DEPARTMENT OF THEATER ARTS

This study critically investigates the role of stage actors in bridging cultural difference using the University of Benin Theatre adaptation of Chinua Achebe’s Things Fall Apart, adapted by Effing Bassey and directed by Joan Salami, as a case study. Grounded in intercultural performance theory (Pavis), postcolonial thought (Bhabha), and performance studies (Schechner; the research interrogates how actors function as cultural mediators, transforming Achebe’s narrative of Igbo tradition and colonial disruption into embodied experiences that facilitate cultural dialogue among audiences. The background situates theatre as a cultural forum where traditions and histories are not only represented but actively negotiated. Achebe’s novel was selected because of its global significance as a text of cultural conflict and resilience, while the UNIBEN Theatre context provided a live platform for examining how Nigerian actors re-stage colonial encounters for contemporary audiences. The research employed a qualitative design, combining semi-structured interviews with the director, four actors, and three audience members, alongside live and digital performance observations. Thematic analysis was applied to the data, triangulated with secondary sources from African theatre scholarship. Findings reveal that actors extended beyond textual fidelity, engaging in what Fischer-Lichte describes as the creation of “liminal spaces where different cultural systems encounter one another in embodied form” (117). Performers reported a conscious responsibility to carry Igbo traditions on stage while rendering them intelligible to diverse audiences. Audience testimonies confirmed that actors’ emotional intensity and ritual enactments generated both cultural recognition and cross-cultural empathy. However, limitations were noted, including the underrepresentation of female agency, echoing Stratton’s critique of Achebe’s gender politics. The study concludes that actors play a pivotal role in transforming Achebe’s prose into lived cultural encounters, effectively bridging difference by embodying rituals, songs, and colonial tensions in a manner that transcends text. Recommendations emphasise enhancing actor training in cultural literacy, balancing ritual authenticity with psychological depth, and leveraging digital platforms such as YouTube to extend intercultural dialogue globally. The research contributes to theatre studies by repositioning actors as central to the politics of cultural exchange, while offering practical insights for practitioners, scholars, and policymakers committed to the role of performance in intercultural communication. Overall, the thesis underscores that in Nigerian university theatre, and specifically in the UNIBEN staging of Things Fall Apart, the actor is not only an artist but a cultural ambassador, shaping how communities perceive themselves and others across cultural divide.

This study undertakes a critical, comparative case analysis of the director’s vision as applied by two distinct student directors at the University of Benin (UNIBEN), examining its translation from theoretical concept to realised stage performance within a resource-constrained Nigerian academic setting. Drawing upon a qualitative methodology that triangulated evidence from in depth interviews, non-participant observation, and documentary analysis, the research critically assessed each directorial vision one aligned with the Interpreter Model (Director Emmanuel) and the other with the Auteur Model (Director Godstime) against a three pronged criterion: Conceptual Cohesion, Cultural and Aesthetic Relevance, and Pragmatic and Pedagogical Effectiveness. The empirical findings refute the simplistic Auteur/Interpreter binary, revealing that the efficacy of the vision is fundamentally context dependent. Director Emmanuel’s Interpreter vision, characterised by intellectual rigour and structural fidelity, achieved superior pragmatic resilience by employing low tech, high concept solutions (e.g., the symbolic dismantling of the set) that were well suited to unreliable infrastructure. However, this approach struggled with affective translation and the integration of resonant, nonverbal cultural aesthetics, leading to a diminished emotional impact. Conversely, Director Godstime’s Auteur vision, though introducing dangerous technical vulnerabilities through its reliance on precise cues, proved superior in achieving cultural resonance and pedagogical efficacy. His focus on visceral imagery and physical metaphor successfully fulfilled the Nigerian aesthetic mandate, while his commitment to "collective artistry" (Godstime Q10) fostered greater collaborative growth and actor honesty (Godstime Q9). The study concludes that a successful directorial vision in this environment must adopt a Blended Model, strategically synthesising the Interpreter’s conceptual discipline with the Auteur’s aesthetic courage. Ultimately, pedagogical efficacy and affective resonance were found to supersede pragmatic safety and structural fidelity in defining overall success within the educational theatre sphere. This research serves as a vital corrective to Eurocentric directing theory, establishing context specific criteria for directorial excellence in African academic institutions.

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.

This project explores the need for modern approaches to theatre maintenance and technical management in University of Benin Theatre. It examines the current challenges, limitations, and opportunities for improvement in theatre infrastructure and technical operations. The study advocates for the adoption of innovative technologies, sustainable practices, and effective management strategies to enhance the overall theatrical experience. Through a mixed-methods approach, combining surveys, interviews, and case studies, this research provides insights into the benefits of modernizing theatre infrastructure and technical
management. The findings of this study aim to inform stakeholders, theatre practitioners, and policymakers on the importance of investing in modern theatre facilities and technical management systems, ultimately contributing to the growth and development of theatre arts in University of Benin.

This study is an evaluation of the use of music in Omo Ghetto the Saga, with the specific objectives of examining the forms of music in the film, the dramatic essence of music in the film, the level of conformity to international best practice of music in film, and the interaction between the music and film. Content analysis was a veritable instrument in carrying out the evaluation which was qualitatively carried out in cue- by-cue terms. Findings revealed that the movie featured a hybrid score which composed of elements of both the developmental and leitmotif scores, along with specific themes associated with certain characters and situations. As a sift off from the study, it was concluded that film score can serve as a deciding factor for films that make impact to the viewing audience. Recommendations were that movie production stakeholders should take film score as a premium aspect of movie production by devoting requisite financial, and technological attention to the production process