THEATRE MANAGEMENT IN DELTA STATE COUNCIL FOR ARTS AND CULTURE A CASE STUDY OF DELTA STATE COUNCIL FOR ARTS AND CULTURE
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THEATRE
MANAGEMENT IN DELTA STATE COUNCIL FOR ARTS AND CULTURE
A
CASE STUDY OF DELTA STATE COUNCIL FOR ARTS AND CULTURE
ABSTRACT
The
emphasis of this research is to reveal that theatre management in Nigeria can
be traced from the origin of Nigeria theatre. This work has been divided into
five chapters, first chapter one looks into the following: Definition of terms,
like what is theatre? Who is Manager? Geographical location of Arts and
Culture, second chapter will examine the programme literature review, such as:
the origin of Nigeria theatre, the origin of theatre manager in Nigeria. Third
chapter discusses the brief history of the Delta State Arts and Culture which
is my case study and also the relationship between the theatre manager and
Nigeria theatre, organizational form of Delta State, other department in the
council, summary. Fourth chapter brings us to the problems and prospects to the
theatre manager in Nigeria theatre. Finally is the fifth chapter, which centers
on the discussion of findings, conclusion and bibliography.
TABLE OF CONTENTS
Title
Page - - - - - - - - - - i
Certification - - - - - - - - - ii
Dedication - - - - - - - - - iii
Acknowledgement - - - - - - - - iv
Abstract - - - - - - - - - - vi
Table
of Contents - - - - - - - - vii
Research
Methodology - - - - - - - viii
Scope
and Limitation - - - - - - - ix
Justification
of Study - - - - - - - x
Introduction - - - - - - - - - xi
CHAPTER ONE
1.1
Theatre: What is Theatre?
1.2
Manager: Who is a Manager?
CHAPTER TWO: LITERATURE REVIEW
2.1 The Origin of Nigeria Theatre
2.2 The Origin of Theatre Manager in Nigeria
CHAPTER THREE: THE THEATRE MANAGER AND NIGERIA THEATRE, STUDY
OF DELTA STATE ARTS AND CULTURE
3.1 Brief History of the Delta State Arts and
Culture
3.2 Organizational form of Delta State Council
3.3 Other Department in the Council
3.4 Summary
CHAPTER FOUR
4.1 Theatre: Problems and Prospects
4.2 The Duties of a Theatre Manager at the
Different Stages of a Production
CHAPTER FIVE
5.1 Discussion and Findings
5.2 Conclusion
5.3 Recommendation for Further Research
5.4 Suggestion for Further Research
Bibliography
RESEARCH
METHODOLOGY
In order to determine the impact of a
manager in theatre management job performance, adopted the composite aspect of
communication satisfaction variables used in management by Doun et al, (1974)
cited in urban (1976:64) in their factor analytical study of communication and
management and job satisfaction of employees from heterogeneous organization in
the United States public service. To this effect communication on manager’s
performance are measured under the following references:
i.
Explanation of police in answer to
employee’s question in relation to his job.
ii.
Understanding what is expected of a
manager in the performance of this job.
iii.
Adequacy of information on those
council matters
iv.
The degree to which managers make
effort to understand feelings and problem f those under his office.
v.
The level of corporation between the
manager and his subordinates in the theatre industry.
vi.
The way of meeting written directives,
oral information, publication, departmental notice have impact on his job
performance.
vii.
The feeling of his subordinate in
carrying out instructions.
SCOPE
AND LIMITATION
The scope of this
study shall be from the origin of theatre management in Nigeria, Delta State
precisely till date. It will look into the historical origin of Delta State
Council for Arts and Culture and the role and function of post manager up till
date to enable the people know the impact of a theatre manager in the Nigeria
theatre.
JUSTIFICATION
OF THE STUDY
After all
interaction, reading and comparison on theatre management, the researcher sees
the theatre manager to be somebody with the following qualities, knowledge
ability in art with which he is concerned, an impresario, labor negotiator,
diplomat, educator, publicity and public relations expert, politician, skilled
businessman, a social sophisticate, a servant of community, a tireless leader –
becomingly humble before authority, a teacher, a tyrant and a continuing
student of the arts. In conclusion, somebody that is versatile is all it takes
to be theatre manager.
INTRODUCTION
The management of a theatre production
is a shared responsibility between the theatre manager and other staff of the
theatre. Theatre management in this context stands for the procurement
harmonization and effective utilization of the human and material resources of
the theatre to achieve some objectives. These objectives could include
entertainment, education and information of audience. It can also include
persuasion, maximization of profit, and expression of the arts in its genuine
form and the acquisition of social motivation as being behind a production.
Each engenders a lot of administrative responsibilities for the theatre staff
which can be categorized into commercial, artistic and technical staff.
The execution of management functions
involves some overlapping“. This is in the sense that some administrative staff
that by their classification should perform only commercial functions also performs
some artistic functions. The same thing applies to some artistic staff. A stage
manager, for instance, is classified into the artistic side but he supervises
backstage activities which include control of artistes backstage, the provision
of the necessary props and consumes required for the production and the
maintenance of discipline backstage. The latter is more administrative than
artistic.
The roles of a theatre manager which can
also be assumed to be his responsibilities can be stated in accordance with the
stages of production. In the pre-production stage which is quite often dominated
by research and contacts, gives the manager its first set of challenges which
includes recruitment of staff, convening production meetings where he and his
staff decide on the venue and the venue and the date of production.
Also on the pre-production stage, the manager
performs the function of selecting production materials, approve right, making
arrangement for tryout and casting and also the provision of equipment and
materials. In the rehearsal stage, the duties of the manager includes
supervision of staff which include the director, the actors, technical staff,
publicity and box office personnel’s and the supervision of the house manager.
On the performance day, the manager
plays host to top functionaries and sponsors who have been invited to the
production. He receives reports from staff and the audience and also ensures
that there is security, peace and order in the theatre.
At the post performance stage, the duties of
the theatre manger do not end with the conclusion of the performance. He
collects the production reports from various unit heads. He also endorses
letters of appreciation to sponsors, angels and the press. All these function
are not seen on display by the theatre manager in the Nigeria theatre today because
of their lack of versatility.
According to the Rocky Feller Panel,
report of 1982, a theatre manager is a person who is knowledgeable in the art
with which he is concerned, an impresario, labour negotiator, diplomat,
educator, publicity and public relations experts, politician, skilled
businessman, a social sophisticate, a servant of the community, a fireless
leader – becomingly humble before authority – a teacher a tyrant and a
continuing student of the arts, (Stephen Kingsley 1974:22).
But the managers say, it has to do
with lack of conductive theatre environment and inadequate financial support.
The work is undertaken to examine the impact of a theatre manager in Nigeria as
it affects theatre management.
It is aimed at discussing the role and
function of a theatre manager, the Delta State experience wills not only review
the way theatre is managed in Delta State presently but also the past to enable
the researcher picture the future.
CHAPTER
ONE
1.1 THEATRE: WHAT IS THEATRE?
The word theatre in most cases is
misunderstood for drama. While drama is the thing done, theatre is doing,
theatre is doing I.C. OHIRI in theatre practice and production management pg.
10 2001. The thing done can turn be described as the event while doing is an art?
This is why, in a more specific way, theatre is said to be an experience – the
ephemeral – experience that involves our personnel presence and which changes
from – moment to moment as we encounter a series of shifting impressions and
stimuli in chairman’s opinion.
i.
Theatre proceeds drama: This
historical fact has immense aesthetic importance but in our traditional modern
theatre we reverse the process. We convert or ‘translate’ drama into theatre.
This creates a confusion from which theatre criticism and theatre practice have
both suffered…. Drama is the child of the theatre. It goes to my heart that the
child should be brought up to despite its parents. (Harold Chairman 1972; ix).
The major differences between drama and theatre Lynn McGregor, Trace and Ken
Robinson (1997:19) states that:
ii.
The most obvious differences are the
idea of performance. The word “theatre” means a number of the work of the
artiest and technicians who are part of it. But the concept of “theatre” is to
do with performance. Theatre exists in performance, in communication audience.
From historical perspective, this
assertion – holds some truth but interpreted in the sense of drama being the
even and theatre the ephemeral experience gained through the event, if would be
evident that the event (drama) proceeds the impression or experience (theatre).
If has been observes that both drama and theatre involves performance but that
while drama can take place without an audience, theatre is performance designed
or planned for execution before an audience.
Theatre is an extremely complex
institution, that involves various department as in playwriting, directing,
acting, costume, make-up, scenery, lighting, properties, theatre architecture,
machinery, special effects management, audience and criticism, as well as the
relationship of the theatre to the society and culture in which it appears.
Theatre is believed originated from
the Greek “theatron” which means a place of seeing as accepted by scholars like
John Gassuers through Edwin Wilson to Richard Courtney to Ferzy and Oscar
bracket to mention but a few.
Jerzy Grotowski defined theatre as a
place where an actor recites a written text, illustrating it with series of
movements in other to make it more easily understood.
From the African perspective, Dr.
Stanly Obuh sees “theatre” as a transaction between the actor, the performer
and the audience; it has to be designed for presentation before an audience in
other for it to be theatre, (McGregor et al 1977:19).
1.2 MANAGER: WHO IS A MANAGER?
A manager according to the “Longman
Dictionary pg. 870” is someone whose job is to manage part of all company or
other organization. In its second meaning the Longman defined manager as
someone who is in charge of the business affairs of a singer, an actor etc. The
business man sees a manager as a motivator for and the head of risk bearing.
But in theatre, the manager is the head of the commercial aspect of the
theatre. In a production they relates with every staff of the theatre. His
roles include:
i.
To recruit other staff
ii.
Convening production meetings where
decisions are taken on the production materials and other issues.
iii.
To choose the production material or
script and encourage research into the chosen areas and materials – plays,
scenario, dances etc.
iv.
To secure production right if need be
v.
To secure accommodation for tryout and
casting
vi.
To supervise the rehearsals, the
designs and the presentation
vii.
To provide the materials – props,
costumes etc.
viii.
To supervise other theatres staff must
be very cordial in order to achieve the theatres or production’s goals. A good
relationship with the playwright enhances his chances of securing the production
permit or right easily.
In
summary, a theatre manager must be versatile in achieving the aim and objective
of a production or theatre. There must be reference and work cited in every
chapter – where are they/in this project? All the items are wrongly entered?
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