Thesis Abstract

The history of national theatre is a rich and complex subject that spans centuries and reflects the cultural and political landscapes of various nations. This research delves into the evolution of national theatre, exploring its origins, development, and impact on society. National theatres have played a significant role in shaping national identity and fostering a sense of community among citizens. By showcasing plays that reflect the nation's history, values, and aspirations, these institutions have become symbols of cultural pride and unity. The establishment of national theatres in different countries often coincided with periods of political turmoil or the quest for independence, highlighting the close relationship between theatre and national identity. One of the earliest national theatres can be traced back to the Comédie-Française in France, founded in 1680 by Louis XIV. This institution was established to promote French drama and showcase the talents of French playwrights and actors. The Comédie-Française became a cornerstone of French cultural life and exerted a significant influence on theatre practices in Europe. In the 19th and 20th centuries, many countries established their national theatres as part of broader cultural initiatives. These institutions were often supported by the state and given a mandate to promote the nation's cultural heritage. For example, the National Theatre in London, founded in 1963, was established to produce plays of national importance and provide a platform for British playwrights and actors. National theatres have also been at the forefront of social and political change, using the power of theatre to address pressing issues and provoke public debate. In countries with restrictive political regimes, national theatres have often served as bastions of free expression and resistance. For example, the Czech National Theatre played a crucial role in the Velvet Revolution of 1989, using its platform to mobilize public support for democracy and human rights. The history of national theatre is a testament to the enduring power of theatre as a means of cultural expression and social engagement. By examining the evolution of national theatres around the world, we gain valuable insights into the ways in which theatre has shaped and reflected national identities. This research contributes to a deeper understanding of the cultural significance of national theatres and their role in promoting artistic excellence and social cohesion.

Thesis Overview

INTRODUCTION

BACKGROUND OF THE STUDY

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) “These 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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