Bayo Oduneye’s Total Theatre: Contexts, Aesthetics and Performance Praxis in Nigerian Stagecraft

This article critically examines Bayo Oduneye’s directorial practice through the lens of “total theatre”, exploring its contexts, aesthetics and performance praxis within Nigerian stagecraft. Anchored in postcolonial performance theory and cultural materialism, the study investigates how Oduneye’s artistic vision synthesises indigenous performance traditions with modern theatrical techniques to create a dynamic, multisensory stage experience. Through an analysis of selected productions, such as Attahiru, Things Fall Apart and Ameh Oboni the Great, the article interrogates how Oduneye’s integration of music, dance, movement and visual spectacle embodies the philosophy of total theatre. It also examines the collaborative nature of his directing, focusing on actor training, improvisation and ensemble work as key elements of his aesthetic. By situating Oduneye’s work within the broader Nigerian theatrical environment, the article highlights how his methods have shaped both performance practice and actor perception in the industry. Ultimately, the study argues that Oduneye’s total theatre not only advances the artistic language of Nigerian theatre but also redefines performance as a communal, culturally rooted and aesthetically innovative practice that continues to inspire contemporary directors and performers.