CHAPTER ONE
INTRODUCTION
1.1 BACKGROUND OF THE STUDY
The term “theatre” refers to a performance intended to entertain, inform, educate, or communicate. The performance might take place in a theatre, on the street, or in a market square. “As much as theatre entertains, it also has the potential to elicit reflection or action on serious topics” (Illah, 2014). However, theorists maintained that theatre flourished for such a long period of time in the hands of the bourgeois. They utilized it to oppress and coerce. This established a stratum in society that supported and participated in the tyranny of the masses, relegating theatre to the privileged few. However, with his work Tragedy and The Ordinary Man, dramatists such as Arthur Miller began to reflect the sad predicament of the common man. Augusto Boa! expanded on his notion by removing theatre from the confines of conventional stagecraft and placing it in the hands of the populace (Palms 2012). Boat’s essay is included in his work, The Oppressed Theatre. According to Ngugi Wa’ Thiongo, theatre is a weapon that should be used by the people. In reference to Africa specifically, he wrote: “If theatre is to thrive in Africa, it must be founded accurately on the lives of peasants and laborers.”
According to Nkrumah (2013), as a result, theatre has developed through time to become a vehicle for development communication. Theatre is used in what is known as Theatre for Development to aid in the process of altering outdated behaviors, attitudes, beliefs, and practices. It enables everyone to participate (participate) in an activity (solve an issue) that affects them (development) (Illah, 2014).
Thus, this research intends to examine how theatre is utilized as a vehicle for social reorientation and development, with particular reference to the joint work on voter education conducted by Youth Adolescent Reflection and Action Centre (YARAC) and Global Rights in Panyam, central Plateau. Due to the fact that the various political leaders in this country are affiliated with various political parties, it has bred division within the country along political lines (Yusuf 2014). Additionally, it aids politicians in election rigging. Global Rights/YARAC intended to address the issue of voters retaining control of their votes during elections.
1.2 STATEMENT OF THE PROBLEM
As efficient as Theatre for Development is, it has remained a tool in the hands of a few number of Non-Governmental Organizations (NGOs) and university students, owing to the fact that they are required to teach the course as a prerequisite for getting a degree in Theatre Arts. However, there are drawbacks to using this medium, including technique, insufficient money, a lack of social conscience, and a lack of an efficient monitoring and evaluation approach to ensure the sustainability of any change gained (Yusuf 2014). The purpose of this work is to analyze how the usage of Theatre for Development increased people’s awareness and enabled them to act against their political oppressors.
1.3 OBJECTIVES OF THE STUDY
The primary aim of this study is to examine the theatre as a social re-orientation tool. Specifically, other objectives of this study are:
i.         To examine whether the theatre is important to the society.
ii.       To determine the functions of theatre in the society.
iii.     To determine whether the theatre has a role to play in the development of the country.
1.4 RESEARCH QUESTIONS
The following research questions will be answered in this study:
i.         Is the theatre important to the society?
ii.       What are the functions of theatre in the society?
iii.     Does the theatre have a role to play in the development of the country?
