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Playwriting (eBook)

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  • 201 Pages

Summary The Nigerian theatre milieu is trapped in a cobweb of strangulating strings. Little wonder, therefore, that its growth has been impaired over the years. The numerous multi-tribal thrusts in Nigeria disallow the full growth and development of theatre forms and trends. The university and other degree-awarding institutions engaged in theatre studies, have not carved out uniquely distinguishing styles that can be said to be theirs. The Nigerian theatre makers themselves are not style-driven and technique-creating. An ideal repertory of form can hardly be identified with them in a sustainable manner. The National Theatre set up as a symbol of the nation's cultural pride, now stands as a totem for the nation's creative shame; The state-owned Cultural Centre Boards are devoid of objectives in focused cultural promotions. Many graduates of the arts-prefer other creative businesses. A few die-hards are bedeviled by frustrating dilemmas as businessmen refuse to patronise theatre because they consider it a wasteful venture, while international agencies shun it because of its profit-making outlook.

Summary The Nigerian theatre milieu is trapped in a cobweb of strangulating strings. Little wonder, therefore, that its growth has been impaired over the years. The numerous multi-tribal thrusts in Nigeria disallow the full growth and development of theatre forms and trends. The university and other degree-awarding institutions engaged in theatre studies, have not carved out uniquely distinguishing styles that can be said to be theirs. The Nigerian theatre makers themselves are not style-driven and technique-creating. An ideal repertory of form can hardly be identified with them in a sustainable manner. The National Theatre set up as a symbol of the nation's cultural pride, now stands as a totem for the nation's creative shame; The state-owned Cultural Centre Boards are devoid of objectives in focused cultural promotions. Many graduates of the arts-prefer other creative businesses. A few die-hards are bedeviled by frustrating dilemmas as businessmen refuse to patronise theatre because they consider it a wasteful venture, while international agencies shun it because of its profit-making outlook.


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