DEPARTMENT OF THEATRE ARTS

This study explores the managerial challenges and prospects in the university of Benin theatre.The study analyzes case studies of individuals in the managerial aspects in the theatre.The findings provide insights for theatre managers seeking to improve the prospects of their theatre.

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 thesis presents a critical analysis of directorial practice within the multicultural crucible of the University of Benin (UNIBEN), fundamentally challenging the academic notion of directing as a universally applied, objective craft. Instead, it asserts that directorial authority and aesthetic decision-making are not neutral but are profoundly and demonstrably conditioned by the director's inherited cultural epistemology. To interrogate this assertion, a qualitative comparative case study was employed, focusing on two student directors whose cultural backgrounds represent structurally opposed aesthetic and social systems: Julia Andrew (Edo), rooted in a hierarchical, spectacle-centric framework, and Chidumaga Kingsley Orakwelu (Igbo), informed by a democratic, dialogue-centric ethos. The data, subjected to Critical Thematic Analysis (CTA), unveiled a decisive cultural cleavage in ideological approach, which manifested across three critical polarities. The first polarity concerns the source of Aesthetic Authority (Command versus Consensus). Andrew's Edo-derived approach favoured Authoritative Aesthetic Intervention, relying on her personal cultural custodianship to unilaterally impose high-status ceremonial elements for visual spectacle, exemplified by her Monologic Command structure that prioritised efficiency and structural fidelity. Conversely, Orakwelu's Igbo method operated on a Dialogic Paradox: asserting necessary institutional control initially, but quickly releasing authority to the ensemble to achieve authenticity through communal validation. His Dialogic Negotiation prioritised legitimacy and collective ownership. The second critical cleavage lies in Cultural Function (Preservation versus Critique). Andrew's conservative approach used theatre to validate and affirm the prestige of inherited Edo social and aesthetic status. In stark contrast, Orakwelu leveraged the stage as a liminal space for Cultural Critique, actively demanding that the ensemble challenge and revise "what we deem fit to call culture." The study concludes that the contemporary Nigerian student director is caught in a state of ideological conflict, struggling to reconcile Western academic structures with powerful, inherited cultural models. To address this, the thesis strongly recommends that theatre pedagogy in Nigeria must be decolonised through the implementation of structured cross-cultural rehearsal protocols and a critical re-evaluation of assessment metrics to prioritise the Dialogic Value of the artistic process over conservative aesthetic outcomes.

This study investigates audience development strategies aimed at attracting and retaining diverse theatre audiences across African and Western contexts. Using a qualitative research design grounded in document analysis, ten key materials—including academic journals, organizational reports, and policy papers—were examined thematically and comparatively. The study identified four core strategies: programming diversity, digital engagement, community partnerships, and pricing innovations. Findings reveal that African theatres prioritize cultural authenticity, grassroots collaboration, and flexible affordability to ensure accessibility, while Western theatres emphasize inclusivity, technological sophistication, and structured loyalty systems. Despite differing resource capacities, both contexts share the goal of expanding participation and deepening audience relationships. The research concludes that audience development is most successful when strategies balance cultural relevance, digital adaptation, and equitable economic access. Recommendations include strengthening digital capacity, enhancing cross-cultural collaboration, and adopting hybrid models that merge African creativity with Western structural efficiency to foster sustainable audience growth globally.

This project explores gender bending in the theatre as both a creative expression and a way to question social ideas about gender and identity. It examines how actors take on roles of the opposite gender to expand the boundaries of performance. With the Use of interviews with student actors who gender bent roles in plays such as ‘The Lion King’, ‘Things Fall Apart’, and ‘What’s Wrong with Janet Peterson’, the study looks at their experiences, preparation, and audience responses. This link shows that gender bending is not entirely new but continues a long history of flexibility and not entirely recognized as gender bending in African performance culture. Guided by Judith Butler’s idea of gender bending being a continues performance, the study concludes that gender bending in theatre encourages creativity, challenges stereotypes, and helps audiences see gender as something fluid and expressive rather than fixed.

The role of the theatre director has undergone a significant transformation, evolving from an authoritarian figure to a creative collaborator who guides, inspires, and unifies the artistic team. This study, titled ‘The Director as a Collaborator: A Case Study of Two Nigerian Directors’, explored how directors function as collaborators within the creative process, using Dr. Patrick-Jude Oteh and Dr. Ovunda C. Ihunwo as case studies. The research was inspired by the growing realization that although theatre is inherently collaborative, much of the scholarly focus in Nigerian theatre studies has centered on the director and the actors often neglecting the equally vital contributions of other collaborators particularly the stage manager.
This study therefore examined how Nigerian directors establish and sustain collaboration with other theatre practitioners such as actors, designers, and stage managers. It aimed to understand how communication, teamwork, and role definition contribute to the success of a production, while also identifying the challenges and tensions that arise in the collaborative process.
Using a qualitative research method,the study employed interviews and textual analysis to explore the director's collaborative approaches . Information was obtained from both directors through structured interview sessions, supported by relevant theoretical and scholarly literature on collaboration, directing, and theatre practice.
Findings from the study revealed that both directors recognized collaboration as the heartbeat of theatre. However, they differ in approach. Dr. Patrick-Jude Oteh combines administrative discipline with creative flexibility, defining collaboration as a partnership that thrives on structure, trust, and professional communication. Dr. Ovunda C. Ihunwo, on the other hand, roots his collaborative process in textual understanding, performance authenticity, and cultural expression. The study further noted that while Oteh treats the stage manager as a core collaborator essential to production success, Ihunwo perceives the role more as an assistant director, reflecting a difference in operational philosophy. The study concluded that successful directing depends not on authority but on the ability to create a participatory environment where each collaborator feels valued and heard.

The study is centered on examining the problems and challenges of theatre management in the University of Benin Theatre and offer solutions. The study adopted a survey research method to extract the necessary information for the study; proper and organized interviews were scheduled and conducted with authorities in the institution. The instrument used for data collection are well-structured oral questions/interviews. The main conclusions of the study are as follows: educational theatre in Nigeria faces
numerous challenges that have progressively worked against its production process. Managing a university-based theatre, specifically focusing on the University of Benin, presents a fascinating study on the challenges and prospects involved. The University of Benin Theatre has issues of funding, poor infrastructure that needs to be attended to for the betterment of the department through proper handling, funding and adequate facilities.

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.