Advanced Journal of Theatre and Film Studies
The Advanced Journal of Theatre and Film Studies (AJTFS) with ISSN: 2960-074X (Print) | 2960-0758 (Online) is an open-access, peer-reviewed journal that provides a platform for interdisciplinary research in the fields of theatre and film. All submissions to AJTFS undergo a rigorous double-blind peer-review process by experts in the relevant fields. AJTFS only considers and publishes original articles that are not under review or consideration by any other journal. There is NO Submission Fee, Processing Fee, or Publication Fee for AJTFS.
From screen to policy: Pre-COVID pandemic cinema, conspiracy culture, and the Muhan Project Phenomenon
This article explores the intersection of pre-COVID pandemic cinema, conspiracy culture, and their impact on public trust in health policy. Analyzing films like Contagion (2011), Outbreak (1995), Flu (2013), and 12 Monkeys (1995) through Theodor Adorno's culture industry framework and Karen Douglas's conspiracy motives, it examines how narratives of institutional betrayal, bioweapons, and misinformation primed audiences for skepticism, amplifying conspiracy theories during the COVID-19 crisis. The study investigates unverified rumors of the USAID Muhan Project and DOGE-related claims, illustrating how cinematic tropes evolve into real-world conspiracies that challenge health initiatives. By tracing the films' predictive elements and psychological appeal, the article reveals their role in shaping public distrust. It proposes policy responses, including real-time fact-checking, transparent health funding, journalist training, public engagement, and media literacy, to mitigate cinema-fueled skepticism. Ultimately, the article underscores the need to harness media's influence to rebuild institutional trust, transforming cinematic narratives from sources of suspicion into tools for informed governance.
Copyright (c) 2025 Emmanuel Boniphace Kisika https://creativecommons.org/licenses/by-sa/4.0
The Nigeria film industry and national development
The Nigerian film industry (Nollywood) has continued to receive accolades at both continental and international scenes owing to outstanding output and positive influence on sister film industries within the African continent. But despite the continued success story of Nollywood being a top contributor to the nation’s Gross Domestic Product and its consequent emergence as a film culture of international repute, the industry is yet to receive adequate attention from the government and other stakeholders. This paper, therefore, investigated the diverse angles from which Nollywood contributes to national development and the need for the industry's potentialities to be fully harnessed in the light of the various impediments to national growth and development in Nigeria. The study adopted the qualitative methodology of research. Content analysis of selected Nollywood films and interviews are approaches employed in gathering qualitative data while leaning on the Modernization Theory to interrogate the research problem. The study found that the Nigerian film industry is a potential socio-economic and cultural powerhouse that can engender significant and sustainable developments in key areas of the nation if well harnessed. The study concludes that key players in Nigeria's sociopolitical, economic, and cultural spheres should prioritize the needs of the industry so that it can attain the desired status as evinced in this paper.
Copyright (c) 2025 Ebuka Emmanuel Ilukwe https://creativecommons.org/licenses/by-sa/4.0
Internet humour beyond jokes: The perplexity of Nigeria’s educational system
Cartoons have become a powerful tool for social commentary in the 21st century, particularly in Nigeria. This new global internet sensation is a revolutionary tool in the Nigerian digital space employed in political, social, and economic criticism. This research investigates how internet humour exposes the complexities and contradictions within Nigeria’s educational system, highlighting corruption, poor funding, teacher quality, and governance issues that affect education quality and access. It admits that while humour on the internet often appears casual, it exposes a critical insight into the educational challenges and societal perceptions in Nigeria. Drawing from the Multimodal Metaphor Theory, the study analyses twenty online satirical cartoon texts. It finds that internet humour serves as a powerful outlet for releasing pent-up emotions among students, teachers, and stakeholders as well as to voice concerns, challenge narratives, and advocate for reforms. This work contributes to digital humanities and cultural studies, highlighting the importance of leveraging internet humour for critical thinking and positive change. The study concludes that internet humour is a valuable lens for understanding the perplexities of Nigeria's educational system. Beyond entertainment, such humour reflects societal critiques and calls for reform. It underscores the need to address systemic challenges to improve education quality and restore public trust. Nigerian internet comedy and cartoons offer a continual yet humorous critique of the country's educational system, providing a forum for socio-political discussion and understanding of the implications conveyed by these humorous realities.
Copyright (c) 2025 Dr. Etuwe Ruth Epochi-Olise https://creativecommons.org/licenses/by-sa/4.0
Children in Nollywood: Authenticity and naturalness of acting craft
Authentic acting is truthful and consistent, fostering an immutable connection with an audience. It presumes naturalness in the presentation, imbued with feeling, yet a performative self, playing for the camera. A child actor may be charming and cute on the camera but lacking in craft, raising the question of performance authenticity. Existing literature has revealed that contemporary acting promotes naturalness in enactments, compelling a suspension of disbelief. This study addresses the challenges impacting the quality of child performance in Nollywood, such as authenticity, naturalness, selfhood, and the talent pool. This study examined whether a child’s unaffected and immature nature could be averse to truthful theatrical depictions. Research suggests that a lack of training is one of the factors impacting authentic child-acting in Nollywood. Spontaneity theory and the Meisner acting technique form the theoretical framework and validate a child actor’s dependence on spontaneous freshness and imaginative play in role enactment. Research is exploratory and relies on qualitative data from in-depth interviews with filmmakers to analyze child-acting craft. The findings show that formal training for child actors can elevate their craft; spontaneity reinforces naturalness; and when juvenile actors wield naturalness, the performance is authentic.
Copyright (c) 2025 Belinda Ogo Nzeribe https://creativecommons.org/licenses/by-sa/4.0
What has nudity got to do with it? Interrogating the off-screen dressing of Nigerian entertainers on social media
This study examines the lewd attitude of entertainers who exhibit their nudity off-screen and the rationale for the act. Three Nigerian female celebrities whose nude photos were flaunted on Facebook were chosen and examined based on feedback from Facebook users. The study is anchored on the Cultural Norms Theory. Data were collected and analyzed using the mixed-research method. 1,625 comments on the displayed photos were analyzed, which represent 5% of all comments. The result showed that 985 (60.6%) of the comments condemned the act of the celebrities, while 384 (23.6%) applauded it. Contrary to the belief that nudity bequeaths fame, the findings indicate that attaining social status has nothing to do with parading an unclad body. Nudity, however, socially places one in a humiliating position, sullying one's dignity and status in addition to being a slight to human decency. The allowance of this attitude in society portends great danger to national values. Therefore, the parade of nudity by celebrities on social media needs to be curtailed or controlled through actions by online authorities and governments. This study, among others, recommends that the existing legislation on indecent dressing as enshrined in the Nigerian 2015 Violence Against Persons (Prohibition) Act be enforced in addition to barring indecent celebrities from exhibiting their nakedness online.
Copyright (c) 2024 Aghogho Lucky Imiti https://creativecommons.org/licenses/by-sa/4.0
Cultural revitalization through dance as a panacea for peacebuilding
This paper delves into the transformative power of cultural revitalization through dance as a potential panacea for peacebuilding efforts. It explores the role of dance in preserving cultural identity, fostering community cohesion, and promoting positive societal change. The paper aims to highlight the significance of traditional dance forms in preserving and promoting a community's cultural heritage. The research methodology involves a comprehensive review of literature, case studies, and expert opinions to provide a holistic understanding of the impact of dance on cultural revitalization and peace building. The findings underscore the profound social benefits of dance, including its ability to enhance health, mental well-being, and social connections, while serving as a catalyst for social cohesiveness and empathy. Successful case studies exemplify the effective use of traditional dances to counter cultural erosion and strengthen cultural identity. Additionally, the paper addresses the challenges faced in using dance as a tool for peacebuilding and offers potential solutions to overcome these obstacles. In conclusion, the paper emphasizes the importance of embracing dance's inherent social benefits to unlock its transformative potential in shaping a more interconnected, empathetic, and harmonious society. Based on the findings and implications of the study, it is recommended that people in society should be involved and empowered by implementing educational programs to raise awareness about the historical and cultural significance of traditional dances, investing in thorough documentation and research of traditional dance forms, and facilitating cultural exchange programs to expose communities to a variety of dance forms.
Copyright (c) 2024 Victor Boluwatife Afolaranmi, Adebayo Ola Afolaranmi https://creativecommons.org/licenses/by-sa/4.0
Grooming teachers in training for the practice of children’s theatre in a digital age
Theatre Arts is one of the many fields of study that have maintained relevance to life and living by finding relevance in other fields such as engineering, technology, psychology, sociology, medicine (therapy) education, and others. The purpose of this study is to prepare Theatre Arts student teachers-in-training, in Colleges and Universities of Education to approaches that will equip them to engage the practice of Children’s Theatre in schools. Therefore, This paper accounts for a Children’s Theatre field trip experience involving researchers and NCE Theatre Arts students in Adeniran Ogunsanya College of Education, Oto/Ijanikin. This was done by using technologically based digital gadgets as teaching methodologies for the practice of Children’s Theatre in primary schools. It adopted qualitative methods involving visits to select primary schools within Badagry Local Government Area where pupils were engaged in creative engagements and educative entertainment (Edutainment) of learners which were interactive during this period. Findings revealed that significant changes were noticed in the participatory level of learners at the end of the experiment compared to their attitude at the beginning of the study. It also pointed to the fact that digitalizing approaches to Children’s Theatre are synonymous not only with learners but also with teachers to have a paradigm shift by exploring digitalization in the classroom, especially with young learners. The study concludes that it is high time theatre arts teachers in training diversify, embrace, and provide special creative visuals that will deliver lessons to learners in distinct ways through digital technologies.
Children’s theatre, Digital age, Edutainment, Pupils, Teachers in training, Technology
Copyright (c) 2024 Nkemdirim Olubunmi Adedina, Femi Adedina https://creativecommons.org/licenses/by-sa/4.0
Digital performances and sexual objectification: Rethinking Mr. Macaroni’s concept of entertainment
Digital performances have been remarkably influenced by the convergence of arts and technology which has recorded very significant breakthrough in the world of entertainment. Performances have grown beyond traditional spaces on account of the instrumentality of the electronic and interactive nature of social media, curtsey of the ever improving and innovating wonders of the electronic and digital revolution. The emerging concern of this study revolves around the degree of sexual objectification in Nigerian digital performances; interrogating how digital performances reference women within set roles, objectify them and offer objectified generalised opinions. This study leans on feminists’ criticism and digital media theories to present a nuanced study of selected Mr. Macaroni’s performances. The study adopts qualitative content analysis to examine the selected performances. The findings of this study reveal that digital performances employ humour as a platform for conveying objectification. Interlaced beneath the entertaining frontals of these humour filled performances are deep rooted objectifying statements. A thorough analysis of these productions resolve that each fit very snugly into the Marxist approach to capitalism which is seen as a system of dominance and oppression and in this case, focused on women. The performances could be described as digitally infused capsules of objectifying aesthetics, with turgid reflexivity and selfish deconstructionist panorama.
Copyright (c) 2024 Bassey Nsa Ekpe, Nwani Treasure Okoronkwor https://creativecommons.org/licenses/by-sa/4.0
Participatory video for safer health: The Paikon Kore development communication project in perspective
The twosome of communication technologies and theatre can serve as veritable tools of development in all aspects of life if properly harnessed. Therefore, this research explores how Participatory Video provides opportunity for community orientation, contextual interactions and possibilities for shift in control of the people themselves. Using the Paikon Kore community as a microcosm, it also examined how PV can transform people in the grass root from passive participants to active participants in their own health development. This research is descriptive and it is anchored on the Transformative learning theory. It looks closely at Participatory Video (PV) and its significant roles in development communication. This research is qualitative; thus, it used Participatory Learning and Action (PLA) approach which is a Communication-Based Assessment tool that enables the researcher to select and use appropriate communication research methods and techniques, as well as how to engage people in grass root in the investigation of their realities. It revealed that PV can succeed where the popular media such as newspapers, magazines, television, radio and the internet fail mainly due to its ability to communicate “in a multi-varied way and hence can maneuver the influence of the powerful few who control public opinion. Ultimately, the hallmark of PV is geared towards a conscientization process where the voices of the beneficiaries are heard, and their views respected through the bottom-up communication approach. Therefore, this research posits that even though there is no fixed way of conducting PV, which means that method varies according to the practitioner and the community response, practitioners must always accentuate the need for democratization of communication between outsiders and the community and amplification of the voices of marginalized community members. It concludes that communication revolution has opened new opportunities for participatory communication towards actualizing the social change potentials which is the destination of every development intervention. Hence, Development practitioners must jettison any form of top-down approach to development and relinquish intervention autonomy or ownership to targeted project beneficiaries.
Copyright (c) 2024 Jimmy Akoh https://creativecommons.org/licenses/by-sa/4.0
Towards the development of a sustainable documentary film culture in Nigeria: A study of iRepresent (IREP) documentary film festival
A myriad of challenges confront the documentary film genre in Nigeria. Some of these include inadequate funding, distribution, exhibition, audience/viewer reception and issues of ideology. Despite all these, documentary filmmakers in Nigeria have kept the documentary film genre alive. In recent times, however, some committed documentary filmmakers in Nigeria have established a platform where they are advancing the cause of the documentary film genre. The iRepresent (iREP) International Documentary Film Festival provides a stage for filmmakers to engage in constant conversations to improve the art and practice of documentary filmmaking. Film festivals have become vital avenues for networking among industry players, scholars, tourists and cinema audiences worldwide. This study examines the concept and activities of the iREP International Documentary Film Festival, intending to establish how it has provided a platform for the growth and sustainability of the documentary film culture in Nigeria. Using the Documentary (Film) theory and qualitative research method via in-depth (structured and unstructured) interviews, the study articulates the views of documentary film practitioners, film scholars and organisers of the film festival to interrogate the impact of iREP on the Nigerian documentary film landscape. The study concludes that in the last 12 years, the first international documentary film festival in Nigeria has not only engendered progressive conversation about the documentary film genre in Nigeria, but has created the enabling environment for the documentary film culture to thrive, survive and become a sustainable cinematic practice like the fiction film genre.
Copyright (c) 2023 Edmund Chukwuma Onwuliri, Barth Oshionebo https://creativecommons.org/licenses/by-sa/4.0
The Nigerian image on the Nollywood screen
The Nigerian Image on the Nollywood Screen is that popular conception held of Nigerians, their institutions, and the nation through Nollywood films. Film is not only a form of art but also a tool for social Reformation, Transformation, and Decoloniality; as it expresses the feelings of humans and their ideas, seeks to liberate, make visible, and advance a distinct perception of the image of the creating society. The film of a Nation is a liberatory language for the future of the nation as it projects the identity of the nation to the world. The research examines and interrogates what image of Nigerians Nollywood projects to the world. Merton’s theory of functionalism provides a fulcrum for the work and the survey method of data collection was employed. A questionnaire was administered to 500 respondents from the East (200), West (200), and North (100) who watch Nollywood films. Nollywood films portray Nigeria in a good light in the areas of lifestyle and infrastructure, but, considered the state as a stronghold in occultic practices. The respondents perceive Nigeria’s image as developing (76.3%), technically advanced (53.2%), and as a state with rich cultural heritage (82.6%), and commended the exploration of Nigeria’s heroic past and cultural heritage (62.0%). The respondents submitted that their interest in the country’s affairs increased, the more they watched Nollywood films (50.1%), understanding of other cultures (75.1%). However, respondents perceive Nigeria as a society full of conflict (71.0%), supernatural (75.1%), and perpetrating all forms of violence (68.5%). It concludes that the image projected ties the country to the image as perceived by the Colonizers. It, therefore, recommends that Nollywood become a tool for decoloniality.
Copyright (c) 2023 Maureen Ngozika Ndu https://creativecommons.org/licenses/by-sa/4.0
Societal malfeasance as a survival strategy in Henry Leopold Belgam’s Erebie
The good, the bad, and the ugly, in the society are reflected in drama through the playwright who mirrors the society. This study examines societal malfeasances explored in Bellgam’s Erebie through contextual interpretation. Such societal malfeasances include Child Labour, Ritual Killing and Corruption. The study is hinged on the Rational Choice Theory of George Homas which states that actions of individuals in society reflect the sum of the choices made by them. It is supported by the Functionalist Theory of Emile Durkheim, also known as Structural Functional Theory which sees the society as a structure with interrelated parts, designed to meet the biological and social needs of the individual in that society. The study agrees with Durkheim that society is a complex phenomenon which must coexist as whole, with each individual striving to uphold the shared values and symbols while the Rational Theory of Homas allows an individual to make a choice that he thinks is sensible, depending on the prevalent circumstances, which will enable him to better his present condition. Conclusively, the choice of the two theories justifies the complex world we live in and the rational decisions we make believing to reap rationally from such choices. Unfortunately, such choices or decisions may not lead to the realization of our expectations. Again, actions of some of the components of the society which derail from societal norms to the detriment of such society become cogs in the wheel of progress of such society. The study recommends that people should be cautioned from indulging in societal malfeasance while government should strive to provide favourable conditions for her citizens aimed at reducing the poverty level in the country, and to encourage her citizens to abstain from the identified societal malfeasances.
Copyright (c) 2023 Emmanuel Iroh https://creativecommons.org/licenses/by-sa/4.0
Muted conspiracy: The (Mis) representation of the Dibia institution in Nollywood
The Igbo of South East Nigeria has played significant roles in Nollywood - the film industry in Nigeria. Nollywood is peopled by a fair percentage of the Igbo in sensitive positions. Hence, Nollywood films easily attempt to portray aspects of Igbo culture, tradition and worldview. Bearing this in mind, it becomes worrisome that many traditional Igbo institutions and philosophical standings are grossly misrepresented in many Nollywood as if this is a silent attempt to join the conspiracy to erode every important aspect of the African life in general and those of the Igbo in particular. One of such institutions so badly represented in Nollywood is the dibia Institution. This work looks at the image of the dibia institution in Nollywood with a view to assessing its representation in that film industry. This is approached through documentary research and content analysis of selected Nollywood films. Findings of the work show that there are gross misrepresentations of the dibia institutions in Nollywood especially in areas such as none categorization, costume/make-up, shrine depiction, application of effects, and depicting the dibia as jobless people. The dibia took care of a bulk of the needs of the Igbo people long before the coming of the colonial master and still does same for some persons. The work concludes by admonishing Nollywood filmmakers to attempt to abandon their stereotyped image of the dibia in Igbo cosmology and conduct research on the dibia institution and use the instrument of film to re-tell our stories and set records straight.
Copyright (c) 2023 Chisimdi Udoka Ihentuge https://creativecommons.org/licenses/by-sa/4.0
Towards decolonizing film distribution and exhibition practices in 21st-century Nigeria
This paper examines the need to decolonize film distribution and exhibition practices in Nigeria in the 21st century. The paper reviews the history of film exhibition and distribution in Nigeria and argues that contemporary film production and distribution processes preserve a colonial mindset that fails to recognize and implement cultural and new technological diversity. The paper discusses the implications of this colonial mindset on the film industry of Nigeria and reviews different initiatives, both established and proposed, that aim to rectify the current film practices. The primary objective of this research is to develop an understanding of how to decolonize film distribution and exhibition practices in 21st-century Nigeria. Through a political economy approach, this paper examines critical issues surrounding the calls for decolonizing film distribution and exhibition practices in the Nigerian film industry and the need for Nollywood to leverage the use of technology and the internet to unbundle neocolonial practices. This is by supporting competitive alternative networks and embracing homegrown film investments through a public-private partnership (PPP) approach. This model will create the enablement, in line with a workable film policy, to develop multi-level distribution platforms for boundary spanners and the creative industry while developing the national film culture simultaneously. The paper argues that this hybrid initiative will aid in shaking off the structural limitations imposed through colonialism, “failings and restrictions” left behind by colonial and postcolonial experiences. In conclusion, the paper proposes strategies that can be utilized to decolonize film distribution and exhibition practices in Nigeria in the 21st century.
Copyright (c) 2023 Yinka Fagbile https://creativecommons.org/licenses/by-sa/4.0
Pandemic era and theatre for development interventions: Experiences from two educational theatres in Southeast Nigeria
The magnitude of health and socio-economic challenges which the emergence of Covid-19 pandemic posed to human communities on a global scale cannot be overemphasised. It was so unprecedented a development that imperatively triggered off not just an urgent necessity for solution; but also the conscientisation of the generality of the world populace in order to properly guide people’s actions in navigating associated challenges of this inimical pandemic. Such prevailing sensitisation necessity incontrovertibly reinforced the potentiality of theatre as a highly viable, dynamic and powerful conscientisation medium in meeting the vital conscientisation need of the time. The study, therefore, is an attempt to highlight Theatre for Development (TfD) intervention experiences from two educational theatres in Southeast Nigeria in fitting into this profound ‘conscientisation’ mould within their performance environments under the period; and a further assessment of the level of impact of the evolving performances in promptly guiding the actions of their target audiences during the period. Findings actually reveal remarkable positive impacts of the evolving performances in the two educational theatre experiences in promptly guiding the actions of their target audiences during the period. This, in conclusion, essentially encapsulates theatre’s remarkable role in its propensity as a social phenomenon, which has all through the ages established itself as not just a functional; but also a veritable educational communication tool in the universality of human societies.
Copyright (c) 2023 Samuel Okoronkwo Chukwu-Okoronkwo, Uchechukwu Chimezie Ajiwe https://creativecommons.org/licenses/by-sa/4.0
African Cinema(s) and Theorizations: Arts, Scholarship & Debates
Much as the beginning of African cinema is about decolonization, one way of approaching its current structure and operations is by investigating the complex web of its new postcolonial realities. If its past can be said to ideologically focus on counteracting stereotypical (mis)presentations of Africa, its present-day scenario is witnessing a hybrid of cinematic practices, digitally engineered to speak about the continent in varied tongues: politically, nationally, commercially and otherwise. The thrust of this article is exploring different trends that have characterized the cinema(s) of Africa in past and present times in terms of artistry, scholarship and theorizations. It uses the historical analytical method to explore how old nationalist celluloid-based film industries seem to have now yielded way to a digitally revolutionized system, bringing about an avalanche of new ancillary film industries after the Nigerian Nollywood model. Thus, it argues that to the extent that cinemas across Africa have become digital and filmless presently, scholarly theorizations and debates around their praxis ought also to change in order to account for nuances shrouding their representations.
Copyright (c) 2023 Innocent Ebere Uwah, Nkechi Bature-Uzor https://creativecommons.org/licenses/by-sa/4.0
E-culture, contemporary theatre for development practice and intersection performance technique option: Radical mediamorphorsis for effective development communication
TfD is the acronym for Theatre for Development – a development practice that utilises performance as a participatory tool in awakening the consciousness of the disadvantaged in the society for real action in finding solution to their problems. The importance of TfD, therefore, as a vital Development Communication tool cannot be overemphasised. However, the demands of contemporary TfD practice in an era of electronic culture inundated with varying degrees of challenges ranging from constraints in time and distance, inadequate availability of human resources and production facilities among other socio-economic and technological challenges now transcend solo stage performances alone. Although the stage has incontrovertibly remained the ‘mother’ performance medium as evidently appropriated in TfD; change and transformation of the society has, however, necessitated the expedient digitilisation and aligning of TfD communication with the electronic media for the animator, facilitator, and practitioner to interact at a larger scale to be able to make meaningful impact through the process of mass communication. The discourse is an attempt at reinforcing the evolution of Intersection Performance TfD Theory – Intersection Performance Technique [IPT] – birthed to offer a new performance approach in TfD practice aimed at a more effective realisation of performance objectives, to make it relevant to the realities of our time. IPT, therefore, is a radicalising development communication approach which emphasises a set of techniques that utilise potentials of other genres and media apart from the stage to put the animators' message across. This technique which utilises modern technology facilities is designed to enhance TfD performances in order to effectively bring issues in performance and development communication contexts to the clarity of participating audiences; as well as facilitate the realisation of the overall goals of TfD initiatives, as a problem solving enterprise.
Copyright (c) 2023 Samuel Okoronkwo Chukwu-Okoronkwo https://creativecommons.org/licenses/by-sa/4.0
Film and security challenges in society: Sam Dede’s Phenomenal Lead role in Issakaba in focus
This paper focuses on the security challenges in society, and the potential for film to address them as evidenced by the critically acclaimed movie, Issakaba. Specifically, it explores the lead actor, Sam Dede's performance and how it influenced the audience's understanding of security threats. The paper analyses the ethical questions raised by such a film, looking at its implications in terms of our contemporary understanding of the roles of government and citizens when it comes to security. The paper, which is anchored on the cultivation theory, will also examines the state of insecurity in Nigeria, and how films can be used in addressing security challenges in society. Finally, the paper discusses the potential for the messages contained in the selected movie to have a larger cultural impact, and the implications of such messages for our global society. Thus, the paper will do a critical examination of the film, Issakaba, and its message in terms of security and its consequences. The conclusion is that Issakaba communicated a message of insecurity, and how it was addressed. It is therefore recommended that the government should adopt a ‘refined’ Issakaba Boys approach to tackle the insecurity in the country. However, when deciding to adopt the option of a vigilante force to redress the insecurity in the society, abinitio, the government should put in place measures to avert and curb misuse of power by the recruits into the outfit.
Copyright (c) 2023 Jammy Seigha Guanah, Stanley Leader, Bridget Chiedu Onochie https://creativecommons.org/licenses/by-sa/4.0
From page to stage: The director’s interpretation and picturization of a script
This paper investigates the process by which directors bring a script to life on the stage through their interpretation and picturization. The study employs a qualitative research approach to analyze the directorial decisions and creative choices made during the transformation of the script into a theatrical performance. The purpose of this study is to gain insights into the director's role in shaping the audience's experience, contribute to the field of theatre studies, and provide practical knowledge for aspiring directors and theatre practitioners. The study employed the auteur theory to underpin the discussion of the paper. The findings of this study reveal the diverse approaches employed by directors in translating a script to the stage; the importance of design elements, including set design, costumes, lighting, and sound, in shaping the visual and auditory aspects of the production as well as certain key elements of the script which the director prioritize when translating it into visual and performative elements. These include the central themes, the subject matter of the play, the characterizations, and the dramatic structure and narrative arc.
Copyright (c) 2023 Noble Jesse Glikpoe, Isaac Horsu https://creativecommons.org/licenses/by-sa/4.0
Industriya ng “P.I”: Phenomenology of cursing and bad mouthing in the Philippine film and television industry
This research was stimulated by an open letter from a bit player who raised his complaint regarding a director who verbally abused him while recording a television show. In the letter, the complainant cited the definition of culture by Geertz as the “webs of significance that man himself has spun.” With this, the researchers came up with the term “P.I.” culture (Putang Ina Culture), defined in this research as the culture of cursing, bad-mouthing, swearing, and foul and abusive language inside the Philippine film and television industry. This study aimed to describe and interpret the “P.I.” culture lived experiences of talents and production team members working in the Philippine film and television industry from 2006 to 2016. This study is essential as it can raise awareness and bring change in the practices inside the said industries and as a basis for policy-making. This quantitative descriptive and qualitative phenomenological study utilized Interpretative Phenomenological Analysis (IPA). The result of this study presents that “P.I.” culture exists, and the commonly shared experiences of the participants are a curse, conformity, and unmet expectation. This study concludes that cursing, bad-mouthing, swearing, and foul and abusive language that the people inside the industry have made themselves become a culture and that most people inside the industry experience and conform to it. The researchers recommend that future researchers may conduct other data-gathering techniques to get a more in-depth result of the lived experiences of the participants.
Interpretative Phenomenological Analysis
Copyright (c) 2023 John Arvin Glo, Almira Abejo, Bianca Kristina Domingo, Richardson Mojica https://creativecommons.org/licenses/by-sa/4.0
Scene design and stage construction: Evaluating Paul Ugbede's Our Son the Minister and Ahmed Yerima's Ameh Oboni the Great Productions
Theatre performance is not only meant to entertain, it also passes across important messages and information to the audience. The aforementioned goals of the theatre can only be realised if the mood of the production as well as its theme, historical background, locales, directorial concept and theory are properly defined and interpreted and translated visually by the designer. Symbolically, design and construction are indispensable elements of the theatre. Yet, it has been observed that there seems to be total neglect of this most auspicious aspect of theatre production by practitioners and amateurs. This aspect is most precious that if it is not given attention, the production may be meaningless. It is against this backdrop that this study aims at evaluating the essence of stage construction and design in theatrical performance. The study adopts a content analysis approach of the qualitative research methodology through the analysis of Ugbede's Our Son the Minister and Yerima's Ameh Oboni the Great productions. The findings show that scene design and stage construction are veritable areas in theatrical production. Thus, the study concludes that if attention is given to these key areas, the audience may not have any option than to come back again and again. Thus, the paper recommends among others that scene design and stage construction should be given adequate attention in the process of preparing for theatre productions.
Copyright (c) 2023 Jibril Imam Mohammed-Kabir, Musa Salifu https://creativecommons.org/licenses/by-sa/4.0