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THE HISTORY OF NATIONAL THEATRE

 

Table Of Contents


Chapter ONE

1.1 Introduction
1.2 Background of Study
1.3 Problem Statement
1.4 Objective of Study
1.5 Limitation of Study
1.6 Scope of Study
1.7 Significance of Study
1.8 Structure of the Research
1.9 Definition of Terms

Chapter TWO

2.1 Overview of Literature Review
2.2 Theoretical Framework
2.3 Historical Perspective
2.4 Conceptual Framework
2.5 Empirical Studies
2.6 Current Trends
2.7 Critical Analysis
2.8 Research Gaps
2.9 Methodological Approaches
2.10 Summary of Literature Review

Chapter THREE

3.1 Research Methodology Overview
3.2 Research Design
3.3 Data Collection Methods
3.4 Sampling Techniques
3.5 Data Analysis Procedures
3.6 Research Ethics
3.7 Reliability and Validity
3.8 Limitations of Methodology

Chapter FOUR

4.1 Presentation of Findings
4.2 Descriptive Statistics
4.3 Inferential Statistics
4.4 Data Visualization
4.5 Comparative Analysis
4.6 Interpretation of Results
4.7 Discussion of Findings
4.8 Implications of Results

Chapter FIVE

5.1 Conclusion and Summary
5.2 Summary of Findings
5.3 Research Contributions
5.4 Recommendations for Future Research
5.5 Practical Implications
5.6 Conclusion Statement

Thesis Abstract

The history of National Theatre is a rich tapestry woven with the threads of cultural, political, and social influences spanning centuries. This research project delves into the origins and development of national theatres around the world, focusing on key examples such as the National Theatre in London, the National Theatre of Greece, and the National Theatre of Japan. The concept of a national theatre emerged in the 18th and 19th centuries as nations sought to establish cultural institutions that reflected their unique identities and aspirations. The National Theatre in London, founded in 1963, serves as a prime example of a state-funded institution dedicated to showcasing the best of British theatre. Over the years, it has become a symbol of national pride and artistic excellence, staging classic plays, new works, and innovative productions that resonate with audiences both at home and abroad. Similarly, the National Theatre of Greece, founded in 1932, has played a vital role in promoting Greek culture and heritage through its performances of ancient tragedies, modern dramas, and experimental pieces. Despite facing challenges such as political upheaval and financial constraints, the theatre has remained a beacon of creativity and resilience, adapting to changing times while staying true to its mission of nurturing Greek theatrical talent. In contrast, the National Theatre of Japan has a history rooted in traditional performing arts such as Noh, Kabuki, and Bunraku. Established in 1966, it has been instrumental in preserving and revitalizing Japan's theatrical heritage, blending centuries-old art forms with contemporary sensibilities to engage a modern audience. Through its diverse programming and collaborations with international artists, the theatre continues to push boundaries and challenge perceptions of what constitutes national theatre in a globalized world. By examining the evolution of national theatres in different cultural contexts, this research project sheds light on the complex interplay between art, politics, and national identity. It explores how these institutions have evolved over time to reflect changing societal values, technological advancements, and artistic trends, while remaining steadfast in their commitment to serving as cultural ambassadors for their respective nations. Overall, the history of national theatre is a testament to the enduring power of the performing arts to inspire, provoke, and unite audiences across borders. As we look to the future, it is essential to recognize and celebrate the vital role that national theatres play in shaping our collective cultural landscape and fostering a deeper understanding of our shared humanity.

Thesis Overview

Theatre arose as a performance of ritual activities that did not require initiation on the part of the spectator. This similarity of early theatre to ritual is negatively attested by Aristotle, who in his Poetics defined theatre in contrast to the performances of sacred mysteries: theatre did not require the spectator to fast, drink the kykeon, or march in a procession; however theatre did resemble the sacred mysteries in the sense that it brought purification and healing to the spectator by means of a vision, the theama. The physical location of such performances was accordingly named theatron. According to the historians Oscar Brockett and Franklin Hildy, rituals typically include elements that entertain or give pleasure, such as costumes and masks as well as skilled performers. As societies grew more complex, these spectacular elements began to be acted out under non-ritualistic conditions. As this occurred, the first steps towards theatre as an autonomous activity were being taken

In Nigeria some early artifacts which were collected by K.C. Murray and some excavations which revealed the Nok, Igboukwu and Ife artifacts to mention but a few gave insight into the rich heritage of Art objects, religion and cultural practices which made the society a dynamic socio-cultural religious entity.

The ancestors of the Nigerian ethnic groups bequeathed objects especially sculptural forms in wood, metal, ivory and terracotta. According to Eze (2008) β€œThese materials were used by early sculptors using simple tools and hands to turn them into sculptural pieces.” Symbolism was the driving force which produced the art works that were used for utility, religious worship and the development of the ethnic groups.

Art, religion and the development of Nigerian ethnic group is not separated from each other. They complement each other and keep the traditional society going and alive.

Anyachonkeye (2006) states:Our people are guided by their ethos, the things they value and revere. They are firm believers in their cultural heritage the things that hold and bind them together. The norm and moral ethics cannot be extricated from their material and non-material culture-morals, religion, food habit, dialect, values system and others.

Many Nigerian traditional ethnic groups in effect practiced art and religion in order to communicate with their gods because of their belief in the human soul and spirit which are ever at work. Some of these gods were worshipped in shrines with art objects. This kept the societies intact and developed


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