An Exploration of Character Development Through Actors Dialogue: a Case Study of Yinka Magbagbeola's Ikugbayiti

Dialogue remains a vital tool of communication which serve as the primary means through which characters express their thoughts, emotions and intentions. It is not only a vehicle for conveying information but also a powerful means of revealing the complexities of relationships, inner conflicts and personal growth. Through this research, it is gathered that in both theatrical and real-life contexts, dialogue facilitates connection and understanding, allowing individuals to engage, negotiate, and reflect. Through carefully crafted dialogue, characters communicate their deepest desires and fears, shaping the narrative and driving the progression of events. Yinka Magbagbeola states that: dialogue remains one of the main elements that help playwrights to distinguish their characters. Most of the characters in Ikugbayiti speak in an elevated language, although this is done with the consciousness of the traditional setting of the play (2024).
It is gathered through findings that the playwright does not deliberately set out to adopt any specific dialogue techniques while writing the play, yet, the play naturally reveals the intricate relationship between an actor’s verbal performance and a character’s narrative progression. The dialogue unfolds gradually, allowing for the natural evolution of the characters, showcasing how the actors' delivery becomes essential in conveying the emotional depth and growth within the story. Yinka adds that: I didn’t deliberately set out to adopt any specific dialogue techniques while writing the play. All I was interested in was writing a play with a dialogue base that would attract readers. Since it was my first play, I tried to raise a standard for my subsequent plays (2024).
Also, it is observed that balancing between realism and poetic expression in the dialogue of Ikugbayiti requires a distinctive approach that allows the characters to feel authentic while also conveying deeper emotional and thematic layers. However, the poetic expression, rooted in the use of Yoruba idioms, proverbs, and metaphors, allows for a heightened sense of emotional resonance and thematic depth, particularly when exploring spiritual or existential themes, such as Ikugbayiti’s transformation into a living-wraith. Yinka states that
To achieve this balance, the playwright weaves naturalistic dialogue with moments of heightened expression that serve as emotional or thematic punctuation points. For example, in scenes where Ifalogbon grapples with his death, the dialogue takes on a more poetic, reflective tone to underscore the gravity of his internal struggle. An example is, Ifalogbon: beads no longer have any place for my neck. And the rooftop, it is meant for people like you with untraceable shadows, not for poor, age-stricken souls like me (PP 61).
Conversely, when engaging with other characters in everyday situations, the dialogue remains grounded in realism, providing a relatable basis for the audience. This interplay creates a dynamic rhythm that mirrors the characters' journeys, enhancing their development and making their emotional experiences both vivid and universally impactful. To Yinka: “…if you say poetic expressions, I will agree with you that the dominant character that possesses this quality is Oromesi, and this is due to his identity as a praise singer. Close to this is Ifalogbon who understands the socio-spiritual corpus of the Yoruba gods. So to debate on the balance of realism and poetic expression in my play or in any play is a job I think critics should handle (2024).