Theatre and Film Studies

Community participation is a major propeller in Theatre for Development (TFD) processes. This is given that TFD employs a collective approach to community problem identification, analysis of root causes, and creative formation of findings into performance skits to initiate discussion and social action using participatory drama. The
performance aspect of TFD exercises is thus pivotal to the entire process and as such, community participation at this aspect is a catalyst for other aspects. This paper assesses community participation in the performance stage of the 2021 Odolu TFD project and examines its implication on the post-performance stage. Using both qualitative
and quantitative designs, data is collected from Participant Observation, Key Informant Interview, and Focus Group Discussions and presented with the use of clustered bar charts, pie charts, and a line graph. Using Simple percentage, findings show that community participation in the performance aspect declined by 84% as the process progressed. Among other reasons, the decline is chiefly as a result of modifications in drama storylines, conflict with domestic activities, indisposition of community members, and inadequate use of folk media. The paper submits that there is a need for TFD practitioners to design strategies that enhance community participation as peculiar to respective communities and re-echoes the significance of harnessing available folk media towards
desired results.

This paper examines the response of youths or the rising generation, to the socioeconomic and political factors that ceaselessly widen the gap between the elite and the ordinary people, especially the youth and which tend to force the youth to resort to violence as a means of making their point or calling attention to the neglected leaders of tomorrow. While Look Back in Anger represents the anger period, a notable era in English Drama, Irobi's play in English; Nwokedi, appears to suggest that the Nigerian youth seem to grope in a more devastating condition in a post-colonial Nigeria, where poor leadership has created all manner of socioeconomic and political tension. The youthful generation in both plays embodied in the characters, Jimmy and Nwokedi, respectively violently demonstrate their resentment against the ruling class ideology and the social order it promotes. Their resolve points strongly to a revolution that a positive change may only quell. The paper submits that youths should, along with their agitations for a better society, give no holiday to developing new ideas and visions on which their ambitions will thrive. Leaders on all fronts are also cautioned to realize the destructive effects of bad leadership and avert uprisings from an angry citizenry by living up to their mandates.

We want to infer that language teachers in Nigeria resorted to digital modes of teaching language processes during the COVID-19 era as maintaining social distancing became of paramount importance and the lockdown was implemented by the government of different nations. This study is predicated on the prevalent methods and techniques employed in teaching English and German language processes in the COVID-19 era in Nigeria. The digital methods and techniques have their accompanying challenges, especially in the knowledge delivery of the two foreign languages. Data was collected by interviewing 22 students of some private universities through Focus Group Discussions (FGD 1, 2, and 3) and also using social media/online publications as well as newspapers using qualitative descriptive paradigm. The choice of students of private universities is because the governmentowned ones are on strike under the umbrella of Academic Staff Union of Universities (ASUU). The theoretical framework for this study is Ethnography of communication. The participant observation method will be adopted in the framework of analysis of this paper. By the end of this study, we would have established that though there are several techniques and methods of teaching language processes, digital modes became the new normal for language teachers as they were the most used.

Nigeria is a country endowed with lots of cultural heritages evident in its diverse cultures. These heritages, material and non-material, suffer the risk of being extinct. There is the need for these heritages, documented through films, to be documented and discussed because they provide fertile grounds to elementary institution, advanced academic exercise and source of our identity as a nation, unified in our diversity. Intangible cultural heritages are vital cohesive factors in the maintenance of cultural diversity in the face of growing globalisation. Understanding these heritages of different communities, help with intercultural dialogue, and encourages mutual respect for other ways of life. The importance of these cultural heritages lie not only in its manifestation, but in the wealth of knowledge and skills transmitted from one generation to the next. It is within this cusp that this paper examines the function of Nollywood, the Nigeria film industry, in regaining, retaining, preserving and propagating the reality of our cultural heritages that give us that Nigerian identity and uniqueness in the films. The study adopts Robert Merton's theory of Functionalism. Three Nollywood films; The Traditional Marriage Season 1 & 2, 7 Rules of Marriage Complete and Traditional Royal wedding were randomly selected based on their titles to x-ray the Igbo traditional marriage, a cultural heritage and its representation; a reality of the Igbo tradition of marriage or a display of aesthetic fantasy were critical content analysed. The paper concludes that the representation is largely fantasy.

Résumé. Il existe un lien entre le discours académique et le récit de vie personnelle
(autobiographie). Bien que des impératifs tels que le besoin d'objectivité et de formalité
du langage puissent rendre les études autobiographiques peu attrayantes, la lecture de
l'autobiographie en tant que critique littéraire est possible et mérite une attention critique.
Cet article examine les luttes introspectives des femmes et des hommes dans des
situations de mariage, en utilisant un texte de film autobiographique de Nollywood, Body
Bag. Il adopte la littérature ainsi que l'utilisation d'approches subjectives et objectives de
l'autobiographie dans son analyse.
Mots-clés : Mariage, Subjectivité autobiographique, Auto-définition, Body Bag, Lutte
de genre introspective.
Abstract. There is a connexion between academic discourse and personal life narrative
(autobiography). Although imperatives such as the need for objectivity and formality of
language may make autobiographical studies unattractive, reading autobiography as
literary criticism is possible and worthy of critical attention. This paper examines the
introspective struggles of women and men in marriage situations, using an
autobiographical Nollywood film text, Body Bag. It adopts the literary as well as the use
of subjective and objective approaches to autobiography in its analysis.
Keywords: Marriage, Autobiographical subjectivity, Self-definition, Body Bag,
Introspective gender struggle.