Oghenemudiaga Praise Akpughe

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.

Nigerian theatre directors have long been known for their bright and broad spectrum of styles and approaches. In recent years, there have been an increase in the use of multimedia elements into theatrical shows, which has had a significant impact on how stories are conveyed and performances are staged. This study investigates the director's usage of multimedia elements in the Nigerian production of The Lion King. The study also examines how the multimedia elements influence the director's perspective and interpretation of the story. The study examines how multimedia elements influence audience engagement and experience with the performance. This study evaluates the use of multimedia in theatrical directing in Nigeria, analyzing how directors use technology to create immersive and creative theatrical productions. This study used observation of the performance, pictures and interview as the primary means for data collection, for analysis and interpretation. For secondary data was obtained by sourcing materials from the libraries , online , published and unpub work that are relating to the study .The study explore the integration of multimedia features, such as interactive technologies, sound effects, and LCD screens, into conventional theatrical forms, using THE LION KING. Considering the possibilities and challenges that come with using multimedia in Nigerian theatre, such as issues with accessibility, audience participation, and the preservation of customary narrative methods. This study aims to illuminate the ways in which technology is influencing theatre in Nigeria and abroad by looking at the ways in which directors are integrating multimedia into their works. .This project observes that multimedia element aid proper theatrical production that enable directors realize their artistic vision and enhance audience engagement and experience.

Nigerian theatre directors have long been known for their bright and broad spectrum of styles and approaches. In recent years, there have been an increase in the use of multimedia elements into theatrical shows, which has had a significant impact on how stories are conveyed and performances are staged. This study investigates the director's usage of multimedia elements in
the Nigerian production of The Lion King. The study also examines how the multimedia elements influence the director's perspective and interpretation of the story. The study examines how multimedia elements influence audience engagement and experience with the performance. This study evaluates the use of multimedia in theatrical directing in Nigeria, analyzing how
directors use technology to create immersive and creative theatrical productions. This study used observation of the performance, pictures and interview as the primary means for data collection, for analysis and interpretation. For secondary data was obtained by sourcing materials from the libraries , online , published and unpub work that are relating to the study .The study explore the integration of multimedia features, such as interactive technologies, sound effects, and LCD screens, into conventional theatrical forms, using THE LION KING. Considering the possibilities and challenges that come with using multimedia in Nigerian theatre, such as issues with accessibility, audience participation, and the preservation of customary narrative methods. This study aims to illuminate the ways in which technology is influencing theatre in Nigeria and abroad by looking at the ways in which directors are integrating multimedia into their works. .This project observes that multimedia element aid proper theatrical production that

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.

The actor’s profession necessitates rigorous emotional labour, defined as the management of feeling to create a convincing public display (Hochschild 17). While this task requires advanced Emotional Intelligence (EI), specifically in self-awareness and emotional regulation, theatrical pedagogy, particularly within African university systems like the University of Benin (UNIBEN), often lacks formal, structured psychological training. The traditional assumption that emotional competence is a residual outcome of technical training critically overlooks the documented psychological hazards, such as emotional spillage and boundary erosion, inherent in techniques like emotional memory (Hetzler 15). Thisacademic void poses a serious ethical and professional challenge, risking the long-term psychological integrity of student performers. This qualitative, phenomenological study sought to critically analyse the subjective, livedemotional experiences of UNIBEN student performers in relation to the four branches of theSalovey and Mayer EI ability model (189). Employing purposive sampling, the researchconducted in depth, semi structured interviews with five student actors actively engagedindepartmental productions. The data collection focused on eliciting narratives concerningemotional preparation, self control tactics, and critical evaluations of the existing curriculum. The thematic analysis prioritised the identification of communal coping strategies andsystemic pedagogical deficiencies. The study was strictly delimited to the UNIBENTheatreArts Department to ensure contextual rigour and transferability of findings to similar Africaninstitutions. The empirical data confirmed a significant imbalance in EI skill acquisition. The studentsdemonstrated highly developed interpersonal EI (social perception and empathy), relyingheavily on observation and somatic markers to achieve collaborative harmony. Performeraccounts consistently affirmed that empathy and observation were the most effective toolsforcrafting believable characters. Conversely, the findings exposed a critical deficiencyinintrapersonal EI (emotional regulation). All high level performers reported relyingonthepsychologically taxing method of deep acting, resulting in pervasive evidence of boundaryfailure. Instances of carrying character attitudes home and feeling emotionally weigheddownpost rehearsal were common, demonstrating that the aesthetic pursuit of 'truthfulness' activelycompromises psychological sustainability. Students' self reported protective measures—such as prayer, music, and simple self reminders—were deemed individualistic and criticallyinadequate, confirming the absence of institutional de roling protocols. Furthermore, thedatashowed that a high emotional facilitation skill often outpaced regulatory capacity, heightening the risk of affective overwhelm. This research concludes that the UNIBEN theatre training model is systemically incomplete, inadvertently graduating performers who are emotionally vulnerable. The curriculumsuccessfully teaches emotional access but fails entirely to teach emotional containment. Thispedagogical oversight transfers the burden of psychological safety fromthe institutiontotheindividual student, creating an unethical professional hazard. The study strongly recommendsa paradigmatic shift in UNIBEN’s training philosophy. Future pedagogy must formallyintegrate mandatory performance psychology modules, structured de roling rituals, andemotional containment exercises into the curriculum to ensure that the psychological
11resilience of the actor is defined, taught, and assessed as a core professional competency, alongside traditional voice and movement training. Keywords: Emotional Intelligence (EI), Actor’s Craft, Emotional Regulation, DeepActing, UNIBEN, Boundary Failure, Theatre Pedagogy