Nigerian Newspapers Reportage of Theatre Performances (2014-2016).
ABSTRACT
Notwithstanding that the 21st century is an information age, dramatic stage performance is not getting all the publicity that would make it more attractive, bring attention to it, make it alluring and reposition theatre arts in the league of major entertainment events in the world.
Flipping through the pages of newspapers will prove that stage performances are not receiving the desired attention which should be a thing of worry to theatre practitioners and lovers of stage drama.
Ironically, Theatre Arts departments in different Universities in Nigeria have produced enough manpower that represents the art in the media circle.
It has therefore become a challenge for Theatre graduates who by design or otherwise are working in the mass media industry to change the tide and reposition their first profession.
The lacuna is the need for this research which shall suggest how to remedy the situation, using the experiences of the media and theatre practitioners.
TABLE OF CONTENTS
Title Page ———————————————————————————— i
Certification ——————————————————————————— ii
Approval ——————————————————————————— iii
Dedication ——————————————————————————— iv
Acknowledgments —————————————————————————- v
Abstract ————————————————————————————- vi
Table of Contents —————————————————————————– vii
CHAPTER ONE – INTRODUCTION
1.1 Background to the study ————————————————————— 1
1.2 Statement of the Research Problem ————————————————– 14
1.3 Research Questions——————————————————————— 16
1.4 Objectives of the Study—————————————————————- 16
1.5 Significance of the Study————————————————————– 17
1.6 Scope of the Study ——————————————————————— 17
1.7 Limitations of the Study————————————————————— 18
1.8 Theoretical Framework—————————————————————- 18
1.9 Methodology of the Study———————————————————— 21
1.10 Definition the Key Terms———————————————————— 22
CHAPTER TWO – REVIEW OF RELATED LITERATURE
2.1 The Print Media in Nigeria — 28
2.2 Nigerian Newspapers Reportage of Theatre Performances in the Colonial Nigeria — 31
2.3 Nigerian Newspapers Reportage of Theatre Performances in Post-Colonial Nigeria—- 35
CHAPTER THREE – DATA PRESENTATIONS/ANALYSIS
3.1 Data Presentation———————————————————————— 40
3.2 Analysis of the collective reports to indicate low media
reportage of Theatre performances ————————————————— 47
3.3 Observations—————————————————————————– 49
CHAPTER FOUR – CHALLENGES/PROSPECTS OF THEATRE MEDIA REPORTAGE
4.1 Limitations of the Media in Theatre Reportage————————————- 51
4.2 Prospects for improved media reportage of Stage performances—————– 54
4.3 Benefits of increased media reportage of Stage performances——————- 56
CAPTER FFIVE – SUMMARY, CONCLUSION AND RECOMMENDATIONS
5.1 Summary ——————————————————————————— 57
5.2 Conclusion ——————————————————————————- 58
5.3 Recommendations ———————————————————————- 59
WORKS CITED —————————————————————————– 61
INTRODUCTION
Theatre attendance in Nigeria’s economic capital, Lagos, is dwindling as “Nollywood” – the country’s prolific film industry – surges in popularity.-Elise Wicker
The above assertion captures the state of live theatre performance in contemporary Nigeria. Going by different concerns that have been expressed about professional Theatre practice,
it may be inferred that in Nigeria, stage dramatic performances are not flourishing in this century which is dominated by television reality shows, loud music concerts, soap opera and the Nigerian vogue home video.
Even the foreign soaps from India, China and the Caribbean have flooded the Nigerian homes, keeping them glued to their television sets while hardly or sparingly engaging in outdoor dramatic performances.
Professional theatre practice in Nigeria, it has been argued, in some quarters, may be going into extinction.This is unlike what obtained in the ’40s through to the early ’80s when live theatre was vibrant in many parts of the country.
As a result, Femi Osofisan while commenting on theatre practice in South West Nigeria in the past stated that:
As everyone knows, this was until quite recently, perhaps the liveliest and most ebullient in terms of theatrical activity in the whole country and was one of the most written about by scholars.
On three levels of socio- economic divide that is, among rural peasantry, the suburban proletariat and lower middle class, and the educated elite, the industry of drama was conspicuously busy and crowded.
Each medium will become less popular as others become more popular. Truly, this opinion holds, considering the success of other stage performances such as stand-up comedy and musical concerts which are, no doubt, highly patronised even today.
Theatre is not only about the people producing it, it is also about the people attending – the audience. The audience in theatre parlance is so paramount that without it, theatrical performance cannot exist.
The indispensability of the audience in theatre can best be understood when reference is made to theatre scholars who have closely examined the concept of theatre such as Oscar G. Brockett and Robert Cohen. According to Cohen,
Works Cited
Babajo, A. K. “Literature in Northern Nigeria: A comment on the Role of Small Presses.”Journal of Arts and Education 2(2) 2008: 48-54.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. John Willett(ed).
British edition. London: Methuen.USA edition. New York.1964.
The Messingkauf Dialogues. Trans. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen, 1985.
Campbell, R.C. Martin, and F. Bettina. Media and culture: An Introduction to Mass Communication. New York: Bedford/St. Martin’s Press, 2007.
Clark, Ebun. Hubert Ogunde: The Making of Nigeria Theatre. London: Oxford University Press, 1979.
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