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Celebrities / Re: Celebrities At Banky W & Adesua Etomi's Introduction After Party (Photos) by Datingtips: 4:46pm On May 07, 2017 |
softwerk: You either celebrate with those who are celebrating or keep shut 4 Likes |
Romance / Re: Guys: 7 Types Of Women That Will Give You The Greatest Headaches by Datingtips: 2:17pm On Apr 19, 2017 |
importexpert: Recently, I deliberately broke up with the No 6 type. However, I have come to learn that you would not succeed with women if all you do is reading their behaviours and attitudes. This would make you come on as being judgemental as you experience emotional upset from time to time. Women are not attracted to men who read and judge them every now and then. 1 Like 1 Share |
Romance / Re: Guys!!! What Is The Worst Embarrassment You Received From A Lady? by Datingtips: 7:26pm On Apr 14, 2017 |
One of the hardest things for an average guy to do is approaching and asking a beautiful girl out in a relationship. While many guys have suffered embarrassment from ladies, many would never ask a girl they like out because of fear of being blown off. But why is this so? The main reason is that many guys are ignorant of the socio-discursive process to follow in order to woo ladies of their choice anywhere at anytime. I would be revealing some of these processes in my subsequent posts. I run a Centre for Research in Personality and Value Development, a think-tank committed to proffering solutions to social value disorder and improving on successful relationship across all social platforms. for further inquiries, send mail to cerpvad@gmail.com |
Romance / See The Three Archetypes Of Ladies: Guys, Which One Suits You Most? by Datingtips: 6:23pm On Apr 13, 2017 |
It might interest you to know that there is a rank scale you can use in measuring a lady to discover if she is worth your time. This is called Attitude and Attraction Rank Scale. Personality rank of ladies are measured and classified according to the level they are occupying on this rank scale. Three types of ladies exist on Attitude and Attraction Rank Scale, namely: The ‘Total 10' The first or topmost level on the scale is where a “total-10” lady is found. A total 10 is attractive not for her beauty (she could be ugly but she is contented with her look) but for her combination of positive attitude, fear of God, intelligence, purpose, focus, direction, approachability (smiling, bantering, humorous, respect for others feeling etc) emotional balance, moral discipline among other values and qualities. These and other values and qualities are what she devices to negotiate social transactions either with guys she can date or the ones she only wants to be friends with. The Slay –Queen The Slay-Queen occupies the middle of the rank scale. The Slay-Queen is a lady that premises her social power on physical beauty and material possessions. If the Slay-Queen thinks she is not beautiful or attractive enough, she could attempt anything suicidal to enhance her look including going into grotesque make-up artistry or plastic surgery to enhance her physical look. But if she is born pretty and beautiful, this is her currency and she would go any length spending it to attract men. There is a slut locked up in the Slay-Queen which can only be unleashed either by the money, material wealth or a bad boy manipulation. The Slay-Queen takes relish in frivolities such as partying, clubbing, bombing the various social media platforms with her naked or half-naked pictures. She lacks focus and direction in life. The Bitch The Bitch is found at the bottom of the rank scale. The Bitch typifies ladies who are sexually unchaste, lewd, lacking in moral restraints, prostituting- trading sex in exchange for money; promiscuous and indiscriminate with sexual references, violent, vulgar, drug addicts among others. Guys, next time you go out there to approach a lady, try use this rank scale to filter her personality. 1 Like |
Romance / Re: When Is The Best Time To Ask About Your Partner's Genotype? by Datingtips: 4:51pm On Apr 13, 2017 |
It is strongly advised that you declare your genotype upfront and immediately before going into a marriage bound relationship. 1 Like 1 Share |
Dating And Meet-up Zone / Biggest Whatsapp Group For Single Ladies Living And Working In Akure by Datingtips: 12:39pm On Apr 13, 2017 |
Are you a single lady, ripe for marriage and looking for a serious and Godly relationship that would lead to marriage shortly? Don't rot and wait in silence. There are good, nice and God-fearing men out here waiting for your hand in marriage. Join this Whatsapp Group for a meet up with these good, nice and God fearing potential Life Partners. To be added to the group, email your name, phone number and profession to akuresingleladies@gmail.com No matchmaking fee is involved.Terms and conditions apply. Bitches and Slay-Queens, please stay away. Signed: Coordinator, Akure Single Ladies Network. |
Dating And Meet-up Zone / Re: Still Searching For The Right Man... by Datingtips: 11:34am On Apr 13, 2017 |
Mooryn: But you need to state your current permanent location and your Genotype. Lets chat further on whatsapp |
Literature / Re: Ola Rotimi's 79th Posthumous Birthday Is Today by Datingtips: 10:34am On Apr 13, 2017 |
See more details on Ola Rotimi. May his gentle soul continue to rest in peace. Born Olawale Gladstone Emmanuel Rotimi 13 April 1938 at Sapele, Delta State, Nigeria; Died 18 August 2000 (aged 62) Occupation: Playwright, director. head of department of creative arts at the University of Port Harcourt, Lecturer at Obafemi Awolowo University, Nigeria; has also served as visiting professor, playwright, and director in Germany and Italy, as well as at DePauw University and Wabash College. Nationality: Nigerian Ethnicity: Yoruba Period: 1938–2000 Notable works: The Gods Are Not To Blame, Ovonramwen Nogbaisi, and The Epilogue Olawale Gladstone Emmanuel Rotimi, best known as Ola Rotimi (13 April 1938 – 18 August 2000),[1] was one of Nigeria's leading playwrights and theatre directors. He has been called "a complete man of the theatre – an actor, director, choreographer and designer – who created performance spaces, influenced by traditional architectural forms."[2] Early life Rotimi was the son of Samuel Gladstone Enitan Rotimi a Yoruba steam-launch engineer (a successful director and producer of amateur theatricals)[3] and Dorcas Adolae Oruene Addo an Ijaw drama enthusiast. He was born in Sapele, Nigeria;[4] cultural diversity was a recurring theme in his work. He attended St. Cyprian's School in Port Harcourt from 1945 to 1949, St Jude's School, Lagos, from 1951 to 1952 and the Methodist Boys High School in Lagos, before travelling to the United States in 1959 to study at Boston University, where he obtained a BA in fine arts. In 1965, he married Hazel Mae Guadreau, originally from Gloucester; Hazel also studied at Boston University, where she majored in opera, voice and music education. In 1966 he obtained an MA from Yale School of Drama,[nb 1] where he earned the distinction of being a Rockefeller Foundation scholar in playwriting and dramatic literature.[nb 2] Theatrical career Rotimi often examined Nigeria's history and local traditions in his works. His first plays, To Stir the God of Iron (produced 1963) and Our Husband Has Gone Mad Again (produced 1966; published 1977), were staged at the drama schools of Boston University and Yale, respectively. Later years Upon returning to Nigeria in the 1960s, Rotimi taught at the University of Ife (now Obafemi Awolowo University), where he founded the Ori Olokun Acting Company,[5] and Port Harcourt. Owing, in part, to political conditions in Nigeria, Rotimi spent much of the 1990s living in the Caribbean and the United States, where he taught at Macalester College in St. Paul, Minnesota. In 2000 he returned to Ile-Ife where he lectured in Obafemi Awolowo University till his demise. Hazel (his wife) died in May 2000, only a couple of months before Rotimi's death. His later dramas include The Gods Are Not to Blame (produced 1968; published 1971), a retelling of Sophocles' Oedipus Rex[5] in imaginative verse; Kurunmi and the Prodigal (produced 1969; published as Kurunmi, 1971), written for the second Ife Festival of Arts; Ovonramwen Nogbaisi (produced 1971; published 1974), about the last ruler of the Benin empire; and Holding Talks (1979). Later plays, such as If: A Tragedy of the Ruled (1983) and Hopes of the Living Dead (1988), premiered at the University of Port Harcourt and was a common play in OAU Drama Department. The radio play Everyone His/Her Own Problem, was broadcast in 1987. His book African Dramatic Literature: To Be or to Become? was published in 1991. Rotimi, a patriot who shunned the attraction of the West and Europe and returned home to contribute his own quota to nation building, was a rare breed. Diminutive in size but a giant in drama in Africa, he was one of the best things that could have happened to the literary community. His dream of directing a play of 5000 cast members materialised at the Amphi Africa Theater when he was being put to rest as the crowd was drawn to a manuscript of the day's program outline. People made dramatic entry and exit to the stage around his casket with the man turning his casket. Rotimi spent the second half of his last creative decade reworking two of his plays – Man Talk, Woman Talk and also Tororo, Tororo, Roro – and the result, unpublished at the time of his death in 2002, have now been published under the title The Epilogue. The two plays were probably meant as an epilogue to both Rotimi's theatrical and comic careers, which span the entire spectrum of his career. It is comical and the language used is a version of "Nigerian English" (for example: "Se you get?" "I called God on him". The works are also a social satire and this publication will spur renewed interest in his satires. Rotimi is sure to be remembered as a model in the literary genre whose views have shaped the conduct of the theatre and whose plays have demonstrated the power of drama to shape the thinking of the society and attempted to solve some of the problems encountered in everyday living. Plays (1963) To Stir the God of Iron (1966) Our Husband Has Gone Mad Again—depicts the cocoa farmer and businessman Lejoka-Brown as a self-seeking, opportunistic leader who could make better contributions to his country outside of the political arena. (1968) The Gods Are Not To Blame—an adaptation of the Greek classic Oedipus Rex; the main character gets trapped by pride, ignorance and the caprices of the divinities. (1969) Kurunmi (1970) Holding Talks (1971) Ovonramven Nogbaisi—the title character simply luxuriates in the grandeur of his office. Although he is a custodian of culture who inspires people, he does not actively participate in their struggles. (1973) Grip Am (1973) Invitation into Madness (1977) Akassa Youmi* (1979) If: A Tragedy of the Ruled—in If, the young firebrand Hamidu is nowhere to be found when a real commitment is required. (1985) Hopes of The Living Dead—Rotimi here depicts a different kind of leader: a selfless, result-oriented, committed leadership complemented by a followership that believes in the good of the generality of its members through the application of itself to the cause that is beneficial. When the Criminals Become Judges The Epilogue: Two unpublished plays of Ola Rotimi Man Talk, Woman Talk Man Talk, Woman Talk is humorous, as quintessential comedies from the author can be. He makes use of wry humour to seek a level playing ground for resolution of the biases men and women nurse about one another and which affect mutual co-existence of the two. The scene is a court though devoid of the usual technicalities of court rooms. Instead of legal jargon, there is humour, arguments and counter arguments. What the author arrives at is not to prove which gender is superior but to show the complementary roles of men and women. There is a great deal of wit in the work and the setting here is the university environment where the youthful contenders are idealistic. Tororo, Tororo, Roro Tororo, Tororo, Roro is a coincidental meeting of two fellows from Man Talk, Woman Talk, Tunji Oginni and Philomena James. Both run Hotel Kilimanjaro with different motives and a chance meeting between them elicits lessons as both share each other’s problems. Performances First performed in Nigeria in 1968, The Gods Are Not To Blame was produced at the Arcola Theatre in Hackney, London, in 2005. Femi Elufowoju Jr had his first theatre experience in 1975, at the age of 11, when he saw a revival of this very play, performed in a reconstructed Greek amphitheatre at a university campus in Ife; and brought it to the UK shores as a British leading theatre director under the company name Tiata Fahodzi[6] His last production was a staging of Man Talk, Woman Talk at the French Institute in Lagos, Nigeria. He also produced Tororo Tororo roro, a play of the Absurd, as a convocation play. Textual sources Style For Man Talk, Woman Talk, directorial approach must have fluidity which will allow for creativity of the actors. The technicalities of the stage should be carefully applied in such a way that they will kill expected boredom associated with court scenes for if not done, the whole dramatic in the act will be flattened out. It might do the play a favour if it is given the kind of approach Ola Rotimi himself used in the directing of the premiere of the play. It is the technique that allows a kind of participatory interaction; the one that accommodates the audience contribution. Awards Rotimi was awarded two Fulbright Scholarships. Plays and literature Kurunmi[nb 3] The Gods Are Not To Blame[nb 4] Ovọnramwẹn Nọgbaisi[nb 5] Our Husband Has Gone Mad Again[nb 6] Holding Talks[nb 7] If: A Tragedy of the ruled[nb 8] Understanding "The Gods Are Not to Blame"[nb 9] Hopes of the Living Dead[nb 10] Viandanti della storia[nb 11]% African Dramatic Literature Playwriting and Directing in Nigeria The Epilogue[nb 12] Books, essays and political commentary Books A Dictionary of Nigerian Pidgin English: with an introductory survey of the history, linguistics and socio-literary functions Introduction to Nigerian literature[nb 13]% The Living Culture of Nigeria[nb 14]% A translation of the play "The Gods Are Not to Blame" into Setswana[nb 15]† Statement towards August '83-[nb 16] The Masquerade in Nigerian history and culture[nb 17]*% An interview (1975) with Ola Rotimi, Senior Research Fellow, Institute of African Studies, University of Ifẹ, Ile Ifẹ[nb 18] Diversity of Creativity in Nigeria* African Theatre in Performance% Akassa you mi Issues in African Theatre Articles "Conversation with Ola Rotimi" "How the kingfisher learned fear" "Review of: Kiabàrà: Journal of the Humanities 1" (June 1978) "Through whom the spirits breathe" "The trials of African literature" "Everyone his/her own problem" "No direction home" Archival material and ebooks Archival material Papers[nb 19]* African Papers, 1963, 1968–1989 Gbe'ku De:pièce en 1 acte ebooks Initiation into Madness Our Husband Has Gone Mad Again If Holding Talks Hopes of the Living Dead Grip Am Akassa you mi Kurunmi Ovonramwen Nogbaisi In 2015 Society of Young Nigerian Writers under the leadership of Wole Adedoyin founded Ola Rotimi Literary Society(www.olarotimiliterarysociety..com) aim at promoting and reading the works of Ola Rotimi. Source: Wikipedia The free Encyclopedia. https://en.wikipedia.org/wiki/Ola_Rotimi. Accessed Thursday 13th April, 2017. |
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