In the African contemporary plays, feminine characters are inscribed in a complex sphere of multiple meanings, partly derived from the ancient myth of the “Big African Mother-Earth”, and partly referred to an idea of difference which is very distant from the European notion of “Other”.
In literature, a typical feminine conception has been theorised by the movement known as “Motherism”, whose suggestions have been followed by many African writers. The creation of a new literary woman’s typology refers, therefore, to philosophical, historical, sociological and psychological perspectives, showing new routes to develop the European epistemological system.
It is this emerging modern woman that Tyrone Terrence tries to recreate in his play A Husband's Wife that is currently staging by Theatre@Terra at Terra Kulture. Directed by Sola Roberts Iwaotan and produced by Wole Oguntokun the play chronicles that experience of the protagonist, Tomi who suspects her husband of infidelity and seeks to confirm her suspicions. She struggles to accommodate the fact that her husband is looking for excitement after 20 years of marriage. However, when the truth is discovered, it is much more than either husband or wife could have imagined.
A Husband’s Wife could be classified as a tragedy although it’s highly satirical. It closely resembles William Shakespeare's comedies. The play concerns itself with the inborn, unargued ‘stupidity’ of couples as they grow older leaving behind the life-affirming gaiety and resourcefulness of their youth. After years of threading their way through obstacles set up by middle aged vanity and impercipience, Tomi is on the verge of being dumped by her husband, Femi, for another woman of their daughter’s age. After moments of quietness, Tomi decides to break the norm of silence which women are known for when she confronts her husband on his infidelity.
Tomi symbolises the modern woman who has refused to be given a lower status than his husband, as it is the norm in a patriarchal society. The feud between Tomi and Femi reinforces or undermines the economic, political, social and psychological oppression of women. Femi pushes all the traditional gender roles deeply-rooted in patriarchal ideology on Tomi. And he thinks Tomi’s concentration throughout their 20 years of marriage has been her job and housekeeping. Through the play, Terrence tries to show the loopholes in a patriarchal society where culture privileges men by promoting traditional gender roles. Traditional gender roles regard men as rational, strong, protective, and decisive while it sees women as emotional (irrational), weak, nurturing and submissive. “Marriage is work,@ says Femi. “A woman did not devout time for her marriage.” Femi compares the tears of women to a ceaseless flowing river, a weapon. But Terrence creates a strong and formidable character in Tomi who refuses to be seen as the ‘other.’
“Marriage vows do not expire with age,” says Femi. “The most pathetic thing a woman can do is to hold on to a man who does not want her any more.” And so, Femi thinks his object of affection has become his object of affliction. As with most patriarchal societies, women are subjected to the pains of domestic violence which in this case takes a form of verbal abuse from both parties.
Male promiscuity is accepted to be natural, but a woman can suffer great repercussions if she is found to be unfaithful. Refusing sex or asking money from her husband (hence challenging her husband’s authority as the controller of finances) can have disastrous effects. Cultural factors place males at the head of their households, and when their position is challenged, just as when any male animal feels that his territory has been invaded, they will strike out to deter the invader. Through, Tomi’s replies to his words, Femi feels his territory has been invaded and he has a right to find solace in the bosom of a younger woman. Thus the plays shows that the traditional mindset that women are property of men does not help.
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