Improvisation in drama, according to Etherton (1982), is the ability to act out situations in a role, making up dialogue and developing characters as the exercise proceeds. Banfield (1970) sees it as any type of dramatic activity involving one or two persons who are created ‘extempore’.

It does not involve any previously rehearsed script. It is made from moment to moment as the exercise unfolds, thus at the beginning, the dialogue, the action, and the duration.

Introduction

The Concise Oxford Dictionary (8th edition) defines improvisation as “to compose or perform extempore”. Wikina (1998) on his part defines improvisation in drama as dramatic exercise as dramatic exercises composed, acted or performed on the spur of the moment.

It involves the creation of exercise on the spur of the moment. It does not require any pre-planning or long rehearsals. It is contrived only once, as a repetition will translate it into a memorised play. It is a group exercise carried out to benefit the learner and not necessarily the audience.

Using Improvisation in Drama to Implement the National Language Policy

Improvisation in drama can be effectively used in the implementation of the National Language Policy.

At the pre-primary and primary levels of education, several messages on good conduct, decent behaviour, healthy living and moral uprightness can be introduced to pupils. It is through several improvisation exercises. Stories on the virtues of a Godly life can be created in the mother tongue or in the language of that environment.

For instance, an Ibo boy in a Yoruba-speaking area of the country can be taught dances and movements in the Yoruba language.

By so doing, he learns to appreciate the cultures of other Nigerian tribes apart from his own. Fortunately, adequate provisions have been made in the National Policy on Education to accommodate this.

It states inter alia that to give the child, appropriate opportunities for developing manipulative skills. It will enable him to function in society, and the government will “make available staff and facilities for the teaching of creative arts, crafts and music in primary schools”.

At the secondary level of education, where instruction is to be in the English language, adequate provision has also been made for the use of improvisation in drama.

The Policy provides for the development and projection of Nigeria’s culture, art and language as well as the world’s cultural heritage. To achieve this aim, adequate provision will be made for the teaching of moral and religious instruction.  It encourages students to participate in those activities that will foster personal discipline and character training.

Improvisation can be used to facilitate the learning of Indigenous languages by getting the learners involved in local or traditional plays of a particular environment.

For instance, sketches can be developed to portray rich songs of either Yoruba, Hausa, or Igbo in any of the other languages in Nigeria; such songs and exercises can be used to kick-start a lesson.

This will stimulate learners’ interest in the learning of that language and the study of the subject. These include the fight against causes in schools, examination malpractice, bribery, and corruption being translated into various Nigerian languages.

At the tertiary level of education, improvisation can be used effectively to contribute to the development of society.

In Colleges of Education, where teachers are trained to teach in secondary and primary schools, improvisation can be used tremendously in the classroom.

It can be used in the teaching of any school subject. In schools where Nigerian languages are taught, these exercises can be used as effective teaching methods.

This is crucial in the learning of a second language or the programme.

Improvised sketches should form the foundation of teaching second language learners in our Colleges of Education.

For instance, years ago, an L film was successfully produced based on an improvised drama sketch in the Federal College of Education, Abeokuta.

Until recently, a minor course in drama existed in the NCCE minimum standards curriculum, which equipped students with the necessary tools of improvisation for their practical teaching.

In the course, students were encouraged to develop improvised sketches on virtually all areas of human endeavour and in various disciplines of study.

Generally, improvisation in drama can be used to communicate messages to people on moral, political, economic and social issues.

Political messages can be disseminated to our people in the various Nigerian languages through improvised sketches. Such sketches may not need any period of rehearsals.

They can be varied according to the dictates of culture, customs and beliefs of the people. Such sketches could harp on the gains of democracy, electoral rules, political leadership, etc.

By taking part in these sketches or by watching them, individuals will be necessary. In this way, they can now contribute positively to the growth of society.

Improvisation in Drama and the National Language Policy: Problems and Challenges

Despite the vital role of improvisation in the implementation of the National Language Policy, several forces still constitute cogs in the wheel of progress.

First, ignorance on the part of the implementers of this exercise hangs like the sword of Damocles.

Most teachers are largely ignorant of the effective working of this exercise. And no house with a defective foundation can stand.

According to Way (1967), we cannot use drama to experience history or literature until we have mastered certain basic aspects of drama itself. Ultimately, drama is a valuable tool, but first, the tool itself must be fashioned.

Secondly, people see drama and all its tools as a mere pleasurable pastime activity. They have not come to appreciate the vital role of drama in the growth of man and society.

Secondly, most teachers still find it difficult to appreciate the impact of these improvised sketches on the local populace if translated into the Nigerian language.

Thirdly, except in government public schools, not much use is made of Nigerian languages in privately owned schools.

It may therefore be possible to carry out these exercises as a learning process in public schools, but this may be difficult in privately owned schools where Nigerian languages are only allowed when they are taught as subjects in the curriculum and not as a medium of instruction.

Finally, the lack of facilities for drama and theatre work is another inhibiting factor.

In virtually all Nigerian public schools, infrastructural facilities and equipment for drama work are lacking. Classrooms are overcrowded, dusty and poorly maintained, while simple props and costumes are non-existent. Without adequate space for movement and dance improvisation may not be possible.

Recommendations and Conclusion

Based on the discussions above, it is an undeniable fact that improvisation in drama is a powerful tool for the implementation of the National Language Policy.

It is also a vehicle for the propagation and communication of social, political, cultural and educational messages that will enhance the growth of man and society. For it to still be relevant in our societal system, the following recommendations are offered:

First, teachers, students, parents and formulators of our educational policies must realise the crucial role of improvisation

Not just as an aid in teaching school subjects, but also as a tool for communicating social and political messages. Secondly, more improvised sketches should be done in Nigerian languages, particularly in the language of a particular environment.

It is only in this way that the messages can get to a larger number of our illiterate population. Thirdly, children, particularly at the pre-primary and primary levels, should be taught through improvisations because what they see and partake in leaves a more lasting impression on their impressionable minds.

Furthermore, our rich cultural heritage can be transmitted to the younger generation by getting these young ones engaged in improvisations.

This involves cultural dances in various languages, poetry recitation and songs that are rich in local proverbs and idioms.

It is also recommended that training programmes be organised for teachers on the basic tools of how to use improvisation in their practical teaching.

Moreover, the government should urgently equip the schools with certain infrastructural facilities and equipment that will enhance drama and theatre work at all levels of our educational system.

Such facilities include halls, costumes, props, lighting and sound effect equipment as well as other technical facilities.

Finally, as the years roll by, improvisation in drama will continue to be used as a veritable instrument of instruction and education in our schools as messages aimed at equipping the individual for the challenges of life and for building a just and democratic society. Read more similar posts on our news page of the site.