DEPARTMENT OF THEATRE ARTS

This study systematically investigates the complex problems and systemic challenges impeding the practice of costume design within Nigerian theatrical contexts, focusing primarily on university theatre programs and professional companies in Benin City, Edo State. Recognized as a vital visual language essential for establishing character identity, social status, and narrative clarity, costume design in Nigeria is fundamentally constrained by factors ranging from chronic resource limitations to inadequate professional structures. Specifically, designers operate under severe financial constraints marked by low budgetary priority, coupled with extensive infrastructural deficiencies such as the lack of dedicated, equipped costume workshops. This environment is compounded by significant educational and training gaps, where a shortage of specialized university programs perpetuates a cycle of amateurism rather than professional expertise. The research employed a mixed-methods approach, utilizing a descriptive survey design alongside document analysis of production records. Data were gathered via structured questionnaires from a purposive sample of eighty respondents, including professional theatre practitioners and students of costume design at the University of Benin. Findings overwhelmingly confirmed that costume design is a cornerstone of theatrical success, with over 85% of respondents affirming its role in enhancing aesthetic coherence and audience comprehension. However, the study also empirically validated the severity of the identified problems, revealing structural, financial, and pedagogical limitations as the core obstacles. Key interventions were proposed, with a strong consensus advocating for increased institutional funding (93%), the establishment of modern costume workshops (91%), and developing industry partnerships for material and skill exchange (90%). The conclusion posits that sustainable artistic excellence requires comprehensive systemic reform, including enhanced professionalrecognition and the development of digital archives, to elevate costume design to its rightful standing as a serious creative discipline in Nigerian theatre.Here’s a suitable Keywords section you can add to the end of you’re abstract: Keywords: Costume Design, Nigerian Theatre, University Theatre Programs, Professional Theatre, Benin City, Theatrical Production, Resource Constraints, Costume Workshop, Theatre Education, Artistic Development, Cultural Production, Systemic Challenges, Visual Aesthetics, Creative Industry Reform.

The traditional view of human tragedy which existed several centuries back in the ancient Greek religious myths was transposed not only to Western Europe but also to the African context in the literary representation of reality in tragedy. This project aims at examining the role of fate in tragedy. It is an evaluation of selected plays by two outstanding playwrights; Ola Rotimi and Wole Soyinka. The research can be used to examine how fate plays a major role in the life of man from the Yoruba point of view. It explored the universal theme of predestination and how it is emphasized in the Yoruba tradition. It also explored how oppressive political regimes, such as dictatorships can shape the fate of individuals and communities. Coming into the world in the West African Nigerian Yoruba metaphysical universe, the tragic personage holds his fate in his own hands. The gods and supernatural beings in the invisible realms claim foreknowledge of the fate which the tragic hero brings into the world, yet does not influence the fate-holder in the winding trail of life to the fulfillment of tragic fate. This research concludes that tragedy occurs as a product of the constant working of fate in the tragic hero which fulfills itself in a tragic conflict through the hero’s free-will, according to the prophecy of the gods in Ola Rotimi’s The gods are not to blame. This is more so in the Aristotelian concept of catharsis in
tragedy due to the interplay between prehistoric fate and historic fate, the latter being the product of the former.

This study investigates how social media enhances the viewership of Nollywood films, with a particular focus on the case studies of A Tribe Called Judah (2023) and Love in Every Word (2025). Drawing upon Uses and Gratifications, Social Learning, and Parasocial Interaction theories, the research traces Nigerian storytelling traditions through to the digital era, highlighting the continuity of communal engagement. Chapters One through three provided historical and theoretical context, while Chapters Four and Five examined contemporary strategies and outcomes. The qualitative and quantitative approaches were employed, analysis engagement metrics from YouTube, Instagram, and TikTok. Findings show that the YouTube trailers (A Tribe Called Judah – approximately one million, six hundred thousand views; Love in Every Word – approximately one million, two hundred thousand views), Instagram
updates (A Tribe Called Judah – one hundred and twenty thousand followers, ten thousand likes; Love in Every Word – eighty-five thousand followers, seven thousand likes), and TikTok challenges (#ATribeCalledJudah, approximately forty million views; #TribeOfJudah, approximately twenty-five million views; #LoveInEveryWord, approximately thirty-two million views) significantly boosted awareness, audience participation, and parasocial bonds with characters. The qualitative analysis were carried out on 150 students both online and printed forms. The study concludes that integrating platform-specific strategies, fostering user-generated content, and aligning campaigns with cultural themes enhance Nollywood’s digital reach. Recommendations encourage filmmakers to balance viral marketing with high- quality storytelling, while leveraging social media to recreate Nigeria’s tradition of communal narrative experiences in a digital context.

This project addresses the critical issue of effective marketing strategies to use to maximize audience engagement and attendance for theatre in Nigeria, specifically focusing on strategies that appeal to the crucial youth demographic. The study utilised a quantitative research design, employing a structured questionnaire administered to Theatre Arts students at the University of Benin (UNIBEN). This cohort was selected for their intrinsic knowledge of performance and their role as both consumers and future practitioners of the arts. Data analysis of student responses revealed key preferences and perceptions regarding theatre marketing efficacy. Findings demonstrated a significant preference for digital channels over traditional media (print, radio, or television advertising). Furthermore, students highly value interactive content, clear pricing structures, and promotional packages linked to educational or course programmes. The conclusion is that successful marketing in the Nigerian Theatre should shift from a singular pattern towards a multifaceted, data-driven, and audience-centric approach. It is recommended that Nigerian Theatre companies by implementing these strategies can harness the full potential of this marketing tool to promote their performances.

This study focuses on studying the effects of foreign films on the Nigerian culture and society. It seeks to point out majority of the ills that these films have brought upon our cultural values and the youths. The study was carried out in the University of Benin, Benin-City, Edo state, Nigeria, using the students of Ekehuan campus as a case study. The research design embraces the survey methodology. Two hundred (200) respondents were randomly selected and sampled; the questionnaire is used as the instrument of data collection. The questionnaire was administered online. Data is analyzed in simple percentages and presented in tables. Research analysis indicates that Nigerian cultural values are fast diminishing because the youths who are supposed to keep up tradition and pass them from generation to generation have been negatively influenced by these films in their lifestyles and mannerisms. It is recommended that the Nigerian film industry (Nollywood) should start creating films that portray our rich cultural values and contain positive traditional ethics and also the National Broadcasting Commission should conduct studies to assess the effectiveness and influence of foreign films on the society as a whole.

The purpose of this study is to examine how Nollywood Films can be used to promote 'Family Values'. Nigeria, as we know it is a country blessed with diverse culture. Whatever be the differences, there are societal norms and values that are generally acceptable by everyone. This study shows how Nollywood films have assumed an important role as part of every family in Nigeria. In today's society, people tend to pick up different traits from what they see in movies and it is against this backdrop, that the researcher, adopts the historical, descriptive and analytical approaches as the method of reflecting on how the video films in Nigeria affect and influence its viewers, either positively or negatively. The work has shown that most Nigerian Home Videos do not portray any traditional African values and that the movies do not safeguard traditional African values like honesty, hospitability, modesty etc. There is too much display of immorality (Nudity, prostitution etc) and other negative vices in the Home movies. To portray how Nollywood films can be used in promoting family values, a sample of three films were collected and carefully analyzed, noting relevant points as portrayed in the Films. It concludes by canvassing the government and other stakeholders in movie production to look into the potential of the Nollywood film industry in redressing contemporary social challenges and promoting cultural norms and values.

This study examines how indigenous spirituality is represented in Lancelot Oduwa Imasuen’s Invasion 1897 (2014). The film is analyzed as a historical reconstruction that uses spiritual symbols, rituals, and beliefs to portray resistance against British colonial invasion. Using a qualitative content-based approach, the research explores how scenes, dialogues, and cultural elements reveal African perspectives on justice, identity, and memory. The findings show that spirituality in the film goes beyond religion it serves as a source of power, unity, and decolonization. The study concludes that Invasion 1897 helps to preserve African history and culture by presenting indigenous spirituality as a vital part of historical truth and national identity.

This study explores the use of ritual as a tool for power and revenge in Nigerian films, focusing on Lakatabu. Nollywood, rooted in Nigeria’s cultural and spiritual realities, often portrays ritual as a means of negotiating authority and resolving conflict. Through analysis of the film’s plot and themes, the research examines how these representations mirror societal beliefs while raising ethical concerns about th filmmaker’s role. The study further highlights Nollywood’s continuity with Theatre Arts, showing how performance—on stage and screen—shapes cultural memory, morality, and identity

This study examines the importance of budgeting and financial management in the
sustainability of theatre organizations and productions, using Terra Kulture as a case study. It explores how effective budgeting and proper financial management contribute to the survival and growth of theatre organizations in Nigeria. The study adopted both qualitative and quantitative methods of data collection, including a structured questionnaire and literature review. Findings revealed that proper budgeting enhances production planning, reduces financial mismanagement, and promotes sustainability. It concludes that the success of theatre productions greatly depends on sound financial planning and management practices.

Costume design is a vital element of the theatre, where ideas are communicated through a visual narrative. Traditionally, costume has been associated primarily with character interpretation, but in contemporary practice, its expressive nature extends beyond giving a character depth. It functions as an interpretative art that breaks the boundaries of creativity, allowing even abstract ideas to be expressed visually through costume. The aim of this project is to investigate the expressive nature of costume in bringing abstract ideas to life and to examine the processes involved in designing costumes that express not only aesthetic appeal but also conceptual depth. It seeks to conduct a practical investigation of costume as a medium of non-character-based expression in innovative platforms such as exhibitions, using Becoming the Element as a case study. The research adopts a qualitative approach, employing both primary and secondary methods of data collection. The primary method involves participant observation and interviews, while the secondary method draws on relevant literature analyzed in relation to the study. Findings reveal that expressive design relies not only on technical skill but on the
designer’s ability to interpret concepts and translate them into visual form. However, designers’ expressive abilities can be limited by material constraints and inadequate resources, often leading to improvisation.