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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

CONCEPTUALIZATION OF SCENIC DESIGN: A STUDY OF ESIABA IROBI’S “THE OTHER 

SIDE OF THE MASK” IN NIGERIAN EDUCATIONAL THEATRE 

 

Ajiwe Uchechukwu Chimezie   

Department of Theatre and Film Studies 

Faculty of Arts 

Nnamdi Azikwe University, Awka. 

 

Abstract 

The stage picture depends to a great extent on the setting and costumes. The placement of doors, 

windows, and furniture allows some compositional patterns and impedes others. Thus, the ability of 

the designer to conceive ideas on the arrangement of scenic properties to conform with the 

playwright's ideas and the director's ideas creates a balance in the stage visual composition. This 

explores the conceptualization of scenic designs in Nigerian educational theater through an analysis 

of Esiaba Irobi’s play, “The Other Side of the Mask.” By examining the use of space, set elements, 

and visual aesthetics in the production, this study aims to uncover the ways in which scenic design 

contributes to the overall theatrical experience and educational goals in Nigerian theater. It also 

looks at the possibilities of an artistic or set designer creating effective designs and the aesthetic 

transformation of a play text. The paper equally suggests appropriate measures towards improving 

scenic design in Nigerian universities.  

Keywords: Scenic design, play production, sat designer, Aesthetics of Scenic design, set design 

 

Introduction 

Background to design is crucial to the understanding and appreciation of the subject. This is because 

it deals with the visual and spatial aspects of theater. But in African theatre studies, there are very 

few detailed works based on individual playwrights or their plays. This is a major drawback, as the 

African dramatist has always used traditional African theatre forms in a modern context, and 

traditional forms are always direct in the use of visual and spatial expression. In his study of Pete 

Edochie and the actor's craft in contemporary Nigerian drama, scholars like Dapo Adelugba 

emphasized the need for such works to be properly understood, and its interpretation in realistic 

acting styles has been accounted for by Nigerian playwrights. It is necessary that its essentials (ere, 

concept, and form) be properly explained. The same can be applied to the use of Western actor 

training methods in traditional performance genres.. There are many different ways in which this 

training is put into practice, but one suspects that an inappropriate use of scenic signs is probably 

the major factor in the failure of such attempts. In terms of accessibility, reliability, and availability, 

internet research on The Other Side of the Mask proved unsatisfying. As a result, the researcher 

has relied almost entirely on the text of the play. 

 

Scenic design is the designing, executing, and lighting of a play set in motion for production. It is 

primarily to establish, for an audience, a physical and atmospheric environment on stage for the 

duration of a dramatic experience. In addition, it is a special area of design based on a wide 

background of semi-related as well as specific training in modern theater. Moreover, it is concerned 

with the total visual effect of a dramatic production. Scenic design is also known as scenography, 

stage design, or set design. This includes the creation of theatrical as well as film or television 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

scenery. Scenic designers come from a variety of artistic backgrounds. In this way, Chris Guzardo 

(2017) asserts that "scenic designers are professionals in theater who design sets for the stage that 

communicate aspects of a performance, such as time of day, location, and era. Scenic design plays a 

very important role in shaping the audience’s perception and understanding of a theatrical production. 

In the context of Nigerian educational theater, scenic design serves not only aesthetic purposes but 

also serves as a tool for conveying cultural, social, and educational messages. Therefore, the focus of 

this paper is on the scenic design of Esiaba Erobi’s The Other Side of the Mask, a play to explore 

how scenic elements are conceptualized and utilized in Nigerian educational theater. “Sets are 

supposed to lay a foundation for performances as they communicate information to audiences through 

visual design” (p. 1). To this end, scenery, lights, property, costume, and sound effects are 

coordinated. Thus, ways and means of developing this coordination and the effect of each individual 

element are influenced by the sociological, cultural, artistic dynamism, and technological resources of 

the locality in which theater production is to be presented. In this wise, Utoh, T.C states that, 

The Nigerian Society cannot, but pay heed to the issues of social concern which are 

given ample exposition in many plays. This is because the dire need for mass 

consciousness a lever which propels people to re-order and re-assert their values and 

priorities. The unprecedented development, growth and subsequent expansion of the 

Nigeria theatre bears a direct relationship to the dynamics of social change evident 

in most Nigerian plays. (p.126) 

The weight of this assertion centers on the basis on which an artist, a playwright, and the designer’s 

ideas evolve, as well as being guided by their surroundings. Thus, an artist is affected by his society. 

In this case, art can, through intimate identification, create empathy. This means that art challenges 

the view not just visually or through the intellect but through their whole emotional, spiritual, 

ethnical, intuitive, and psychological being. To find empathy requires us to reach beyond our 

differences to a point of shared humanity. 

 

In any educational Theatre environment, there are many different ways in which a student or group 

of students’ training is put into practice, but one suspects that an inappropriate use of scenic signs 

is probably the major factor in the failure of such attempts. In terms of accessibility, reliability, and 

availability, internet research on The Other Side of the Mask proved unsatisfying. As a result, the 

researcher has relied almost entirely on the text of the play. 

Also, unconsciously, the environment will influence the actors and their performance, with a culture 

of set design being that actors don't feel ownership of the space until they have something to 

interact with. This both affects the process of character development and the final outcome, 

primarily because acting is an action-based practice, not one of contemplation. So, anything that 

influences an actor's actions will also influence character and performance. For example, in the 

development of his character Lysander in the 2008 production of A Midsummer Night's Dream, David 

is cited visiting the set and getting in bed. This change is largely attributed to the tangibility of the 

bed enforcing the action of actually getting into it; something that would likely not have happened 

had the set design been different. 

 

Thus, the basic communicative qualities of set design are the same as in any other visual art. In 

complementing this, Carroll N. (1998) posits that, 

We can challenge the radical autonomist’s appeal to the nature of art with appeals to 

the natures of specific art forms or genres which given what they are warrant at 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

least additional criteria of evaluation of supplement whatever the autonomist claims 

is the common denominator of aesthetic evaluation. (p. 227) 

This refers to the understanding and appreciation of plays or any work of art. Thus a playwright’s 

view might differ from how the director and the designer view his work. But the Director ensures 

that he strikes a balance in the playwright’s ideas with his and other crewmembers of the play 

production like the designers. 

 

Aesthetic Factors in Scenic Design 

The aesthetics of scenic design in Nigerian educational theater often blend cultural elements with 

practicality. Designs may incorporate vibrant colors, traditional motifs, and versatile sets to 

accommodate various productions. Additionally, there's a focus on engaging students through 

immersive environments that reflect Nigerian heritage and encourage creative expression. In this 

regard, certain elements are considered and applied; some elements are what make up the aesthetics 

of a scenic design for a stage production when producing a play. As such, the aesthetics of stage 

design for play production encompass various elements such as set design, lighting, props, and 

costumes. In creating a visually compelling stage, designers often consider the themes, mood, and 

setting of the play. They may use techniques like color palettes, textures, and spatial arrangements 

to enhance the storytelling and evoke emotions in the audience. Additionally, attention to detail and 

creativity play crucial roles in crafting sets that transport viewers into the world of the play. 

The act of the theatre differs from the other art forms, although it has some relationship with them. 

Their basic difference lies in the aspect of their impermanence. Since it exists only for the brief 

space of time in which the play is performed, design in theater becomes a temporal art with its visual 

quality. Based on the visual quality of the play production and the intended message of the playwright. 

It serves more than just the physical characteristics of a work of art. Thus, beauty is a quality of 

the transformation experience that awakens the unconscious and grasps human solidarity. As such, 

scenic design in most educational theatres focuses on enhancing the overall aesthetic experience 

while also serving educational purposes. 

1. Visual impact: The design ought to captivate the audience’s attention and create a visually 

stunning backdrop for the performance.  

2. Authenticity: it should accurately represent the setting of the play or performance, whether 

it’s a specific time period, location, or mood. 

3. Symbolism: Utilizing symbolic elements to convey themes or motifs present in the production, 

helping to deepen the audience’s understanding and engagement. 

4. Functionality: The design ought to be practical and functional, allowing for smooth 

transmission between scenes and accommodating the needs of the performer. 

5. Composition: Consideration of arrangement and placement of set pieces, props, and lighting 

to create a balanced and cohesive visual composition stage. 

6. Colour and Texture: Thoughtful use of colour palettes and textures to evoke specific 

emotions or convey the mood of each scene. 

7. Detailing: Attention to detail in set construction and prop selection to add depth and richness 

to the overall design.  

8. Accessibility: Ensuring that the design is accessible and inclusive, considering factors such 

as wheelchair access and sightlines for all audience members 

9. Adaptability: Designs should be adaptable to the different performance spaces and budgets, 

allowing for flexibility in implementation. 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

10. Collaboration: Collaboration between directors, designer, and performers to ensure that the 

scenic design complements the overall vision of the production and enhances the educational 

experience for both participants and audience. 

 

By carefully considering these aesthetic factors, scenic designers contribute to the overall artistic 

vision of the theatrical production and help transport audiences to the world of the play. As such, 

when we consider design, its specific not general forms we being to understand that design is an 

interpretative art. It is interpretative in the sense that it helps to bring out performances based on 

a set script. Obviously, without a given script, or the play in which it is created, design cannot be 

independent. Thus, every element of the design of a play should complement the others. In this sense, 

empty costumes do not comprise design for design. Rather, it exists only during the performance of 

the play. As a result, the lack of independent existence of design and its conception is thus influenced 

by a number of factors. The factors will be discussed in the course of writing this paper.  

 

Conceiving an Idea for Scenic Design  

In designing for a play production, a set designer takes certain steps in generating ideas in creating 

an environment in the play text revolves in. He or thus, develops series of questions which will lead to 

the generation of ideas through discussion and research into the play. Of course, this is done with 

the knowledge of the director’s concept. At each stage, there may be a number of ways to proceed. 

So the designer will need to judge which is the most appropriate. The process details the method 

through an example in which w follow a designer work in Ng on a student production of Macbeth with 

a minimal budget. At the end of the process is an example of how the design work on the play might 

be broken down into visual materials and methods.  

 

Generating ideas for scenic designs in play production aims to describe a process which will help a 

scenic designer to organize and plan the scenic design of a play from reading the script to an effective 

design. This process concerns the generation, development and to some cases, production of a number 

of visual materials that may affect or effect the way a play might look. The results of this process 

might be anything from a verbal description of suggested scenery to a fully formed maquette or 

model. The creation of imaginative worlds and environments for actors to play within is a fundamental 

activity for theatre designers. At the very least, this should significantly add to the audience's 

understanding and experience of the play. However, it can also establish long-term emotional 

connections. A good set design for a forum theatre production concerning domestic violence could 

create a house in incredible detail and invoke a real memory for an audience member of watching 

action unfold in that same house. According to Ajiwe U. C (2008) 

… design involves creativity and skill to express thoughts. And this thought is appreciated when 

manifested physically in its several art forms. Thus, the act of conceiving an idea and executing same 

physically … (p. 247). This implies that through design ones thought is conveyed which is appreciated 

when creativity and skills is exhibited physically. In designing a play for production the designer 

should be high in imaginative reasoning. And the designer’s ideas should base on the playwright’s views 

and ideas of the play. This is the first hand aid by which the quality of the design is judged. Moreover, 

there is need for originality in the work. 

The originality of art can be seen as the uniqueness of the piece of work that derived from the 

creator. Definitely, when the concept of originality is lost in any work of art, it become detrimental 

to the artist and the society. Addressing the subject on the art of creativity, it is this sense that 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

the theatre artist is being conceived in its own right as an art. Thus, a courageous artist, in this 

forum, exercises the instruct to create through the power of imagination, dreams and concretisation 

of idea(s). As well as perception, perception yields creativity.  

 

Psychologists like Anders NH (1968) arguing the importance and significance of perception in human 

life and living, pointed out that, “The story of how man knows the world begins at the sensory surface 

the interface between the knower and the known, where physical energy is transformed into neural 

activity, to be treated as information”. Thus, it is clear that without perception a designer or an 

artist cannot execute or conceive ideas. With this, effective creativity will not be seen in the artist's 

work. This applies to all faces of art, especially the theatre artist. To improve, there is need for 

change in thoughts, behaviour which will arise from experience. Just as Norbert N. Okoye points out 

that, “any attempt made at improving perception will also hopefully improve learning and 

cognition”(p.83). 

 

It is thus clear that improvement in thoughts and perception of images will yield effective designs 

for play production. Theatre art is not art that solely exist on its own, it is a conglomeration of all 

other various forms of art. In this light, the theatre artist is described as the being with a particular 

inner deposit of creative energy. Thus, the designer as a theatre artist is enabled to operate within 

the right framework of creativity based on profession and aesthetic of myriad art forms. According 

to Oren Parker and Harvey Smith  

 

From the theme of the play the designer can usually find a visual image that can lead to a design 

concept. And from the style of the play the designer gets an indication of the form of his design. 

(74) 

 

This implies that a designer can draw up a visual image from the theme of the play and it will lead to 

a design concept. Also designer develops the form of his design from the style of the play. In same 

vein, Chris Murphy explain that “a scenic designers work …involves imagination, creative abilities, 

technical skills and crafting to create worlds for live performances, but opportunities can be 

inconsistent at times.” This affirms that the scenic designer’s work is dependent on his imagination 

and creative ability to conceive and develop design concept and imprint his style in play production. 

This is achieved through reading and understanding of play. In addition, having knowledge of the 

playwright’s ideas and making additional research on some images described by the playwright as well 

as culture and environment in which the play is situated. For instance, for a designer to design the 

play text The other side of the Mask written by Esiaba Irobi must get the picture of a typical 

university quarter for lecturers the playwright is describing. And if possible visit a university with 

lecturers’ quarters, thus this will widen his idea for an effective design of the play. Thus, a designer 

as an artist replicates life on stage. This can be seen in the words of Jamike and Njemanze as they 

were arguing. 

Jamike:   Prof., this is reality  

Njemanze:  Your own twisted reality!  

A depressing reality! 

Jamike:  Is that not the function of Art? To exhume the truth of a reality. Not to mask it or 

perfume it. 

Njamenze:  Jamike, Art deals with beauty not ugliness. 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

From their argument we can understand that art is a repetition of life. Thus, designer must endeavour 

to recreate in time and space the setting of the play. And should posses some form of individuality. 

Art is an expression of thought, no matter the source(s) in all creation and recreation; there is still 

the individuality of the designer. This is the artistic figure, the instant process of the designer to 

create. 

 

A Brief Summary of the Other Side of Mask 

This is a play set in a university environment, a typical Nigerian university quarters. It is about a man 

named Jamike, an artist who is a sculptor. Jamike who believed in his artistic works and has been with 

hope win an award but was turned down. Though he never relents in chiseling out more pieces of art 

works. But did not sending any work for another year’s national award. Jamike has a muse named 

Zhipora. She (Zhipora) understands him more than anyone else. And Jamike a brother named Kamuche 

who is Nervy commander. Kamuche wanted Jamike to marry Elesie, forcing her on Jamike in which he 

did not succeed. Moreover, the whole story describes the essence of art and the processes in art as 

a whole. It also discussed the struggle of an artist to achieve a “master piece”. 

 

Identifying the Playwright’s Directorate Stage Design of the Other Side of the Mask 

In identifying the playwright’s intentions it warrants obvious textual references to the setting, the 

social class of the characters, the metaphorical implications of actions, etc. Sometimes the 

playwrights will have a very clear image of what he or she wants, and sometimes it may be a projection 

of what or where the action took place in his perception of his society. Other times, it may be very 

vague, leaving much to the director. As such, there are two forms of stage design: one is the 

playwright’s apparent or mental image of the play, and the other is using the play a s starting point 

for the director’s concept. This paper therefore discusses the case in which the playwright has left 

various hints on his or her perception of the play production and the possible variation the intended 

design could be change using the play as a base inciting new design idea. 

 

Design Art is located primarily within the disciplines of image conception and object making. Thus, 

basing this on stage media, in design practice with an emphasis on the study of material culture 

relative to the play. The playwright ideas and visions on the story he is writing should include the 

setting and sets to be used. This is seen in Esiaba Irobi’s The Other Side of Mask arching the designer 

in design play for production. It is important to note that the whole play takes place in one room until 

the play ended. 

 

In scene one the playwright gave description of how the setting of the play should be. Thus, easing 

the work of the designer. Esiaba made good choice of words in creating a picture of Jamike’s 

apartment. Reading the play text alone creates a clear picture in the reader's mind, leaving the 

designer with fewer thoughts about how to gather material for his designs. For example, in Side One: 

 

A screen of flowers masks the frontage of a typical African university apartment for lecturers. 

Stretching fully across the stage is the framework of the apartment’s insect-gauzed balcony. Within 

the balcony are potted flowers. 

 

This description took a full-length page of the play text, which is to the advantage of both the reader 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

and designer, for proper enhancement of visual composition of the play. 

In giving a directorial stage design of the play-text, Esiaba has heightened the beauty of play-text, 

at the same time enhancing the conversion of the dramatic text into a stage performance. Thus, 

presenting elusive image representations of his imaginations. Moreover, materials mentioned by the 

playwright are tools functional to plot of the play. These materials for the design of this play has 

reflection of the society (Nigerian Society). Just as Tracie Chima Utoh rightly confirmed, 

Nigerian playwrights have remained committed to the cause of social reforms. They use their plays 

as avenues to give exposition to the experience, values and worldview of the Nigerian people. Through 

these expositions; the playwrights strive to achieve the social, political cultural and moral purification 

which has consistently eluded the nation. (13) 

 

Thus, the scenic design of "The Other Side of the Mask" exemplifies the integration of aesthetic 

and educational elements in Nigerian theatre. By drawing on indigenous cultural motifs and 

incorporating them into the design, the production not only enriches the theatrical experience but 

also serves as a platform for cultural preservation and education. The use of symbolic imagery and 

spatial arrangements fosters a deeper understanding of the play's themes and encourages critical 

reflection on Nigeria's colonial legacy and postcolonial identity. 

 

For a Nigerian educational theater production, consider a scenic design that reflects the rich cultural 

heritage of Nigeria while also incorporating modern elements. You could create a versatile set that 

can easily transform to depict different scenes, such as a traditional village setting, a bustling urban 

area, or a school classroom. Utilize vibrant colors, traditional patterns, and symbolic elements to 

represent Nigerian culture. Incorporating local materials like woven fabrics, wooden carvings, and 

pottery can add authenticity to the set design. Additionally, consider using innovative lighting 

techniques to enhance the mood and atmosphere of each scene, creating a visually engaging 

experience for the audience. Thus, a scenic designer takes into consideration designs, symbolic 

patterns, and design motifs that capture the essence of the play’s settings and themes. In this 

regard, the set designer creates a dynamic set design that transports the audience to an environment 

in which the play production is set, portraying a typical Nigerian environment using Esiab Irobi’s The 

Other Side of the Mask, which is set in a typical university lecturer’s quarters, and some sculptural 

motifs that portray Nigerians, especially Igbo cultural artifacts. To convey clashes in the play certain 

pictorial motifs could be placed at the backdrop which are relevant to play text and could be 

referenced to by the main character of the play. Symbolic elements such as masks, drums, and ritual 

objects could be incorporated into the set design to represent the spiritual and cultural traditions 

of the Igbo people. Lighting effects could be used to enhance the mood of key scenes, such as when 

his muse enters the scene symbolically setting the mood that he is about creating a master piece. 

Likewise, when his creativity calls for blood, certain coloured light are creatively applied to set the 

mood of the scene. 

 

From Tracie Utoh's statement, one will agree that Esiaba based his work on the culture and the 

environment of the Nigerian society through the setting of the play. In essence, creating a workable 

environment for performers. With the directorial stage design by the playwright, it aids the designer 

to set the tone and style of production, letting the audience know where and when the action takes 

place. 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

As well as telling whether the play is a tragedy, comedy, or some other drama. In addendum, Esiaba 

made use of symbolism in this play when he suggests that most artistic sculptural works to be 

displayed on stage represents the society and symbolic to one theme or the other. Moreover, all these 

art piece of sculpture relates to the theme of the play which is struggle between the oppressed and 

oppressor. Also, instruments used by sculptors are mentioned in the play such as woods, chisel, and 

hammer, carried woods are functional to the events that happened in the play. For example, the chisel 

is instrumental the shedding of blood in the play. 

 

I have played a part as the stage designer for the production of this play, with the Director and 

other crewmember and the entire class members while I was in school (300 level). It was a great task 

designing the play. Though a martini production without lighting effects but achieved the same effect 

as achieved in a might production. Moreover, Esiaba Irobi’s visual idea of this play is intense such that 

his idea for the lighting design falls in other which will aid in effecting the audience emotions. Such 

that the colour he chose for the lighting at the scene where Amadioha, the gods of Jamike’s family 

is been brought out by Kamuche for inspection fits the scene. At this point, the mood of the play 

changed a little, becoming moody due to the red gel light on Kamuche and the fetish – (Amadioha) 

Amadioha is the god of justice, thunder and lightening in Igbo land (Igbo culture). This shows that 

Esiaba, is not irresponsive to social and cultural dictates of our society through his creative writing. 

 

Conclusion  

Therefore, through the playwright’s ideas, a designer conceives his ideas and executes them. 

Moreover, the designer manages his material resources with the funding he has for the design of the 

production. As well as ensuring that his designs complement the total visual composition of the play 

production. Moreover, the designer notes the emphasized design materials to be used. This he does 

by reading the play and noting the necessary elements needed, as well as making sketches of the ideas 

conceived. There is a need for him to do research on some material to be used for the play. alternative 

might be provided if demands cannot be met. This should be done creatively. 

 
Works Cited  

Carroll, N. (1998). Understanding art, narrative, and moral. In J. Bevinson (Ed.), Aesthetics and  

            Ethics (pp. xx-xx). Cambridge, UK: Cambridge University Press. 

Guzzardo, C. (2017). Visual rhetoric and semiotics in scenic design: A pedagogical analysis  

             (Master's thesis). University of Tennessee. Retrieved from     

             https://trace.tennessee.edu/utk_gradthes/4877 

Wilson, E. (1991). The theater experience (5th ed.). New York, NY: McGraw-Hill. 

Irobi, E. (1999). The other side of the mask. Enugu, Nigeria: Abic Publishers. 

Murphy, K. N. (2022). Emerging trends: Scenic design beyond the stage (Master's thesis).  

            .Louisiana State University. Retrieved from      

             https://digitalcommons.lsu.edu/gradschool_theses/5503 

Okoye, N. N. (2001). Psychology of human learning and development. Awka, Nigeria: Erudition Publishers. 

Parker, O., & Smith, H. (1979). Scene design and stage lighting (4th ed.). New York, NY: Holt, Rinehart and  

 Winston. 

Tertulian, N. (1980). Notes on the aesthetics of the theatre (Vol. 2, xxxivth ed.). Romania: Publisher. 

Utoh, T. C. (2002). Theatre and contemporary realities: The dynamics of social change in  

          Nigerian plays. Theatre Experience: A Journal of Contemporary Theatre Practice, 1(1),  pp. xx-xx 
 

https://trace.tennessee.edu/utk_gradthes/4877
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