Cultural Authenticity Embodiment in Performance Qualitative Research

This study critically examined the concept of embodied identity and actor transformation in Austin Asagba’s Odidigboigbo, directed by Jessica Oghenerume Oyovwiba and staged at the University of Benin Theatre on 14 June 2025. The research was situated within debates on embodiment in performance, where actors negotiated the relationship between personal identity and fictional roles. The central problem addressed was the difficulty actors faced in fully transforming into characters while sustaining believability and cultural authenticity in contemporary Nigerian theatre. The aim of the study was to explore how embodiment, identity, and transformation intersected in the rehearsal and performance processes of Odidigboigbo. The research employed a qualitative approach, drawing on semi-structured interviews with the director and principal actors, supported by observation of rehearsals and the final performance. Braun and Clarke’s six-phase thematic analysis provided the analytical framework, which enabled the systematic identification of themes such as psychological preparation, cultural rootedness, the role of costume and environment, and challenges of accent and interpretation. Findings indicated that embodiment in this production was achieved through a combination of psychological, emotional, and cultural strategies. Actors reported moments of shifting from “acting” to “becoming” their characters, often triggered by costuming, stage interaction, or audience feedback. The director’s emphasis on picturisation and imaginative techniques facilitated transformation, though challenges such as mastering cultural accents and sustaining emotional intensity were highlighted. The study also revealed that audience reception reinforced actor embodiment, with visible feedback motivating deeper transformation on stage. The research concluded that embodied identity in Nigerian theatre depended on both personal and collective cultural connections, guided by directorial vision and rehearsal discipline. The study contributed to scholarship on African performance by demonstrating how embodiment served as both an artistic and cultural process, advancing discourse on actor training, identity negotiation, and theatrical authenticity.