ACTION AS A CORE ELEMENT OF A DRAMA

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Mime

Another form of physical action is mime. Sometimes, certain actions are presented without words to show meaning for the purpose of entertainment by dramatists. This is mime. The Oxford Dictionary describes mime as a dumb show, mummery, pantomime, the use of gesture to indicate certain action or indication by sign language. It is regarded as a simple facial drama that is characterized by mimicry and the ludicrous representation of familiar types of characters. Mime is therefore the art or technique of expressing or conveying action, character, or emotion without words but using only gestures and movements. In other words, it is an expression of action or performance using such means. In a play, the actions in mime are usually enclosed in the stage direction and mostly in italics. Some of these mimes are flashbacks, that is those events from the past that are recalled to help explain certain things in the play but some of them are presented as part of the present action in the play. In The Lion and the Jewel, for instance, the mime on the arrival of the journalist in the village and the one on the road construction are used to recall past actions.

LAKUNLE: [A terrific shout and a clap of drums. Lakunle enters into the spirit of the dance with enthusiasm. He takes over from Sidi, stations his cast all over the stage as the jungle, leaves the right to-stage clear from the four girls who are to dance the motor-car. A mime follows of the visitor’s entry into Ilujinle, and his short stay among the villagers. The four girls couch on the floor, as four wheels of a car. Lakunle directs their spacing then takes his place his place in the middle, and sits on air. He alone does not dance. He does realistic miming. Soft throbbing drums, gradually swelling in volume, and the four ‘ wheels’ begin to rotate the upper halves of their bodies in a perpendicular circles. Lakunle, clownin the driving motions, obviously enjoying this fully. The drums gain tempo faster, faster, faster. A sudden crash of drums and the girls quiver and dance the stall. Another effort at rhythm fails, and the ‘stalling wheels’ give a corresponding shudder, finally, and let their faces fall on their laps. Lakunle tampers with a number of controls, climbs out of the car, and looks underneath it. His lips indicate that he is swearing violently. Examines the wheels, pressing them to test the pressure, betrays the devil in him by seizing his chance to pinch the girl’s bottom. One yells and bites him on the ankle. He climbs hurriedly back into the car, makes a final attempt to restart it, gives it up and decides to abandon it. Picks up his camera and helmet, pockets a flask a flask of whisky from which he takes a swig, before beginning the trek. The drums resume beating, a different darker tone and rhythm, varying the journey. Full use of ‘gangan’ and ‘iya ilu’ The ‘trees’ perform a subdued and unobtrusive dance on the same spot. Details as a snake slithering out of the branches and poising over Lakunle’s head when he leans against a tree for a rest. He flees, restoring his nerves shortly after by a swig. A monkey drops suddenly on his path and gibbers at him before scampering off. A roar comes from somewhere, etc. His nerves go rapidly and he recuperates himself by copious draughts. He is soon tipsy, battles violently with the undergrowth and curses silently as he swats the flies off his tortured body. Suddenly from somewhere in the bush comes the sound of a girl singing. The Traveler shakes his head but the sound persists. Convicted he is suffering from sun-stroke, he drinks again. His last drop, so he tosses the bottle in the direction of the sound, only to be rewarded by a splash, a scream and a torrent of abuse, and finally, silence again. He tip-toes, clears away the obstructing growth, blinks hard and rubs his eyes. Whatever he has seen still remains. He whistles softly, unhitches his camera and begins to jockey himself into a good position for a take. Backwards and forwards, and his eyes are so closely glued to the lens that he puts forward a careless foot and disappears  completely. There is a loud splash and the invisible singer alters her next tone to a sustained scream. Quickened rhythm and shortly afterwards, amidst sounds of splashes, Sidi appears on stage, with a piece of cloth only partially covering her. Lakunle follows a little later, more slowly, trying to wring out the water from his clothes. He has lost all his appendages except the camera. Sidi has run right across the stage, and returns a short while later, accompanied by the Villagers. The same casthas disappeared and re- forms behind Sidi as the villagers. They are in an ugly mood, and in spite of his protests, haul him off to the town centre, in front of the ‘Odin’ tree. Everything comes to a sudden stop as Baroda the Bale, wiry, goateed, tougher than his sixty-two years, himself emerges at this point from behind the tree. All go down, prostrate or kneeling with greetings of ‘Cabbies’ ‘Baba’ etc. All except Lakunle, who begins to sneak off.] (14-15)

This is also a good example of the play-within-the-play. You know that the playwright has no time and space to explain or describe every situation and event as much as the novelist. That is why he uses the stage direction to present the action that could not be incorporated in dialogue.

Pantomime

Pantomime is synonymous with mime. It is a term for silent acting; the form of dramatic activity in silent motion, gesture, facial expression, in which costume are relied upon to express emotional state or action. It was popular in ancient Rome where it was a dramatic entertainment in which performers expressed meaning through gestures accompanied by music. It also refers to some traditional theatrical performances originally significant gesture without speech, in mime, but now consisting of a dramatized fairy tale or stories with music, dancing, topical jokes and conventional characters frequently played by actors of the opposite sex. It is chiefly performed in Britain around Christmas.

The actual pantomime opens on Boxing Day. Pantomime is also used to dramatise absurd or outrageous behavior.

Reported Action

In dramatic action, sometimes, it is not possible to present every action on stage. This could be as a result of the prevalent convention or because the action cannot be realized on stage. In the Classical Period, for instance, violence was not presented on stage. The playwrights were expected to maintain single settings indoor actions and violence were reported on stage. In King Oedipus, the death of Jocasta is reported on stage. In The Marriage of Anansewa, the taxi that takes Aya and Kweku to Nanka is not brought on stage because the stage cannot contain it. Also in Arms and the Man, the cavalry charge by Sergius is reported and not presented because it will be very difficult to bring a cavalry on stage.

Mental Action

Mental action is an action that takes place in the character’s mind. In most cases, mental action is manifested in facial expressions.

 

 

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