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PROFESSIONALISM AS AN AID TO CHARACTER 

PROFILING IN NOLLYWOOD FILMS: RAMSEY NOUAH 

AND KENNETH OKONKWO IN FOCUS 

 
1Chibuike M. Abunike, and 2Somtoo Arinze-Umobi, PhD 

Department of Theatre and Film Studies, Nnamdi Azikiwe University, Awka, 

cm.abunike@unizik.edu.ng, s.arinze-umobi@unizik.edu.ng 
 

Abstract 

Poor acting has negatively affected some Nollywood films over the 

years because several actors-enthusiasts tend to jump into acting 

without first understanding the demands of the profession. The 

essence of acting is to re-create real-life situations believably and 

a combination of talent and training helps an actor to interpret a 

role efficiently. In other words, effective character portrayal in 

films is based on an actor’s willingness to hone his skill through 

training. The paper focuses on Professionalism as a panacea for 

Character profiling in Nollywood films. The content analysis 

approach of the qualitative methodology was used to gather data 

for the study. Konstantin Stanislavski’s The Method Acting formed 

the theoretical basis for the work. Two major characters in Living 

in Bondage – Breaking Free were analyzed to discuss the 

importance of character profiling in Nollywood films. The research 

recommends that there is a need for actors to engage in constant 

training to enhance their interpretative abilities. 

 

Introduction 

Whiting Frank has described Acting as ‘the most glamorous 

and fascinating” art of the theatre (185). This is possible since the 

actor is almost an indispensable member of a production team due 

to the strategic position he occupies as the image maker in film 

production. One can say that the actor is a necessary tool used to 

send a message to viewers. Removing the actor or performer from 

a film production is like removing the head from the body of which 



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we know that the body cannot function without the head. As the 

“image maker” of film production, the actor needs to maximize his 

potential through training to ensure viewers willingly suspend their 

disbelief whenever he mounts the set.  

Actors construct characters by using their bodies and 

voices. Michael Kirby notes that “to act means to feign, to simulate, 

to represent, to impersonate”. (3). From Kirby’s statement we can 

deduce that acting is an instinct because right from birth, children 

imitate and enact experiences around them. In line with the above, 

Barclays  Ayakoroma posits that: 

 

In life, man is seen as an actor naturally because we play 

various roles every day, you see that boss playing tough at 

the office, that lecturer trying to be very strict, going to the 

privacy of their homes, and their wives may be bossing 

them.  The outsiders (the audience) only see the masks (the 

roles) they are playing. (46). 

 

However, every day acting cannot be compared to 

professional acting. Although there have been some disputations 

regarding who a professional actor is, since acting is ideally 

“inborn” and need not necessarily be learnt, Bergman Blix’s 

opinion on professional acting paints a picture of what 

professionalism in acting supposedly is. According to her; 

 

A professional actor has to learn new roles constantly, and 

her or his professional knowledge is not restricted to the 

roles she/he plays, but rather concerns role-playing as such, 

i.e., how to make new roles come to life…actors live the 

part of a role using their body, voice, imagination and 

feelings. They professionalise the acting we all do in 

everyday life; they control an ability we all have to some 

degree, but perhaps are not so aware of. (161) 

 



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In reporting an event, one may be short of words thus acting 

out the incident will be the only remedy. To successfully convince 

viewers or listeners to believe what is been said or postulated, the 

method of acting may be used. Acting gives a better understanding 

of what a preacher or teacher teaches thus a better way of passing 

a message. Nigerian actors unlike before have been accepted in 

society and they have become the cynosure of all eyes. The 21st-

century Nollywood actor has successfully broken through 

international barriers. American, Chinese and Indian movies no 

longer dominate the world film industry. The Nigerian government 

is getting more interested in the industry and is likely to construct 

a film village for the industry. Effective character interpretation is 

the hallmark of a professional actor. In other words, the ability of 

an actor to efficiently interpret any role assigned contributes 

significantly to the artistic quality of a film. Many actors keep 

emerging in Nollywood but not all truly understand the demands 

of the profession. Most actors have emerged as stars in Nollywood 

owing to their distinctive proficiencies as far as role interpretation 

is concerned. This study focuses on two such Nollywood actors; 

Ramsey Nouah and Kenneth Okonkwo. 

 

Theoretical Framework 

Acting Method theory is similar to Classical Acting. 

Classical and Method Acting share the same goal: creating 

performances based on natural human behaviour and honesty. 

However, each technique builds off of a different foundation. 

Classical Acting relies on an actor’s extensive training to create 

characters, while Method Acting relies on an actor’s personal 

experience. Through the age and era of acting, acting style and 

techniques evolve. According to Duruaku, “technique is truly 

personal in the sense that every actor executes his notion or 

movement in such a way as to achieve certain distinctiveness” (47). 

Whiting further posits that: 

 



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No responsible person including Stanislavski would argue 

that the creative approach alone is enough. After all, acting 

is not life. There are obvious differences and these 

differences are commonly referred to as techniques of 

acting (207-208). 

 

Duruaku adduces that an actor can executive his role 

without speaking but we can say the same of movement. The actor 

technique is the ability to stand, walk, sit and gesture, like someone 

else. 

 

Nigeria Video Film Acting: A Brief History 

The Nigerian movie industry popularly known as 

Nollywood over time has grown into a robust one, and its prospects 

continue to improve. The industry is currently the second largest 

and third position in terms of revenue in the world. The name 

Nollywood was coined to resemble the big shots in the industry 

that is Bollywood and Hollywood which are the Indian film 

industry and that of America respectively. Actors like Kenneth 

Okonkwo, Kanayo O Kanayo and Bod-Manuel Odogwu are the 

Nigerian version of die-hard actors. They made the first impression 

of what a film looks like, they starred alongside other selected Igbo 

casts in the earliest Nigerian home video – Living in Bondage, 

Produced by Kenneth Nebue when films were shot with VHS 

cameras and edited in television studios using a couple of (gone 

extinct) VCR machines. 

The problem of quality in the industry has generated 

questions even from its viewers who are often found engrossed in 

discussions with the circle of critics of the fast-growing industry. 

Tracing the factors responsible for this poor quality, poor finance 

and lack of professionalism are identified as the greatest challenges 

faced by the industry. When one looks at the industry today, a 

question comes to mind; how many professionally trained hands 

are there in the industry? According to Jonathan Haynes, Nigerian 



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feature film production began in 1970, just a few years after the 

beginning of cinema in francophone countries; the distribution 

system continues to be largely closed to indigenous filmmakers. He 

further explained that one crucial difference between Nigerian and 

other West African cinema is the autonomy, or isolation, of 

Nigerian cinema. According to Alfred Opubor, Nwuneli and Oreh; 

the first film to be exhibited in the country was at the Glover 

memorial hall, Lagos in August 1903 by a European merchant, 

Stanley Jones. The film shown then included scenes of the 

coronation of King Edward VII (2). Though film became a potent 

medium of mass communication in Nigeria, with the above 

development, it has been observed that it remained under 

imperialist control (Ayakoroma, 29). He adduces that it has been 

observed that the late Ogunde attempted to produce local films in 

1945, but the improvement of Nigerians in the cinema industry was 

actually after independence. Though the late Chief Ogunde, the 

doyen of professional theatre practice in Nigeria, initiated moves 

in 1945 toward producing local films, Nigerians only became 

seriously involved in film production after independence; and this 

was at the time the feature film was gaining prominence. 

 

Professionalism and Character Interpretation 

Professionalism involves the display acquisition of 

knowledge and competence according to the ethics of a particular 

field or profession. Similarly, Eliot Freidson defines a profession 

as an occupation that controls its work, organized by a special set 

of institutions sustained in part by a particular ideology of expertise 

and service. I use the word ‘professionalism’ to refer to that 

ideology and a special set of institutions. (10) Furthermore, Laura 

Taylor quoting Hamilton states: 

The years of deliberate practice required for expert 

performance not only help to perform artists master 

necessary skills but also help them cultivate high levels of 

discipline through sustained levels of hard work and the 



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frequent self-denial required to focus on a particular 

domain (6). 

Professionalism in acting is interwoven with having 

expertise in role interpretation in any given circumstance being one 

with the character. It is pertinent to acquire both theoretical and 

practical knowledge on the fundamentals of on-screen acting as 

this will help hone one’s innate talent hence turning one into a 

professional. A professional actor is supposed to possess the ability 

to interpret scripts/characters and understand how humans behave 

and express emotions. Tony Noiceand Helga Noice explains that: 

 

The role acquisition process appears to take place in two 

distinct stages. First, the actors extract from the script the 

underlying intentions of the characters, a procedure that 

often calls for extensive analysis, because the intentions in 

well-written plays are rarely explicit or obvious. The deep 

processing involved calls upon such learning factors as 

perspective-taking, problem-solving, elaboration, causal 

attribution, distinctiveness, and over-learning. Following 

the analytical phase, actors rehearse and perform their roles 

by using an approach the authors call “active experiencing” 

which involves the activation of those cognitive-emotive-

motor processes inherent in all genuine human transactions. 

(7) 

 

Before the age of three, children recognize and 

spontaneously engage in a wide variety of pretences and role-play 

activities. However, “a professional actor differs from a child to the 

degree of perseverance and perfection the professional must 

manifest in the role he simulates” (Goffman 100). Proper role 

interpretation is the parameter for judging and distinguishing a 

professional actor from an amateur actor. It is indeed the criteria 

for knowing a well-trained actor. Successful role interpretation is 

achieved through meticulous character analysis and the entire 



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script. An Actor should not just understand but feel a character’s 

emotional state while interpreting a role which is what Character 

Mood Intensity (CMI) supposedly suggests. 

However, no matter how intensely an actor feels the 

emotions of a character he or/she is interpreting at any given 

moment, such feeling may be of little or no use if not given visible 

expression on set. Reaching an emotional understanding of a 

character is a prerequisite for finding adequate bodily expressions 

to make that character come alive. for the audience. Ayakoroma 

affirms that: 

  

Acting, in a simple sense, is playing a role that is not your 

true character… Acting then means making an audience 

believes that what is not true is true, or what is not real is 

real.  And of course, this is premised on the actor’s belief 

in the role he is playing.  The actor has the responsibility of 

making the audience believe in his actions. (45-46) 

 

What the above assertion means is that acting is the art of 

wearing a temporary mask and portraying another character’s life, 

thoughts and values. In the narrative style of Constantine 

Stanislavsky’s acting book entitled “An Actor Prepares”, he 

explains clearly how an actor is expected to analyse the script and 

interpret his role. According to him, as an actor; 

 

You should, first of all, assimilate the model…you study it 

from the point of view of the epoch, the time, the country, 

conditions of life, background, literature, psychology, the 

soul, way of living, social position, and external 

appearance; moreover, you study character, such as custom, 

manner, movements, voice, speech, intonations. All this 

work on your material will help you to permeate it with 

your feelings. Without all this, you will have no art. (21). 

 



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He further adds that; …the actor creates his model in his 

imagination, and then, just as does the painter, he takes every 

feature of it and transfers it, not onto canvas, but onto himself… 

(21). Based on Stanislavsky’s view, an actor can be referred to as 

being professional after nurturing his talent, he can interpret any 

role he is assigned to effortlessly. However, it is unfortunate to note 

that the problem of poor acting has inadequately reduced the 

quality of product content of the Nigerian movie industry, and too 

many ambitious Nigerians jump into acting without understanding 

the needs and expertise in the art of acting but simply searching for 

fame and money. The poor quality of acting owns to the problem 

of incompetence and inadequacies on the part of untrained, but 

ambitious individuals who parade themselves as Actors. 

 

Synopsis of Living in Bondage – Breaking Free 

Living in Bondage: Breaking Free is a continuation of the 

story of cultist Andy Okeke from the 1992 production Living in 

Bondage. Andy’s second wife has a son named Nnamdi Okeke. 

After the demise of his mother, Nnamdi grows up with his aunt and 

her family. Growing up as a smart ambitious man, Nnamdi wants 

all the good things in life. He is fascinated by good cars and a 

luxurious lifestyle. It is his quest for this good life that makes him 

start up his own advertising company called Infinite Media. In the 

process, joins a cult with politician Chief Omego and wealthy 

businessman Richard Williams. 

Suddenly, he starts getting contracts from all corners, all 

from a one-room apartment. Nnamdi then becomes a man that 

moves with the high and mighty in the society, unknown to him, 

his benefactors belong to a cult. A blogger named Uzoma is trying 

to bring down this cult associated with numerous ritual killings. He 

then contacts Andy Okeke who is now a pastor. He needs the help 

of Andy for information as an ex-member of the cult so he can take 

down the brotherhood. This will also give Andy Okeke the chance 



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to save his son from this deadly cult which offers you power, 

influence, and wealth in exchange for your soul. 

 

Character Portrayal in Nollywood Films 

Ramsey Nouah is one actor who ‘knows his onions’ as far as 

acting is concerned. He took his experience in Nollywood to 

analyse and deliver his role in Living in Bondage, Breaking Free 

as the leader of The Six cult group. During an office presentation 

where Nnamdi pitches his campaign for an upcoming rail network, 

billionaire tycoon Richard Williams is impressed by his ingenuity. 

He mentors Nnamdi professionally, and the latter is catapulted into 

high society status, acquiring vast wealth and recognition, but his 

new life comes at a price. 

 

 
 

Plate 1: Richard Williams (Ramsey Nuoah) at the initiation ceremony of 

Nnamdi Okeke. Source: Film screenshots 

 

Unknown to Nnamdi, Richard is the new leader of The Six 

and is on a mission to lure him into their cult. Due to Andy's past, 

the Okeke lineage is eternally bound to the dark side.  

A second aspect of the “Triad” for actor professionalism 

and expertise for proficient role interpretation is Emotion. The 

emotion is expressed through proper training of the physical. The 

emotions of the actors are observed in their duplicating the 



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breathing patterns that accompany six emotions, Researchers have 

carried out research on this by measuring actor’s galvanic skin 

response, heart rate, respiration, blood chemistry, and so on. during 

participants’ imagined situations of varied emotional valances. 

(Noice and  Noice 13-14). As observed by Elly  Konijn, saying: 

 

Most film productions represent human interaction and 

human conflict. In principle, all the emotions of daily life 

can be touched in a theatre piece. Dramatic action is usually 

characterized by great diversity and high concentration of 

emotions, varying in quality and intensity…behaviour an 

actor exhibits on stage which, in the eyes of the audience, 

appears to be an expression of a real emotion...the living 

characters who the actors are on stage are measured with 

the same standards with which we judge people in daily 

life. A character’s emotion is a representation of real 

emotion. (59-60) 

 

Kenneth Okonkwo as Andy Okeke. It was interesting for example 

to see Kenneth Okonkwo acting as Andy Okeke in this sequel about 

27 years after its first production in 1992. Due to Andy's past, the 

Okeke lineage is eternally bound to the dark side. Having 

experienced cultism himself, Andy attempts to warn his son after 

Uzoma informs him of Nnamdi's existence, and tries to save him 

from The Six before time runs out, but it was to no avail.  

 
 



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Plate 2: Andy Okeke (Kenneth Okonkwo), expressing shock at the appearance 

of the leader of The Six cult group. Source: Film screenshots 

 

Kenneth Okonkwo’s usage of lucid facial expressions can 

be said to aid in the story interpretation following the proper 

response in the scene in which he meets face to face with Richard 

Williams, who is the new leader of The Six cult group inside the 

church which explains his shock as everyone will react in everyday 

life. This expression shows an intense feeling of anxiety. Nnamdi 

Okeke, Andy’s son’s interpretation of his role in the film is quite 

empathic. His Igbo mannerisms and facial expressions show he 

internalized not just the lines but his role well. 

 

Conclusion 

To keep professionalism and Character Interpretation in 

Nollywood films, the Nigerian actor must be innovative and be 

ready to submit themselves to the ethos of acting training and 

techniques to be role models to upcoming artists who have a wrong 

notion of the acting career as simply a scheme for quick wealth and 

fame. The actors must constantly work on improving the quality of 

their actions and also clear erroneous perceptions some people 

have about Nollywood as a low-rating movie industry in terms of 

quality in the world. 

 

 

 

Works Cited 

AyakoromaBarclays, “From The Stage To The Screen: The 

Exegesis of Adaptation in Acting”. Creative Artist: A 

Journal of Theatre and Media Studies. Vol. 3, No. 1. 2009 

(45-57) 

Blix, Bergman Stina. “Stage Actors and Emotions at Work”. 

International Journal of Work Organization and Emotion, 



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Vol. 2, No. 2. Geneva: Inderscience Enterprises Ltd, 2007. 

(161-172) 

Duruaku, A. B. C. Hand Book on Drama and Theatre. Owerri: 

Colon Concept Ltd. 1997. 

Freidson, Eliot. Professionalism Reborn: Theory, Prophecy and 

Policy. UK: Cambridge, Polity Press, in association with 

Blackwell Publishers, 1994. 

Goffman, Erving. Encounters: Two Studies in the Sociology of 

Interaction. Indianapolis: The Bobbs-Merrill Company, 

1961. 

Kirby, Michael. Acting and Not-Acting: A Formalist Theatre. 

Philadelphia: University of Pennsylvania Press, 1987 

Konijn, A. Elly. Acting Emotions Shaping Emotions On Stage. 

Translated by Barbara Leach with David Chambers. 

Netherlands: Amsterdam University Press, 2000. 

Living in Bondage: Breaking Free. Dir: Ramsey Nouah. Swanky 

JKA, and David Jones, PlayNetwork Africa, 2020. 

Okome, O and Jonathan Haynes, Cinema and Social Change In 

West Africa. Jos: Nigeria Film Corporation, 1995. 

Konstantine Stanislavski,An Actor Prepares. Transl. Elizabeth 

Reynolds Hapgood. London: Eyre Methuen, 1917. 

-------------,An Actor’s Work: A Student’s Diary. Transl. and Edit. 

by Jean Benedetti. New York: Routledge Taylor and 

Francis Group, 2008. 

Taylor, E. Laura. Acting Strengths: The Development of Resilience 

and Character Strengths in Actors. Master of Applied 

Positive Psychology (MAPP) Capstones Project, 70. The 

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California: Harper and Row Publishers, 1954. 
 


