DEPARTMENT OF THEATRE ARTS

The study examines the performance of Davido’s “Timeless” album on different music streaming platforms such as Spotify, Apple Music, YouTube (Music), and Boomplay. Using quantitative reviews methodology, Davido’s musical streaming performance from the first month after its launch between 31st March to 30th April, 2023 was ascertained, taking into account, stream counts, chart positions, audience behavior, and engagement levels on these platforms. Relevant information were also gathered from the respective platforms’ official equipment and reports from other tracking sites to understand how each platform contributed to making the album successful. Findings of the study is that Spotify was the highest in terms of most streams, particularly in African nations such as Nigeria and South Africa, while Apple Music performed well in locations such as the UK. Although it had fewer streams, YouTube (Music) generated excellent fan interaction in the form of comments and shares and was successful in generating buzz for the album. Boomplay also had a significant contribution to the general performance of the album. The study concludes that the success of Davido’s “Timeless” album demonstrates the importance of utilizing multiple platforms to maximize reach and engagement. The study therefore recommends that artists and music marketers should adopt a multi-platform strategy and strive to understand the specific audience demographics of each platform.

The African continent is characterized by several traditional dramatic performances. These traditional dramatic performances which help distinguish several tribes and their culture take place during periodic events like naming ceremonies, initiation ceremonies, cleansing ceremonies, marriage ceremonies, and festivals etc. Among several African countries, Nigeria happens to be one with arguably the most number of festivals annually. This is due largely to the fact that Nigeria has over three hundred indigenous tribes, all with their peculiar art and festivals. Some of these festivals are the Igue masquerade festival of Ubulubu community in Delta State, Eyo festival of the Eko people of Lagos state, Calabar carnival, Ijele masquerade festival, the Ogiesoba festival of Benin City etc. However the main focus of this project is the Igue masquerade festival of Ubulubu town in the Aniocha North local government of Delta State.

This study examines the role of political satire in contemporary Nigerian theatre through a critical analysis of Femi Osofisan’s plays Who is Afraid of Solarin? (1978) and Once Upon Four Robbers (1980). Grounded in Marxist theory and dialectical materialism, the research explores how Osofisan employs humor, wit, and satire to critique Nigeria’s sociopolitical realities, including corruption, inequality, and systemic injustice. By blending traditional African performance elements with modern theatrical techniques, Osofisan crafts narratives that reflect the complexities of postcolonial Nigeria while resonating with universal themes. The study adopts a qualitative methodology, combining textual analysis of the plays’ language, characterization, and thematic content with an examination of audience reception. A comparative analysis reveals both plays’ shared focus on exposing moral decay and political hypocrisy, though they differ in their satirical approaches. Who is Afraid of Solarin? employs Horatian satire to lampoon bureaucratic corruption, while Once Upon Four Robbers adopts a darker, Juvenalian tone to interrogate socioeconomic disparities and the cyclical nature of crime. Key findings highlight Osofisan’s success in using satire to provoke critical reflection and engage audiences in sociopolitical discourse. However, the study identifies limitations in the Marxist framework of the plays, particularly the lack of clear class struggle and the ambiguous resolution of revolutionary ideals. While Osofisan’s works advocate for social change, they often prioritize individual flaws over systemic critique, diluting their alignment with orthodox Marxist principles. This research contributes to scholarship on Nigerian theatre by elucidating the interplay between satire, politics, and cultural hybridity in Osofisan’s dramaturgy.

This paper presents a comparative analysis of traditional and contemporary Nigerian dance forms, examining their evolution, characteristics, and cultural significance. The study delves into the historical roots of traditional Nigerian dances, exploring how they have been preserved and adapted over time. Additionally, it investigates the emergence and development of contemporary Nigerian dance, highlighting its fusion of traditional elements with modern influences. Through a combination of literature review, observation, and interviews with dancers and scholars, this research aims to shed light on the similarities, differences, and transformative processes between traditional and contemporary Nigerian dance. The findings of this study contribute to a deeper understanding of Nigerian cultural heritage and its dynamic expression through dance forms, while also providing insights into the broader discourse of cultural preservation and innovation in dance.

The role of a theatre manager is pivotal in bridging the administrative and creative aspects of theatrical production. This study explores how theatre managers support the creative process by facilitating collaboration, ensuring resource allocation, and maintaining an environment conducive to artistic innovation. The research examines
key responsibilities, such as managing budgets, coordinating schedules, and liaising between creative teams and stakeholders, to highlight the ways in which these tasks contribute to the realization of artistic visions. By analyzing case studies and interviews with persons who have worked as a theatre manager and also who worked
with them in the educational theatre sector, the study identifies strategies that effective theatre managers employ to foster creativity, including proactive problem-solving, clear communication, and adaptive leadership. Additionally, the study investigates challenges theatre managers face, such as balancing financial constraints with artistic ambitions, mediating conflicts within creative teams, and navigating the unpredictability of live performances. The findings underscore the importance of a theatre manager’s ability to align organizational goals with artistic objectives, ensuring that logistical and financial considerations do not stifle creativity. This research concludes that theatre managers are not merely facilitators but active contributors to the creative process, as their leadership and support play a critical role in transforming artistic concepts into successful productions. By emphasizing the symbiotic relationship between management and artistry, the study aims to enhance understanding of the theatre manager’s role and its impact on the creative landscape of contemporary theatre.

This research examine the Challenges and Opportunities Facing Nigeria Theatre management in the 21st Century .The Nigerian theatre industry has a rich history, but in
recent years, it has faced numerous challenges that have hindered its growth and sustainability. The study utilized a survey-based approach with 50 respondents comprising theatre management students and practitioners from university of Benin. The data collection involved structured questionnaires focusing on their experiences, opinions, and observations regarding the challenges and opportunities in the Nigerian theatre industry. The finding reveals that inadequate infrastructure, financial constraints, audience engagement and lack of government support are the challenges face in the theatre industry. However, the sector is not without its opportunities. Digital transformation, collaboration and partnerships, community based theatre and youth engagement can serve as catalysts for transforming Nigerian theatre into a globally competitive industry. The study concludes that with the right investment in infrastructure, training, and digital adaptation, Nigerian theatre management can thrive in the 21st century, contributing significantly to the nation’s cultural and economic development

Advancement in technology has changed the way in which music is now produced and consumed. Over the years, the production of music has gone through several eras and these eras have had significant influences on
how music was made and consumed. From the analog era where physical instruments were needed for recording to the digital era where, virtual instruments are used to replace the need for physical instruments. Considering how recent and evolved these developments of the virtual musical softwares are, it is probable that much scholarly work has not been written on it, especially within the concepts of the engineers and producers
experiences. Hence, this work is meant to fill that gap. This research project explores the prospects and challenges associated with the adoption and integration of virtual musical instruments in recording studios in Benin City, Nigeria. Through the use of a qualitative methodology such as the interview, this study examines the impact of virtual musical instrument on the workflow, cost-efficiency, and artistic output of local recording studios. Key findings highlight the potential for virtual musical
instrument to democratize music production by providing access to a wide array of high-quality sounds and instruments at a fraction of the cost of traditional hardware. However, the research also identifies significant
challenges, including technical limitations, and resistance from traditional musicians and producers. The study concludes with recommendations for overcoming these challenges and maximizing the benefits of virtual musical
instruments in the context of Benin City's vibrant music scene.

Playwriting constitutes the discipline of developing scripts intended for theatrical
performances. This process involves the formulation of dialogues, the creation of
characters, and the instruction of stage directions to establish a cohesive narrative suitable for performance. A comprehensive grasp of various play genres and proficiency in playwriting methodologies are essential components of this craft. As noted by Leverage Edu, playwriting is fundamentally defined as "the art of writing a script for a play or drama." It encompasses more than mere dialogue; it requires a meticulously constructed plot, well-developed characterization, and the ability to formulate a compelling theme. Storytelling serves as an effective and accessible means to explore historical narratives and origins. In this regard, playwriting has proven to be an invaluable instrument for educating and entertaining audiences, particularly in works centered on divinities. To be a successful playwright entails not only understanding but also utilizing, adapting, and challenging established norms and conventions of dramatic literature. "Myths refer to narratives that have never transpired yet persistently exist." - Sallusitus, 4th Century A.D. (as cited in Carl Sagan's "Dragons of Eden"). Across various cultures worldwide, myths play a significant role in shaping understanding of life’s natural 9 processes and conveying tales of deities, supernatural entities, and the cosmos. By definition, a myth often encompasses an event or a hero, whether or not there exists a clear natural explanation, particularly in cases involving demigods that elucidate phenomena within nature. Scholarly interpretations indicate a profound correlation among religion, philosophy, and mythology. As Marshall notes, the term "myth" typically refers to fictional narratives, which have consequently acquired a somewhat negative connotation. Traditionally, it pertains to fabricated tales about deities that illustrate them exhibiting human-like behavior while wielding superhuman abilities. This usage is closely tied to narratives that may accompany and are thought to underpin various religious rituals.

There is no task without challenges. This study focuses on the challenges faced by stage managers in a theatrical production and how these challenges can be avoided or overcome to allow the smooth running of a theatrical production.

Costume and make up are very important aspect of a dramatic presentation, as it gives out the interpretative meaning of the physical appearance of a character; therefore it is highly symbolic and cannot be over emphasized. Many people have different conceptions and interpretation on costume and make up, some see it as fashion, and others as a medium of shelter, while others see it as an enhancement of the human body. In spite of this misconception and misinterpretation, the communicative ability of costume and make up still persists among Africans and non-Africans. There is a need to make right this misconception and misinterpretation to help achieve the desired cultural interpretation imbedded in the use of costume and make up. The researcher therefore, to interrogate this research problem, adopted the primary and secondary method of data analysis which includes in-depth content analysis of textbooks, relevant journals and seminar papers towards analyzing the symbolic essence, the cultural interpretation of costume and make up, using the Egba Festival of the Kokori, Delta State as a working metaphor, to
successfully give undertone meaning to costume and make up, used in the production. Furthermore the use of costume and make up will give the community cultural identification, sense of belonging and make the indigenes see and appreciate their dress sense as a communicative tool