Minority Question in the Nigerian Governmental Process

Given the monumental friction, tension and acrimony occasioned by minority question in Nigeria’s governmental process, the paper is aimed at encapsulating the dynamics of minority question as it affects/impact the governmental process of Nigeria. It argues that minority question in Nigeria, just like other parts of the developed world, including Australia for example, reinforces itself in the culture and pervasive nature of ethnicity, defined in terms of group interest, sectional polarization, self-esteem and identification. Findings revealed that, Ethnicity is therefore considered as the epicenter of minority agitations as each of these groups struggle not in the nation’s interest, but in the interest of identifiable groups and regional hegemony for recognition and control oil resources. The paper concludes that the minority question cannot be divorce from governmental processes, because it has become a part of socio-political fabric of the Nigerian state, hence, the need for a virile federal structure that recognizes and responds positively to the interest of the minor groups is essential. The paper is a survey of literatures from existing works of scholars, generated to enhance the understanding of the subject matter under review; as such the methodology is strictly based on content secondary data.

'Producing the Scene': the Evolution of the Director in British Theatre 1900-50

The role of the director as the individual who harnesses and controls resources to shape the theatrical product to a personal artistic vision, begins to emerge in British theatre in the early years of the twentieth century. What distinguishes the role from that of the actor-manager who had led the profession since the seventeenth century, is that it separates off from the leading actor in performance. The power and authority of the director (or producer as he or she tended to be known initially) is exercised in the pre-performance stage. In the first half of the century there were still old-style actor-managers—Donald Wolfit is a prime example—and many of the new directors had begun their careers as actors and some continued to act their in their own productions. But the perception of the function of the director began to change radically. In part this was linked to the early attempts to create a new model of producing company or ‘repertory’ theatre which required a different set of administrative as well as artistic skills to tackle the challenge of a short-run system of multiple play production. This became especially important in the developing network of regional repertory theatres which were established as autonomous, locally-specific institutions predicated on policies opposed to the dominant commercial ethos. The best-known of the early directors, most notably H.Granville Barker, confined their radical experiments to short-lived metropolitan experiments, or, as in the case of Terence Gray and J.B.Fagan, operated within the influential Oxbridge nexus. Others such as H.K.Ayliff, Herbert Prentice, William Armstrong and William Bridges-Adams remain comparatively obscure because of their long-term ‘provincial’ connections or, as in the case of Nugent Monck and Edy Craig because their creativity was largely channelled through amateur actors. This chapter will explore the evolving role of the director as both a necessary functionary and an artistic innovator within the changing structures of British theatre.