Andrew Ogbeide

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 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.