Building on earlier works on the African video film movement this book discusses: The Dynamics of Finance in the Nigerian Traveling Theatre; Christian Morality Plays in Nigeria; Television Docudrama as Alternative Records of History; Nigerian Tele-Drama and Propaganda; Money and Mercantilism in Nigerian Historical Plays; History of the Ori Olokun Theatre; and The Socio-Economic Construct of the Nigerian Home Video Film.

This book provides an overview of the full range of the teaching and practice of Committed Theatre and theatre of commitment in Nigeria for scholars in the arts and cultural studies. It is divided into four sections; Chapter 1: Theatre in Development Discourse, which is comprised of four papers that explore the theories of practice of theatre of commitment. Chapter 2 : Nigerian Theatre in Perspective discusses the trends, ethos of revolution, theatrical elements and communalistic/individualistic tendencies and the taboos theatre, drama and traditional theatre in Nigeria. In Chapter 3, the social, cultural and historical implications of Nigeria theatre, is examined in papers that focus on politics, theatre, and echoes of separatism in Nigeria and including an analysis of Aesthetagement of the Calabar Carnival in Nigeria. Chapter 4 performs a critical analysis of committed theatre practices from a global perspective. Interviews were conducted with committed artistes from Nigeria, Canada, Ethiopia, and Indonesia. Committed Theatre Perspectives in Teaching and Practice in Nigeria has the potential to impact the philosophy, teaching, and practice of theatre. The ideas contained in the book provide an excellent framework for understanding the importance and more importantly, the impact of theatre on society.

Bachelor Thesis from the year 2023 in the subject Theater Studies, Dance, grade: 5.0, Obafemi Awolowo University (Arts), course: Dramatic Arts, language: English, abstract: This research delves into the diverse stage management styles and practices within two distinct cultural and geographical contexts: Nigeria and the United States. Focusing on the theatrical landscapes of Obafemi Awolowo University (OAU) in Nigeria and Villanova University in the United States, the study employs Qualitative Comparative Analysis to explore the techniques employed by stage managers and their reflection of broader theatrical norms in each country. Through in-depth interviews, observations, and surveys with experienced stage managers, directors, and practitioners, the research unveils the similarities and differences in stage management practices, considering factors such as cultural influences, educational systems, funding resources, and technology integration. The study also examines the impact of globalization on stage management, highlighting how international collaborations and exchange programs shape theatrical production methods in both nations. As a valuable contribution to theatre studies, this research offers insights for practitioners, educators, and scholars navigating the dynamic interplay between tradition and innovation in stage management practices. Ultimately, the study seeks to foster a cultural exchange between Nigerian and American theatre communities, promoting mutual appreciation and encouraging the adoption of effective stage management techniques to elevate the quality of theatrical productions and cultivate a more interconnected global theatre community.

From the 1940s to the 1980s, Yoruba popular theater was one of the most spectacularly successful theaters in Africa. Today, these traveling companies have virtually disappeared, largely as a result of economic hardship and the rise of video entertainment. In The Generation of Plays, Karin Barber recounts the history of the Oyin Adejobi Theatre company. Drawing on archival sources as well as extensive interviews and transcriptions of plays, Barber uncovers the pulse points of generation, production, and improvisation that merge when a Yoruba popular drama is brought to the stage. Barber reveals the personalities of the principal actors, how plays are created (from the germ of an idea through the logistics of rehearsal and staging), how a play is made meaningful to its audience, and how a play changes and develops after several productions or according to the sensibilities of its viewers. This rich and detailed narrative illuminates notions of gender, language, politics, and self as they are expressed in a popular cultural form.