has Gone Mad Again (produced 1966; printed 1977), have been staged on the drama faculties of Boston University and Yale, respectively.
Later Year’s In Nigeria
Upon returning to Nigeria within the Nineteen Sixties, Rotimi taught on the University of Ife (now Obafemi Awolowo University), the place he based the Ori Olokun Acting Company, and Port Harcourt.
Owing, partly, to political situations in Nigeria, Rotimi spent a lot of the Nineteen Nineties dwelling within the Caribbean and the United States, the place he taught at Macalester College in St. Paul, Minnesota.
In 2000 he returned to Ile-Ife the place he lectured in Obafemi Awolowo University until his demise.
Ola Rotimi Wife
Hazel (his spouse) died in May 2000, solely a few months earlier than Rotimi’s dying.
His later dramas embody The Gods Are Not to Blame (produced 1968; printed 1971), a retelling of Sophocles’ Oedipus Rex in imaginative verse; Kurunmi and the Prodigal (produced 1969; printed as Kurunmi, 1971), written for the second Ife Festival of Arts; Ovonramwen Nogbaisi (produced 1971; printed 1974), in regards to the final ruler of the Benin empire; and Holding Talks (1979).
Later performs, reminiscent of If: A Tragedy of the Ruled (1983) and Hopes of the Living Dead (1988), premiered on the University of Port Harcourt and was a typical play in OAU Drama Department.
The radio play Everyone His/Her Own Problem, was broadcast in 1987. His e book African Dramatic Literature: To Be or to Become? was printed in 1991.
Rotimi, a patriot who shunned the attraction of the West and Europe and returned residence to contribute his personal quota to nation constructing, was a uncommon breed.
Diminutive in dimension however a large in drama in Africa, he was the most effective issues that would have occurred to the literary neighborhood.
His dream of directing a play of 5000 forged members materialised on the Amphi Africa Theater when he was being put to relaxation as the group was drawn to a manuscript of the day’s program define.
People made dramatic entry and exit to the stage round his casket with the person turning his casket.
Rotimi spent the second half of his final inventive decade transforming two of his performs – Man Talk, Woman Talk and likewise Tororo, Tororo, Roro – and the consequence, unpublished on the time of his dying in 2002, have now been printed below the title The Epilogue.
The two performs have been most likely meant as an epilogue to each Rotimi’s theatrical and comedian careers, which span your complete spectrum of his profession.
It is comical and the language used is a model of “Nigerian English” (for example: “Se you get?” “I called God on him”).
The works are moreover a social satire and this publication will spur renewed curiosity in his satires.
Rotimi is definite to be remembered as a model inside the literary type whose views have fashioned the conduct of the theatre and whose performs have demonstrated the power of drama to type the pondering of the society and tried to unravel among the many points encountered in regularly dwelling.
Ola Rotimi Performances – Awards
First carried out in Nigeria in 1968, The Gods Are Not To Blame was produced on the Arcola Theatre in Hackney, London, in 2005.
Femi Elufowoju Jr had his first theatre expertise in 1975, on the age of 11, when he noticed a revival of this very play, carried out in a reconstructed Greek amphitheatre at a college campus in Ife; and introduced it to the UK shores as a British main theatre director below the corporate title Tiata Fahodzi
His final manufacturing was a staging of Man Talk, Woman Talk on the French Institute in Lagos, Nigeria.
He additionally produced Tororo Tororo roro, a play of the Absurd, as a convocation play.
Ola Rotimi Plays
- (1963) To Stir the God of Iron
- (1966) Our Husband Has Gone Mad Again—depicts the cocoa farmer and businessman Lejoka-Brown as a self-seeking, opportunistic chief who might make higher contributions to his nation exterior of the political area.
- (1968) The Gods Are Not To Blame—an adaptation of the Greek basic Oedipus Rex; the principle character will get trapped by pleasure, ignorance and the caprices of the divinities.
- (1969) Kurunmi
- (1970) Holding Talks
- (1971) Ovonramven Nogbaisi—the title character merely luxuriates within the grandeur of his workplace. Although he’s a custodian of tradition who evokes folks, he doesn’t actively take part of their struggles.
- (1973) Grip Am
- (1973) Invitation into Madness
- (1977) Akassa Youmi*
- (1979) If: A Tragedy of the Ruled—in If, the younger firebrand Hamidu is nowhere to be discovered when an actual dedication is required.
- (1985) Hopes of The Living Dead—Rotimi right here depicts a unique form of chief: a selfless, result-oriented, dedicated management complemented by a followership that believes within the good of the generality of its members by means of the appliance of itself to the trigger that’s useful.
- When the Criminals Become Judges
The Epilogue: Two unpublished performs of Ola Rotimi
- Man Talk, Woman Talk
Man Talk, Woman Talk is humorous, as quintessential comedies from the writer will be.
He makes use of wry humour to hunt a degree taking part in floor for decision of the biases women and men nurse about each other and which have an effect on mutual co-existence of the 2.
The scene is a courtroom although devoid of the same old technicalities of courtroom rooms. Instead of authorized jargon, there’s humour, arguments and counter arguments.
What the writer arrives at is to not show which gender is superior however to point out the complementary roles of women and men.
There is an excessive amount of wit within the work and the setting right here is the college atmosphere the place the youthful contenders are idealistic.
- Tororo, Tororo, Roro
Tororo, Tororo, Roro is a coincidental assembly of two fellows from Man Talk, Woman Talk, Tunji Oginni and Philomena James.
Both run Hotel Kilimanjaro with totally different motives and an opportunity assembly between them elicits classes as each share one another’s issues.
Textual sources Of Ola Rotimi
For Man Talk, Woman Talk, directorial strategy should have fluidity which is able to enable for creativity of the actors. The technicalities of the stage needs to be rigorously utilized in such a means that they may kill anticipated boredom related to courtroom scenes for if not performed, the entire dramatic within the act will probably be flattened out. It may do the play a favour whether it is given the form of strategy Ola Rotimi himself used within the directing of the premiere of the play. It is the approach that permits a form of participatory interplay; the one which accommodates the viewers contribution.
Rotimi was awarded two Fulbright Scholarships.
List of works – Ola Rotimi
Books that comprise his important contributions (see notes for extra data) are marked with a proportion(%); Conference publications are marked with an asterisk (*); thesis or disectations are marked with a dagger (†) beneath.
- Plays and literature
- The Gods Are Not To Blame
- Ovọnramwẹn Nọgbaisi
- Our Husband Has Gone Mad Again
- Holding Talks
- If: A Tragedy of the dominated
- Understanding “The Gods Are Not to Blame”
- Hopes of the Living Dead
- Viandanti della storia%
- African Dramatic Literature
- Playwriting and Directing in Nigeria
- The Epilogue
- Books, essays and political commentary
- A Dictionary of Nigerian Pidgin English: with an introductory survey of the historic previous, linguistics and socio-literary options
- Introduction to Nigerian literature%
- The Living Culture of Nigeria%
- A translation of the play “The Gods Are Not to Blame” into Setswana†
- Statement within the course of August ’83-
- The Masquerade in Nigerian historic previous and custom*%
- An interview (1975) with Ola Rotimi, senior evaluation fellow, Institute of African Studies, University of Ifẹ, Ile Ifẹ
- Diversity of Creativity in Nigeria*
- African Theatre in Performance%
- Akassa you mi
- Issues in African Theatre
- “Conversation with Ola Rotimi”
- “How the kingfisher learned fear”
- “Review of: Kiabàrà: Journal of the Humanities 1” (June 1978)
- “Through whom the spirits breathe”
- “The trials of African literature”
- “Everyone his/her own problem”
- “No direction home”
- Archival supplies and ebooks
- African Papers, 1963, 1968–1989
- Gbe’ku De:pièce en 1 acte
- Initiation into Madness
- Our Husband Has Gone Mad Again
- Holding Talks
- Hopes of the Living Dead
- Grip Am
- Akassa you mi
- Ovonramwen Nogbaisi
In 2015 Society of Young Nigerian Writers beneath the administration of Wole Adedoyin based mostly Ola Rotimi Literary Society(www.olarotimiliterarysociety.blogspot.com) objective at promoting and learning the works of Ola Rotimi.