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It was an atmosphere charged with creativity, reflection and intellectual exchange as filmmakers, scholars, theatre practitioners, actors, critics and students gathered at the serene KAP Hub in Ikeja, Lagos, for the unveiling of The Chameleon Method of Acting, a new book by celebrated thespian, director and producer Olarotimi Fakunle. The event was more than a book launch; it became a meeting point for like minds committed to redefining the future of acting in Nigeria and across Africa.
The 43-page publication has already been described by industry stakeholders as a significant addition to the Nigerian acting space, a practical guide and companion for actors navigating the complexities of performance. For many in attendance, the book signals a shift towards a more localized and culturally relevant approach to acting, one that reflects the realities of African creatives rather than relying solely on Western frameworks.
At the core of Fakunle’s work is a deeply personal journey. In the book, he shares his philosophy of acting, recounting the struggles he encountered in the industry and how those challenges shaped his perspective. He presents acting as a multifaceted craft that demands not only talent but also a profound understanding of human nature, emotional depth and the power of transformation.
Fakunle introduces the concept of the actor as a “chameleon”, a metaphor for adaptability and creative fluidity. Just as a chameleon changes its colour to suit its environment, he argues that an actor must possess the ability to fully embody different characters, personas and emotional states. This transformation, he explains, is what brings stories to life and allows audiences to connect deeply with performances.
Through a thoughtful exploration of acting techniques and theories, the book examines character creation, imagination and the discipline required to achieve authenticity. Fakunle also challenges the long-standing dependence on Western acting systems, encouraging African actors to develop methods that align with their unique cultural and environmental contexts.
Explaining the symbolism behind the book’s cover, featuring a chameleon, a tiger and a bird, Fakunle noted that the human mind is capable of extraordinary transformation. According to him, an actor can take on any form or identity with the right mental conditioning and creative discipline. “The human brain can take in anything,” he said. “As an actor, you can be a tiger, you can be a bird, and like a chameleon, you can adapt.”
This philosophy resonated strongly with attendees, particularly as Fakunle emphasized the need for African creatives to take ownership of their craft. He argued that while Western methods have their value, they do not always reflect the realities of African storytelling or the working conditions within the continent’s film industries. Instead, he advocates for a system that allows actors to adapt quickly, take on multiple roles and remain economically viable in a demanding industry.
Among those who spoke at the event was renowned filmmaker and founder of the KAP Film and Television Academy, Kunle Afolayan, who hosted the launch. He described Fakunle as a disciplined and highly talented individual, recalling their first meeting and the impression Fakunle’s energy left on him. According to Afolayan, the ideas presented in the book reflect the same knowledge Fakunle has shared with students at the academy over the years. He also disclosed that The Chameleon Method of Acting would be incorporated into the institution’s curriculum, further cementing its relevance as a teaching tool.
In his keynote address, Babafemi Babatope offered a scholarly perspective on the book, describing Fakunle as an actor with remarkable depth and insight. He drew comparisons between Fakunle and Konstantin Stanislavski, the legendary figure behind one of the most influential acting systems in the world. Stanislavski’s method emphasizes emotional truth and psychological realism, encouraging actors to draw from personal experiences to create authentic performances.
Babatope noted that while Fakunle’s method reflects similar dedication to the craft, it goes a step further by incorporating the realities of African storytelling. According to him, the book explores not just technique but also empathy, transformation and the human experience. He added that Fakunle’s willingness to share personal stories from his journey in Nollywood—highlighting both successes and struggles, makes the work relatable and impactful.
Fakunle himself revealed that writing the book was one of the most challenging phases of his career. As a long-time student of Stanislavski’s system, he initially struggled to break away from established methods and create something uniquely his own. This internal conflict was compounded by the realities of the industry, where strict adherence to method acting limited his opportunities.
He recounted a period about eight years ago when acting was not financially sustainable. With few roles available and mounting responsibilities, he began questioning how African actors could survive within such constraints. This moment of doubt became a turning point.
“One day something triggered me,” he said. “I started asking myself how an African actor can adapt quickly and still take on many roles within a year.”
The answer, he explained, came from observing the chameleon. Inspired by its ability to adjust seamlessly to different environments, Fakunle developed a method that allows actors to switch between roles efficiently without compromising authenticity. He likened the process to the chameleon choosing a colour and fully inhabiting it in the moment, a principle he believes can revolutionize acting practice in Nigeria.
Veteran actor Charles Inojie also praised the initiative, noting that for decades, most acting textbooks used in Nigeria were authored by foreigners. He described Fakunle’s work as a historic contribution, emphasizing the importance of creating homegrown resources that reflect local experiences. According to him, the book demonstrates that Nigerian actors are not only excelling on screen but also contributing to academic and professional development within the industry.
The event drew an impressive array of notable figures, including Uzor Arukwe and Ibrahim Chatta, alongside theatre enthusiasts and emerging creatives eager to engage with the ideas presented.
Beyond the celebration, the launch evolved into a platform for meaningful dialogue about the future of acting in Nigeria. Conversations centered on the need for structured training, knowledge-sharing and the development of systems that reflect African identities.
With The Chameleon Method of Acting, Fakunle is not merely presenting a book; he is offering a movement, one that seeks to inspire a new generation of actors who are confident, adaptable and deeply connected to their cultural roots. For many who attended the launch, the publication represents the beginning of a new chapter in Nigeria’s ever-evolving film and theatre industry.
