There’s a lot of insincerity about the actions of our legislators; they create distractions – like this anti-gay law you alluded to – and try to mobilise, to exacerbate people’s emotions. Until the legislators started making laws, people minded, generally, their own business.
But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That’s why I call it the most social of the various art forms.
You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.
We all have our individual artistic temperaments as well as partisanships in creative directions. And we have strong opinions on the merits of the products of our occupation.
I know there are writers who get up every morning and sit by their typewriter or word processor or pad of paper and wait to write. I don’t function that way. I go through a long period of gestation before I’m even ready to write.
I rarely use mythology for its own sake because, as a theatre person, the mythological figures are in fact humanity to the ninth degree and Yoruba mythology in particular has fascination of being one of the most humanised mythologies in the world.
I think that feeling that if one believed absolutely in any cause, then one must have the confidence, the self-certainty, to go through with that particular course of action.
