Thematic Reconstruction and Gender Involvement: The Case of Rere Run on the Visuals
Adagbada Olufadekemi, PhD

Abstract
The function of a literary artist is consequent upon the society he finds himself. The function of a literary artist is consequent upon the society he finds himself. His texts, apart from being read, come handy for auteurs1, as sources for visual dramatic purposes, which among several other things (of which entertainment is basic), is a reenactment, by giving life to the propaganda or protest of an author concerning a (burning) issue earlier raised, but to which meaningful attention is yet to be accorded. Rere Run (Havoc is wrecked), a written Yoruba protest play, has been adapted severally by dramatists, for stage and screen. The continuous negative portraits of the female in an extra-script intended for contemporaneous embellishments, which transpose Rere Run to The Lion of Imogun; its serialized adaptation is the concern of this paper. The paper concludes that despite the fact the Lamson Yesuf the auteur of the soup opera under study tried to give the adaptation a contemporaneous tone, he did not portray the females in the related lights of present times, though he made them more relevant numerically, if compared with what obtains in the text. Suggestions are made to the effect that (male) literary textual and film artists must essentially do away with cultural patrifocal views in their pursuits, and portray the female in positive and relative lights.

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