Comparative Analysis Of Audience Engineering

General Introduction

1.1 Background To The Study

It has, perhaps, not been realized that theatre audience anywhere in the world constitute a dominant force in the theatre hierarchy. A theatrical performance becomes “lifeless” without the breath of the audience members owing to their role of involvement. Brecht understood this and so sought for an alternative mode of dramaturgy that “instructs questions, provokes redefinitions that arouse new thought, and is, therefore, truly agitational” (54)

Indeed, it is of the nature of the theatre, during its performances, to jolt its audience from its anaesthesia and prepare them for action. Adedeji rates it thus:

The medium of theatre engages a person in a positive discovery and expression of itself… whatever feeling, meaning and spirit that is created in the theatre, is usually shared with the audience members who will have an opportunity to experience it (20).

Towards achieving this feat, this study considers two issues. The first is what constitute theatre audiences and what it is to build audiences; and the second, how far this could go in keeping them in shift formal sense as audiences in view of the fact that theatre requires audiences all the time vis-a-vis the administration of audiences who have come to the theatre to engage with new ideas while being entertained.

Being assumed that Nigerian educational theatres are capable of building audiences, however, keeping it becomes a different matter. On the other hand, the fall in theatre audiences perhaps because the theatre cannot keep or sustain it explains the long journey of lesser patronage of theatrical performances. In this connection, Nwamuo’s assertion that the theatre is a demonstration (imitation) of any action by anyone as a group of people at a particular place and moment in time, with or without makeup, costumes rehearsals or improvisation before an audience gathered for interest to share and celebrate… (40).

by its content, scope and methodologies realizes that the audience is the better half of the theatre enterprise, seeks to woo them to come “savour” the performance, know how to retain them for the future via making them comfortable, cater for their needs and ensure their safety while on the premises.

Hence, the idea of planning, organizing, directing and controlling the audience members and their interaction in order to attain the predetermined objectives of having a full house, guaranteeing satisfaction and maximum profit is influenced by engineering the audience members in a patterned way as orchestrated by the management of the theatre. This, Nwamuo considers as; the skillful instruction, the contriving and devising of a means of getting intended audience to see what they have to see, in an organized, comfortably safe and pleasurable environment so they can continue to patronize the organization’s programmes (10).

Audience engineering practice in the modern day educational theatre is highly competitive and advanced in nature. It comes with it, the “art” and “science” woven around different techniques to tackle its compelling, demanding and gruesome nature.

To this end, this study undertakes a comparative study of the University of Calabar Chinua Achebe Theatre and the University of Uyo Little Play House audience engineering approaches during their production seasons.

1.2 Statement Of The Problem

Without good and effective approaches in managing the audience that “invade” the theatre especially, in the Nigerian Universities, there is every tendency that the theatre will one day experience a “zero turn-out”. This is especially true when one considers the fact that patronage for live performances, no matter how elaborate the performance, have not been encouraging taking cognizance of other elements of entertainment prevalent in the society. This forestalls the assumption that the theatre though capable of building audiences; lacks the “grace” to keep and maintain it hence, the fall in theatre audience experienced by theatre organization.

It is however, the believe of this researcher that theatre audiences especially that of educational theatres, can be improved upon if effective audience engineering strategies are adopted.

1.3 Aim / Objectives of the Study

The purpose for this research is to explore the comparative analysis of audience engineering, how they could appeal to the audience and therefore could serve as a tool for audience motivation in the theatre practices.

This study will basically analyze the following as its objectives

Examine effective house management principles as a tool for audience motivation

To restore theatre patronage to its rightful place in the theatre practice

To expose the benefits of an efficient house management system

To identify a reason that contributes to poor house management as it relates to theatre patronage.

To provide practicable and applicable solutions to address dilapidated house management systems.

1.4 Research questions

What impact does effective house management play in motivating the audience?

What initiatives can the house manager employ for better audience motivation?

What are the perquisites that a house manager must possess for better audience motivation?

1.5 Significance of the Study

The outcome/result of this study shall be of immense interest to the administrators of the Art Council that are eager to see an improvement in the various departments of the art council especially in the area of audience patronage, and also members of the audience that would enjoy the various benefits of effective house management.

The study would reveal how effective house management principles could be used as a tool for re-engineering audience back to the theatre which is their first love.

1.6 Scope of the Study

This study is University of Calabar Chinua Achebe Theatre, and it aims at how to engineer audience for the theatre particularly with the University of Calabar Chinua Achebe Theatre.

1.7 Methodology

This research work would adopt quantitative methodology, by distributing questionnaires would be distributed to the staff of the University of Calabar Chinua Achebe Theatre, to ascertain the relevance of effective audience engineering in their theatre, this is because this theatre facility is case-study for this work. These questionnaires would be used to penetrate the quantitative data, which are available in the course of this study.

1.8 Definition of Terms

Management:

This may be defined as the function that coordinates the efforts of people to accomplish goals and objectives using available resources efficiently and effectively.

According to Uzoma Nwanaju, Management is an activity that involves tasks and through which the actualisation of organisation’s objectives are met (1).

Audience motivation:

This is the deliberate process of influencing members of the audience to anticipate in the theatrical production as witnesses, this is because they are one major element of the theatre experience, Audience engineering involves making members of the audience comfortable while in the theatre ( as a facility) while experiencing the theatre ( as a performance)

House Management:

House management can be defined as the proper administration of the theatre as the facility in the areas of maintenance, box office management and welfarism of both the theatre staff and the audience.