i THEATRE SPACES AND THEIR SUITABILITY FOR PRODUCTIONS: A COMPARATIVE STUDY OF THE EFUA SUTHERLAND DRAMA STUDIO AND THE NATIONAL THEATRE OF GHANA. BY OBENG GLORIA OBIYAA 10245948 A THESIS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL THEATRE ARTS DEGREE JULY, 2014 University of Ghana http://ugspace.ug.edu.gh ii DECLARATION I hereby declare that this thesis is the result of my own original research, and that no part of it has been represented elsewhere with all references duly acknowledged. ……………………….. Student Obeng Gloria Obiyaa 10245948 Date: ………………… …………………………… ……………………………. Supervisor (Principal) Supervisor (Co-supervisor) Dr. Regina Kwakye-Opong Mr. Africanus Aveh Date: ……………………… Date: ……………………….. University of Ghana http://ugspace.ug.edu.gh iii ABSTRACT This study examines the suitability or otherwise of the National Theatre of Ghana and the Efua Theodora Sutherland Drama Studio (E.T.S Drama Studio) at the University of Ghana, taking into account what these structures entail as theatre spaces for productions. This research then became significant because the researcher realised not much documentation has been done on these structures especially in terms of what each possesses and what it does not. Hence this study seeks first to fill the vacuum and to add up to existing knowledge. The study is based primarily on library materials, including books, web documents, and journal articles both electronic and print. Among these is The Legacy of Efua Sutherland: Pan-African Cultural Activism (2007). The researcher employed the qualitative research design and purposively sampled her respondents for the interviews. The data collected was analysed with various productions to establish how suitable or otherwise each space presented itself for the various kinds of productions mounted in them. University of Ghana http://ugspace.ug.edu.gh iv DEDICATION This thesis is dedicated to my dear mother Paulina Afia Sakyiwaa Danquah of blessed memory, in the celebration of her life on earth and beyond. I love you mother. I know where ever you may be, you are proud of me for this achievement. University of Ghana http://ugspace.ug.edu.gh v ACKNOWLEDGEMENT To God be the glory great things he has done in my life. Really God has been faithful. To appreciate the efforts of those who contributed in one way or the other towards the successful completion of this thesis, is to give to Caesar what belongs to Caesar. My deepest appreciation goes to my supervisor Dr. Regina Kwakye-Opong whose stringent guidance and corrections ensured that I stayed focused from the beginning of this work to the end. My sincere gratitude also goes to the Head of Department, Mr. Africanus Aveh who doubles up as my second supervisor for scrutinizing this thesis towards its objectives. Special commendation goes to Mr. Francis Gbormitah for being thorough in proofreading and making suggestions to better shape this thesis. A special thanks goes to my husband, Mr. William Kofi Yamoah Amissah, for his love, care and support throughout the entire process. I would also like to thank my father Mr. Obeng Mireku Patrick and my siblings Mireku, Acheampong, Afi, Aso, and Linda for their selfless assistance and prayers towards my education. God richly bless you Daddy. For all those who have contributed in diverse ways towards the completion of this work, especially my colleagues Shelter, John, Max, Beatrice, Tsotsoo, Bless, Martin, Phanuel, Atsu, Benedictus, Abigail, and Sena for instigating the timely submission of this work, I say my deepest regards. May the almighty God richly bless all of you and your endeavours. University of Ghana http://ugspace.ug.edu.gh vi TABLE OF CONTENT TITTLE PAGE………………………………………………………………………………………………….i DECLARATION………………………………………………………………………………………………..ii ABSTRACT……………………………………………………………………………………………………..iii DEDICATION…………………………………………………………………………………………………..iv ACKNOWLEDGEMENT……………………………………………………………………………………….v TABLE OF CONTENT……………………………………………………………………………………vi-viii CHAPTER ONE 1: 1 INTRODUCTION…………………………………………………………………………………………….1-3 1:2 BACKGROUND TO THE STUDY…………………………………………………………………………..3-7 1:2:1 THE ESTABLISHMENT OF THE EFUA THEODORA SUTHERLDAND (E.T.S) DRAMA STUDIO………………………………………………………………………………………………………….7-9 1:2:2 THE ESTABLISHMENT OF THE NATIONAL THEATRE………………………………………………9 1:2:3 MOTIVATION FOR THE STUDY………………………………………………………………………9-10 1:3 PROBLEM STATEMENT…………………………………………………………………………………11-12 1:4 OBJECTIVES OF THE STUDY…………………………………………………. ……………………….12-13 1:5 SIGNIFICANCE OF THE STUDY…………………………………………………………………………..13 1:6 RESEARCH QUESTIONS……………………………………………………………………………………13 1:7 SCOPE OF THE STUDY……………………………………………………………………………………..14 1:8 METHODOLOGY………………………………………………………………………………………….14-15 1:9 ORGANISATION OF THE THESIS…………………………………………………………………….....15-16 CHAPTER TWO LITERATURE REVIEW 2:1 INTRODUCTION…………………………………………………………………………………………17-18 2:2 HISTORY OF THEATRE SPACES……………………………………………………………………….......18 University of Ghana http://ugspace.ug.edu.gh vii 2:2:2 TYPES OF THEATRE STAGES……………………………………………………………………………18 2:2:3 THE PROSCENIUM STAGE…………………………………………………………………………….19-21 2:2:4 THE ARENA STAGE…………………………………………………………………………………….21-24 2:3 THE GHANA DRAMA STUDIO, NATIONAL THEATRE, AND E.T.S DRAMA STUDIO IN RETROSPECT.................................................................................................................................. ...................24-39 2:4 PERCEPTIONS OF THEORISTS ON THEATRE SPACES…………………………………..………….39-49 2:5 THEATRE SPACE AND ITS BASIC EQUIPMENT…………………………………………………….49-54 CHAPTER THREE METHODOLOGY 3:1 INTRODUCTION………………………………………………………………………………………..........56 3:2 RESEARCH DESIGN………………………………………………………………………………………57-58 3:3 LIBRARY RESEARCH……………………………………………………………………………….........58-59 3:4 POPULATION OF THE STUDY…………………………………………………………………………..59-60 3:5 SAMPLING OF POPULATION……………………………………………………………………………60-62 3:6 DATA COLLECTION INSTRUMENTS…………………………………………………………………..62-67 3:7 TYPES OF DATA…………………………………………………………………………………………..67-68 3:8 ADMINISTRATION OF INSTRUMENT………………………………………………………..…………...68 3:9 DATA COLLECTION PROCEDURES………………………………………………………………………69 3:10 DATA ANALYSIS PLAN……………………………………………………………………………...........69 CHAPTER FOUR PRESENTATION OF DATA AND ANALYSIS 4:1 INTRODUCTION…………………………………………………………………………………………..70-71 4:2 THE NATIONAL THEATRE…………………………………………………………………………………71 4:2:1 THE MANAGEMENT OF THE NATIONAL THEATRE ……………………………………………..72-73 University of Ghana http://ugspace.ug.edu.gh viii 4:2:1:1 OVERVIEW OF THE NATIONAL THEATRE STRUCTURE …………………………………..73-76 4:2:3 ARTISTIC VIEWS ON THE NATIONAL THEATRE STRUCTURE………………………………76-78 4:2:3:1 OVERVIEWS OF THE NATIONAL THEATRE STAGES AND AUDITORIUM…………………78-79 4:2:4 TECHNICAL ISSUES AT THE NATIONAL THEATRE……………………………………………..79-81 4:3 THE E.T.S DRAMA STUDIO……………………………………………………………………………......82 4:3:1 THE MANAGEMENT OF THE E.T.S DRAMA STUDIO……………………………………………..82-84 4:3:1:1 OVERVIEW OF THE E.T.S DRAMA STUDIO STRUCTURE ……………………………………..84-86 4:3:2.ARTISTIC VIEWS ON THE E.T.S DRAMA STUDIO……………………………………………….86-88 4:3:2:1 OVERVIEWS OF THE E.T.S DRAMA STUDIO STAGES AND AUDITORIUM………………….88-89 4:3:3 TECHNICAL ISSUES ON THE E.T.S DRAMA STUDIO…………………………………………….89-91 4:4 COMPARATIVE STUDY OF THE NATIONAL THEATRE AND THE E.T.S DRAMA STUDIO STRUCTURES: BUKOM, IT RUNS IN THE FAMILY, AND OTHER PRODUCTIONS………………..91-106 CHAPTER FIVE SUMMARY, CONCLUSION, AND RECOMMENDATIONS. 5:1 INTRODUCTION…………………………………………………………………….....................................107 5:2 SUMMARY…………………………………………………………………………………..…………..107-108 5:4 CONCLUSION ………………………………………………………………………………………… 108-111 5:3 RECOMMENDATIONS……………………………………………………………………..………….111-112 WORK CITED REFERENCES……………………………………………………………………………………………….113-116 APPENDICES APPENDIX A: INTERVIEW GUIDE….........................................................................................................117-120 PHOTO GALLERY……………………………………………………………………………………….121-134 University of Ghana http://ugspace.ug.edu.gh 1 CHAPTER ONE 1: 1 INTRODUCTION Within the study of dramatic theatre, space is one area which is inevitably necessary. No theatrical performance has been able to do without a performance space. As Wilson (1998) 1 rightly puts it, “[t]he theatre experience does not occur in visual vacuum.” All forms of theatre available in the academia such as Applied Theatre, Creative Theatre, Technical Theatre and others have in one way or the other depended on space to enact their performances or productions. Locally in the Ghanaian setting, one realizes that, even the local storytelling session also has peculiar places where audiences gather to listen to the storyteller as he or she tells the story. Theatre has been around since people first gathered together to listen to others tell a story in open places. The two parties shared the responsibility of audience and players. Although modern theatre may be more formal; whereby trained actors provide the action and audience supplying the reactions, the idea of sharing energy between live actors and live audience have ever since remained the same. Now the biggest difference one could ever notice are the buildings where theatre takes place. Theatre buildings have evolved from the open-air Amphi-Theater of the ancient Greeks and Romans to the incredible edifices we see today. 2 In Ghana it has evolved from the courtyards, town squares, and under trees to the conventional theatre spaces we see in the country presently of which the National Theatre of Ghana and the E.T.S Drama Studio are examples. The scale of many productions depends on the size of the theatre space, its stage, setup, availability of equipment, the type of performance, and the number of audience expected, 1 Wilson, Edwin. The Theatre Experience (7 th ed.). New York: McGraw-Hill. 1998. p.355. 2 www.theatreproject.com/files/pdf/Resources_Ideasinto_typesandformsofttheatre.ddf. University of Ghana http://ugspace.ug.edu.gh http://www.theatreproject.com/files/pdf/Resources_Ideasinto_typesandformsofttheatre.ddf 2 with each variable influencing the other. Consequently, in totality the artistic and technical benefits of any theatre space should always be considered before a successful dramatic production can be mounted. A successful theatre for live audience supports the educational, psychological and emotional exchange between the performer and the audience as well as among members of the audience, 3 and where will this phenomenon take place? Obviously within a theatre space. Consequently, theatre spaces (conventional) have become an essential feature in the study of dramatic theatre. In recent times the growth of theatre studies has become immense in many countries and Ghana is no exception. As a result, almost all the government Universities in the country offer theatre arts courses as part of their curriculum. Again many private Universities in Ghana are considering getting accreditation to run theatre art courses of which Methodist University has been the pioneer, accredited to the University of Cape Coast 4 . Further, with the emergence of many private production houses such as Roverman Production, Globe Production, H2P Crew, Theatre Cannons, Vision Theatre Company and many others, the researcher is of the view that, it is very important for us as theatre practitioners to have and also know the appropriate habitat conducive enough to hold theatrical performances. The study therefore seeks to research into two very important theatre facilities that have contributed greatly to the development of theatre education in Ghana. They are the National Theatre of Ghana and the Efua Theodora Sutherland Drama Studio (E.T.S. Drama Studio) of the School of Performing Arts, University of Ghana. The researcher seeks to do a comparative study of these two spaces as to how suitable or otherwise each is for productions. In other words, how best have productions been managed within these theatre spaces, taking into account their stages, capacity, nature, equipment, and auditorium. The 3 www.theatreproject.com/files/pdf/Resources_Ideasinto_typesandformsofttheatre.ddf. 4 Prof. Martin Owusu, member of the visiting panel: National Accreditation Board. University of Ghana http://ugspace.ug.edu.gh http://www.theatreproject.com/files/pdf/Resources_Ideasinto_typesandformsofttheatre.ddf 3 study will further evaluate the two buildings with two productions staged in both spaces as well as five others which were staged in either of the spaces to establish how suitable or otherwise each will be in handling productions. This chapter therefore presents the background to the study, the problem statement, objectives of the study, significance of the study, research questions, scope of the study, methodology, and the organization of the thesis. 1:2 BACKGROUND TO THE STUDY The background to the study touches on the following: first, it defines some key terms within the topic of the study; secondly, it discusses the establishment of both theatre spaces, and lastly, the motivation for doing this research. The New International Websters Comprehensive Dictionary of the English Language, Encyclopedic Edition (2004) 5 defines production as “the act or process of producing: involving creating”. The Oxford Thesaurus of English (2009) 6 further explains that, for the aspect of producing, it can be in a form of a performance: staging; play, drama, film, concert, musicals, and shows. Based on the above explanations the study can deduce that there are many types of productions in the field of theatre but the focus of this research is on stage productions of plays and drama. The perception one gets from reading, a play has never been the same as opposed to the individual watching a production on stage. Brockett (1984) 7 asserts that, “in reading only two elements are involved: the written word and the readers’ capacity to understand and envision what is conveyed through the written word”. However, a production involves several elements. 5 The New International Webster’s Comprehensive Dictionary of the English Language, Encyclopedic Edition. Naples Florida: Trident Press International. 2004 6 The Oxford Thesaurus of English 1. (ed.). Mourice Waite. Oxford: Oxford University Press. 2007. 7 Oscar, Brockett. The Theatre An Introduction. 4 th ed. New York: CBS College. 1976. pp. 61-62. University of Ghana http://ugspace.ug.edu.gh 4 This is because a production brings together a lot of elements in order to create a meaningful performance. For Brockett, “a live performance translates the written word into speech and gives concreteness to movement, setting, costume, atmosphere, and all else that must be imagined”. For all these to be applicable, the performance (production) needs space to collaborate these entire elements to create an artistic piece. The study therefore agrees with Russell Brown (1997) 8 when he posits that “a good theatre production is made by many talented individual working creatively and together.” This suggests that the director, costumier, set designer, sound designer, producer, cast, and the light designer collectively play very important role in making the production a success. Finally since the production needs to be performed to exhibit its creative and artistic capabilities, the acting area always continues to be one variable which will affect productions. The study therefore considers many of these elements in arriving at how suitable or otherwise the theatre spaces are with regard to productions. According to The New International Websters Comprehensive Dictionary of the English Language, Encyclopedic Edition, something is said to be “suitable” when it is, “capable of suiting; appropriate; applicable; or proper.” 9 This means that in order for something to be referred to as suitable, it must be able to fit correctly whatever it is meant for or it should be applicable or appropriate to the situation at hand. This position also dovetails well with the Word Web Online Dictionary’s definition of “suitability” which states that; “The quality of having the properties that are right for a specific purpose” 10 . This further explains the standardization of something that has its features accurate for a particular purpose. In a nutshell, the researcher posits that, something is said to be suitable when it has been raised up 8 John, R. Brown. What is Theatre? An Introduction and Exploration. Boston: Focal Press. 1997. p.129. 9 The New International Webster’s Comprehensive Dictionary of the English Language, Encyclopedic Edition. Naples Florida: Trident Press International. 2004. 10 “Word web Info.” 2013, 01-11-2013. http://wordweb.info/free/ University of Ghana http://ugspace.ug.edu.gh http://wordweb.info/free/ 5 to its task. Therefore a theatre space can be said to be suitable if it meets the requirements for the purpose for which it was built. The Word Web Online Dictionary again defines “comparative” as “Relating to or based on or involving comparison” 11 . This is a clear case of evaluation of two things that share something in common. In linguistics, the word “comparative” is a syntactic construction that serves to express a comparison between two or more entities or groups of entities in quality, quantity, or degree. 12 This means that one can compare two or more entities which share some common features. In the case of this research the comparison here stems out of the fact that, these two facilities are theatre spaces and they all hold theatrical productions. Also the spaces have contributed to the development of theatre education in Ghana. More importantly the Act that established the National Theatre (Ghana National Theatre Act 1991[PNDCL 259] Section 2) mandated it to help in the promotion and development of the performing arts in the Republic. 13 The E.T.S Drama Studio as part of the School of Performing Arts being educationally oriented is also mandated to train performing arts students to be practically equipped in order to educate the general populace through the performances. Consequently the researcher can conclude that both theatre spaces are serving the same purpose but at different environments. Again the study has noted that, they are indispensable to each other. To some extent, they need each other for sustenance. Thus, while the National Theatre needs fully trained personnel to function as an entity, students and graduates from the School of Performing Arts also need the National Theatre to work and also experiment on a 11 “Word web. Info.” 2013, 01-11-2013. http://wordweb.info/free/ 12 “Comparative” online Wikipedia the free encyclopaedia, 12-06-2013, 02-11-2013. http://en.wikipedia.org/wiki/comparative 13 “Ghana National Theatre Act” Ghana Legal Online, 22-06-2013, 12-02-14, http://ghanalegal.com/?id=3&law=517&t=ghana-laws University of Ghana http://ugspace.ug.edu.gh http://wordweb.info/free/ http://en.wikipedia.org/wiki/comparative http://ghanalegal.com/?id=3&law=517&t=ghana-laws 6 bigger platform. Therefore, if comparison can be done between two entities which share some common features, then the researcher wishes to compare the two theatre spaces based on the above reasons. The researcher wishes to point out at this juncture that, the ‘comparative study’ as used here concentrates on just comparing the two structures based on productions to point out the capabilities each space possess or otherwise. By suitability, the study explains that, it is the quality of having the properties that are right for their specific purposes to be achieved. However, do the two spaces have the right properties structurally needed for their specific purposes? These are what the study seeks to inquire. The term “theatre space” according to Balm (2008), 14 [r]efers to the architectural conditions of theatre, and encompasses performances and spectator space […]. The term ‘theatrical space’ is in itself a site of terminological contestation because the word ‘theatre’ implies […] (both etymologically and historically) a building or, at least a fixed area. Carlson (1993) 15 also defines the term as; “a permanently or temporarily created ludic space, a ground for the encounter of spectator and performer.” Again, Bellman (1977) 16 calls it the ‘Theatre Plant’ and mentions that, [l]iterary, the physical theatre is the building in which theatre production takes place; it is a piece of architecture. This edifice may be a valuable piece of real estate, a matter of civic pride, a center of community activity…but most important, it is the structure for the production of art works, i.e., play. All the three definitions talks about a permanently constructed building for theatre productions, which are specifically designed for such purposes. Carlson, however, inculcates the temporal kind of theatre space; here the acting area does not become a permanent place. 14 Christopher, Balm. The Cambridge Introduction to Theatre Studies. Cambridge: Cambridge University Press, 2008. P. 48-49. 15 Marvin, Carlson. Theories of the Theatre: A Historical and Critical Survey from the Greek to the Present. (2 nd and expanded ed.). New York: Cornell University Press, 1993. P. 8. 16 William F. Bellman, Scenography and Stage Technology an Introduction. New York: Thomas Y Crowell Company, 1977. P. 51. University of Ghana http://ugspace.ug.edu.gh 7 This is called Created and Found Space; here the show takes place in an unconventional type of spaces which most often are not meant for such purposes originally. It could be a street, market, stadia, barn, and many others. These types of performance spaces are normally common in Theatre For Development (TFDs) and Drama in Education productions, which occasionally happen within the communities or schools where the theme, message, or subject matter of the production is of utmost interest to the target audience. The acting space then becomes temporal which accommodate lots of improvisation in the building of set and the audience area. It is essential to point out that, the study recognizes the unconventional types of theatre spaces as unique in its own way. However, the focus of this research has to do with the conventional type of theatre space such as the Efua Theodora Sutherland Drama Studio and the National Theater of Ghana which are permanently built for theatrical purposes. 1:2:1 THE ESTABLISHMENT OF THE EFUA THEODORA SUTHERLDAND (E.T.S) DRAMA STUDIO The University of Ghana, Legon, has two facilities where theatre performances take place: the Amphi-Theatre at the Commonwealth Hall and the E.T.S Drama Studio. The E.T.S Drama Studio is at the School of Performing Arts and it was named after Efua Theodora Sutherland (1924-1996), a dramatist who was also referred to as the “mother of Ghanaian theatre movement”. She was one of the pioneers of theatre activities in Ghana. It has always been said of her that, she had the desire to have a studio with a shape like a huge traditional stool with a sitting capacity of about 500 people. Sutherland had this desire fulfilled by building a studio with the help of a Danish building firm, Greelack and Gilles. The Drama Studio, as it was called then, was later opened by Osagyefo Kwame Nkrumah, the then President of Ghana, in October 1961, and it was located where the present National Theatre is situated. On the 25th October 1963, President Kwame Nkrumah opened the Institute of University of Ghana http://ugspace.ug.edu.gh 8 African Studies (IAS) at the University of Ghana, Legon, charging it to do the very things Efua Theodora Sutherland was championing; that is, promoting history, cultural institutions, language and arts of Ghana and Africa. Manuh and Sutherland-Addy (2013) 17 posit that, to achieve these goals, a School of Music and Drama was set up within the Institute of African Studies. In May 1963, Efua Theodora Sutherland was invited to join the staff and she became a Research Associate of the Institute. According to Anyidoho, (2001) 18 her appointment to the Institute brought transfer of ownership of the Drama Studio to the University of Ghana, so that it could be used as an extension of the School of Music and Drama, now known as School of Performing Arts. However, in 1989, the Government of Ghana through the National Commission of Culture decided to pull down the Drama Studio to pave way for a new multi-purpose National Theatre. This was done under the Chairmanship of Mohammed Ben Abdullah in 1990. Gibbs (2012) 19 further states that, a consensus was reached that a replica of the Ghana Drama Studio be built at its present site, and was named Efua Theodora Sutherland Drama Studio. The Studio as a unit is designed for Research, Workshops and Performances by the three main disciplines of the School of Performing Arts: Music, Dance and Theatre Arts. The architecture incorporated Western and African arts, accordingly it is a multi-functional studio, with a Proscenium Stage, the Arena (Theatre-in-the-Round) which is more recognized and used in the African setting, as well as the End Stage. The exterior design has a symbolic stool at the front of the Studio literary meaning “welcome” or ´Akwaaba` in Akan. Another feature which makes the Studio one of a kind in Ghana is its 17 Manuh, T. & Sutherland-Addy, E. Africa In Contemporary Perspective: A Textbook for Undergraduate Students. Accra: Sub Saharan Publishers, 2013. Pp. vi-x. 18 Kofi, Anyidoho. “Dr. Efua Sutherland A Biographical Sketch.” James Gibbs & Kofi Anyidoho (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.79. 19 James, Gibbs. “History of Theatre in Ghana.” Helen Lauer & Kofi Anyidoho (eds.). In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p. 1350. University of Ghana http://ugspace.ug.edu.gh 9 open air auditorium. In terms of capacity, the Studio takes maximum of four hundred audiences 20 . 1:2:2 THE ESTABLISHMENT OF THE NATIONAL THEATRE The National Theatre is located in the Victoria Borg district of Accra, Ghana. It has a building area of 11,896, square metres, and it is situated near the junction of the Independence Avenue and Liberia Road, right in the heart of Accra. It was officially opened on the 30 th of December 1992. The Theatre was born out of a technical co-operation agreement signed on September 18, 1985 in Beijing between the Governments of the Republic of Ghana and the People's Republic of China. The latter provided the funding for the construction of the National Theatre. The elegant and imposing National Theatre has a complicated construction moulding and novel exterior features. When looked at from a distance, the whole structure looks like a gigantic ship or a seagull spreading its wings. (See fig 1) The National Theatre houses three resident companies, namely, the National Dance Company, the National Symphony Orchestra, and the National Theatre Players (Abibigromma). 21 1:2:3 MOTIVATION FOR THE STUDY The motivation and basis of this research is in two folds; first, the researcher would want to point out that, these two theatre spaces have gone a long way to help the creative industry by mounting artistic programmes such as stage productions, art exhibitions, and many others. However, it seems that, there has not been enough documentation on these two theatre spaces with regards to their exact configuration as a structure, technical equipment, artistic benefit, and how it is managed. 20 www.ug.edu.gh/index1.php?linkid=939 21 ghana-net.com/national-theatre-of-ghana---accra University of Ghana http://ugspace.ug.edu.gh http://en.wikipedia.org/wiki/Victoriaborg,_Accra http://en.wikipedia.org/wiki/Accra http://en.wikipedia.org/wiki/Ghana http://www.ug.edu.gh/index1.php?linkid=939 10 Secondly, in 1991 when the E.T.S Drama Studio was built, the total number of students in the School of Performing Arts was 37. 22 Currently the School holds about 1,743 students offering Bachelor of Fine Arts courses in the three disciplines of the School. Within this number, 93 are foreign students from various countries across the world. There are also other students on the Bachelor of Arts programme who offer courses in one or two of the three disciplines mentioned above. 23 This confirms that, there are quite a number of students pursuing courses within the School at the moment. However, all the three disciplines within the School depends on the E.T.S Drama Studio to hold major productions because it is the most ‘appropriate’ space and the only Studio the School has which can hold quite a number of audience (400) and handle the productions artistically and technically. Consequently all the three departments within the School heavily depend on this space. Considering its four hundred maximum capacity; the growing population of students within the School; theatre fans both within and beyond the University, it is only natural that one would expect that the Studio would have gone through some form of ‘growth’ since its establishment twenty three years ago (1991-2014). The School has been in existence for fifty two (1962-2014) years and the Studio has been part of the School twenty three years. You will agree with me that it is quite a milestone and ideally this growth should have affected certain structures of the School of which the E.T.S Drama Studio should not be an exception. Just like other courses within the University which are experimentally oriented, have their structures in place to receive the growing population of its students and courses, so should the E.T.S Drama Studio which serves as an experimental structure for the School of Performing Arts have. Though some renovations have taken place before as confirmed by Martin Okyere Owusu 24 and John Djesenu, 25 the studio since 1992 has not gone through any major 22 Public Affairs Directorate, University of Ghana. 23 (Document from the Assistant Registrars’ office, School of Performing Arts ) 24 A professor at the School of Performing Arts. University of Ghana http://ugspace.ug.edu.gh 11 refurbishment on its stage, auditorium, and front of house despite the growing population of students and expansion of the Schools’ curriculum. Students still change flats manually during productions as they use to do twenty three years ago. Electrical wires on the stage are still exposed; no proper security system has been installed, no permanent in-built sound and light equipment, just to mention a few. On the other hand, even though the National Theatre is structurally equipped with its basic stage gadgets in-place, it is also faced with inadequate stage lighting and sound equipment challenges after twenty three years (1991-2014) of its existence. It is the inadequacy of this ‘growth’ and the minimal documentation on these spaces that has informed the study on the E.T.S Drama Studio as a training facility and the National Theatre; a civil service business oriented performance space. The researcher believes that, the two spaces depend on each other for human resource so it is appropriate on her part to research into their ‘growth’ in terms of their suitability, which can be a contributing factor of their sustenance or otherwise. 1:3 PROBLEM STATEMENT In this era of globalization where government and other agencies are seeking to promote works of art, it is not strange that, the increase in the patronage for stage productions has gone up. With the increase in student productions in the School of Performing Arts and the emergence of numerous production houses, it is only farsighted that researchers do their part by looking at the various theatre spaces that hold these stage productions and how suitable or otherwise they are vis-à-vis the present growth. 25 A Senior Lecturer at the School of Performing Arts and the first studio manager of the E.T.S Drama Studio. University of Ghana http://ugspace.ug.edu.gh 12 There is the need therefore to be proactive in researching into the performance spaces and think of more modernised ways of improving the technical and artistic purpose for which these facilities were built. Every conventional theatre space has its requirement as to whether or not; it can be categorized as up to standard for the purpose it is serving. Whether it is business oriented like the National Theatre or a training facility like the E.T.S Drama Studio, these standards should not be compromised. As a student of School of Performing Arts, the researcher have taken part and enjoyed in several productions on both theatre spaces; it was realised that these facilities fall short of many of the requirements they ought to have. Again in terms of documentation, little is known about these two spaces with regards to their exact configurations and other facilities as performance spaces; thus, type of stages, auditoriums, equipment, and many others. These two facilities obviously are the hallmark of theatre spaces in Ghana at the moment and for that matter deserve attention. It is this vacuum that challenges the researcher in the field of theatre management to study these two theatre space to provide a source material for patrons. 1:4 OBJECTIVES OF THE STUDY The study seeks mainly to examine how suitable or otherwise the National Theatre and the E.T.S Drama Studio are in terms of handling productions. Specific objectives that guided this study are to:  Find out the main purposes for which these theatre spaces were built.  Document exactly what these two spaces comprise; stages and their dimensions, equipment available, types of auditoriums and their capacities, as well as their challenges.  Examine both structures to know how well equipped each is technically and artistically for productions. University of Ghana http://ugspace.ug.edu.gh 13  Evaluate the advantages and challenges directors go through when mounting productions within both spaces. 1:5 SIGNIFICANCE OF THE STUDY The study is significant because of two basic reasons: The research, when completed, will add up to knowledge. The researcher intends to make available her findings and recommendations to the managements of both spaces so that appropriate actions and measures can be put in place if it requires such implementations. Secondly the researcher believes her findings and recommendations will instigate policy makers to set their priorities right on the decisions they make on these two structures and subsequent ones yet to be built, since they all help in educating the general public and also promote culture. 1:6 RESEARCH QUESTIONS The study seeks to answer the following questions;  What was the purpose for the establishment of these theatre spaces?  To what extent has these two facilities been documented?  How well are these spaces equipped technically and artistically to enhance productions?  What challenges do management, directors, technical personnel, artistic directors go through when mounting productions. University of Ghana http://ugspace.ug.edu.gh 14 1:7 SCOPE OF THE STUDY This research focuses on two main structures: The E.T.S Drama Studio as a training facility for the School of Performing Arts and the National Theatre a civil service institution and a business entity. The selection was done on the basis that, they are both theatre spaces. The study will be looking at the structures of these entities taking into account, their stage, auditorium and the technical setup. It will further inquire into the capabilities each has to suit theatrical productions or otherwise, and access them comparatively with some productions held in the spaces. 1:8 METHODOLOGY The research will focus mainly on the evaluation, analysis, and interpretation of the two spaces structurally. It will again take into account some productions that have been staged in the spaces. It will further discuss literatures on the history of both theatre spaces, its stages and how it has developed to its present state. This research will mainly use the qualitative approach to gather data for the study through the purposive sampling method. To achieve this, the researcher intends to undertake various processes and steps including the following:  Interview studio managers, artistic directors, production directors, directors of the spaces and some scholars about both spaces to get their comments, perceptions, facts, and challenges in the usage of these theatre spaces. This is to enable the researcher have an objective observations and insight of other users on both structures. The sampling will be purposive because the researcher only needs people who have the technical know-how on these spaces.  There will be interviews with theatre practitioners who contributed to the establishment of both facilities such as Mohammed Ben Abdullah 26 , Esi Sutherland- 26 Chairman, National Commission of Culture. PNDC, 1990. University of Ghana http://ugspace.ug.edu.gh 15 Addy 27 , and Sandy Arkhurst 28 . This is to enable the researcher establish the chronology of events that surrounds the establishment of these two theatre spaces.  The researcher will visit the archives of these two spaces and learn more about the purposes they are serving now, the reason for their establishment, their missions, objectives, and how the state of affairs are presently. This is to enable the researcher access the present state of the structures based on the purposes they are serving now.  For the sake of continuity and safety the researcher will check how regularly equipment within these two facilities are maintained and how often new ones are brought in.  The data collected will be analysed and further interpreted using the findings. This is to enable the study give the right recommendations based on its discoveries. 1:9 ORGANISATION OF THE THESIS This thesis is made up of five chapters. Chapter one deals with the background of the study which defines some key terms in the field and also establishes the motivation and rational for embarking on the research. It again looks at the problem statement, objectives of the study, significance of the study, research questions, scope of the study, methodology employed, and finally the organisation of the thesis. Chapter two is a discussion on the various literatures in relation to the study. This is discussed under four sub-themes; history of theatre stages, history on the establishment of both theatre spaces, perceptions of some theatre theorists on theatre spaces, and lastly the basic stage requirement for conventional theatre space. 27 Deputy Secretary, National Commission of Culture. PNDC, 1990. 28 Senior Lecturer at the School of Performing Arts and University of Education. Mentored by Efua Sutherland. University of Ghana http://ugspace.ug.edu.gh 16 The third chapter also deliberates on the various techniques, methods, and approaches the researcher employed to collect her data. Captured as the methodology, it discusses the processes through which the primary and secondary data was examined to arrive at the findings of this study. The qualitative research design was employed. Data was collected through the purposive sampling technique in an unstructured interview section. The fourth chapter presents a discussion on the data gathered from the various respondents, and a comparative analysis of two productions which were mounted in the two spaces as well as five others which were staged in either of the two spaces. The fifth chapter is the concluding chapter of the whole thesis. It captures the summary of the whole thesis, conclusion, and the recommendations . University of Ghana http://ugspace.ug.edu.gh 17 CHAPTER TWO LITERATURE REVIEW 2:1 INTRODUCTION This chapter presents a discussion on relevant literature in the direction of the research on theatre spaces and how suitable they present themselves for productions artistically, technically and administratively. Theatre can be seen as the mirror through which the society sees itself; a tool that reflects life, therefore one could say that wherever there is life, there is theatre. Wilson (1998) 29 therefore posits that, Theatre, in this sense encompasses the performing arts, that is, dance, drama and music. Theatre has over the years evolved and reached a point where the spaces within which it happens play an important role in helping it reach its full potential. Llewellyn, (2002) 30 also suggests that, the theatre space is a stage in totality through which the relationship of audience and actors could be fostered. According to him the moment the audience enter the theatre, the experience should begin, whether or not the actual play has begun. Every aspect of the auditorium should be consciously designed to put the audience and actors in the mood which forebodes the actions in the production. Lehmann, (2006) 31 further states that: “The space presents itself. It becomes a co-player without having a definite significance. It is not dressed up but made visible. The spectators, too, however, are co- players in such a situation.” 29 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.1. 30 Jones, Llewellyn. “Understanding Theatre Spaces” Essay on Documenting and Researching Modern production on Greek Drama: The Sources. 2002. 31 Hans – Thies, Lehmann. Postdramatic Theatre. London: Routledge, 2006. P. 152. University of Ghana http://ugspace.ug.edu.gh 18 According to Cassady, (2002) 32 theatre buildings which represent performance spaces evolved from the open-air Amphi-Theatre of the ancient Greeks and Romans into the incredible edifices we see today. Within this chapter, four sub-themes will be discussed. The first sub-theme will be focused on the history of some theatre stages. It will further discuss the chronology of events surrounding the establishment of the Ghana Drama Studio, the National Theatre and the Efua Theodora Sutherland Drama Studio (E.T.S Drama Studio). Also the study will review the perceptions of some theatre theorists on theatre spaces; and finally, some basic theatre equipment for conventional theatre space will be looked at as well as their functions. 2:2 HISTORY OF THEATRE SPACES 2:2:1 TYPES OF THEATRE STAGES According to Wilson (1998) 33 throughout the study of theatre history, four basic types of stages have proven to be the most prominent. It is also clear that each has its own advantages and disadvantages, obviously some have proven to suit certain kinds of play and productions than others. It is again an undeniable fact that the experiences each gives to its audience differ from the other. The four types of stages are the Proscenium; the type in which the audience faces one direction towards an enclosed stage encased by a picture frame opening. The Arena or Theatre in the Round is the type in which the stage is at the centre where audience sit in a circle surrounding the stage. The Thrust is also the type of stage with a three-quarter seating arrangement, and lastly, Created and Found stage; spaces which do not conform to the traditional Proscenium, Arena, or Thrust configuration. For the purpose of this research, only the Proscenium and the Arena stages will be discussed. This is mainly because these two types are the core stages mostly used within the theatre 32 Marsh, Cassady. Theatre An Introduction. Illinois: NTC Publishing Group, 2002. p. 41. 33 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.333. University of Ghana http://ugspace.ug.edu.gh 19 spaces being studied. Space has been and will continue to be one of the epitomes of theatre. Throughout the study of theatre many has defined, ‘theatre’ as either the physical space or a concept. Irrespective of how one traces the beginnings of theatre, space has evolved with it throughout the development of theatre to date. The study of theatre history in Western Europe and the United States reveals that there has been an evolution of constructed theatre spaces, from the outdoor classical Greek theatre to the Italian Proscenium stage. 34 2:2:3 THE PROSCENIUM STAGE According to Cooper and Mackey (1995) 35 , [the] Proscenium arch theatres are still the most recognised form of theatre space. The name derives from the Greek word skene. This was the building for actors changing at the back of the acting area in a Greek amphitheatre; it suggested an early version of permanent sc(k)enery. Thus pro(before)- scenium would be a space in front of the back scenery. The word ‘proscenium’ is now taken to be the front opening of the stage and its surroundings. This type of stage was first introduced in Italy during the Renaissance period, and the term Proscenium emanated from the word Proscenium-arch. Possibly the most familiar of all the stages, the Proscenium or the picture frame as some scholars refers to has been the model Broadway theatres used in staging most of their productions especially in the United States of America. 36 It used to be an arch in the past, but in modern times it has evolved to become like a frame, rectangular in shape which forms an outline for the stage. As the term picture frame suggests, it resembles a large picture frame through which the audience view the performance. Before the 1950s, there was a curtain behind the proscenium which rose to reveal the picture, because the audience were viewing the other three walls of the stage. They assumed there 34 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.333. 35 Simon, C. & Sally, M. Theatre Studies an Approach for Advanced Level. Cheltenham: Stanley Thones, 1995. p. 54. 36 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.334. University of Ghana http://ugspace.ug.edu.gh 20 was a transparent glass wall through which they were looking and it merited a new name; the ‘fourth wall’. 37 The proscenium stage gained popularity throughout the United States in the nineteenth and early twentieth centuries as Wilson, posits that; “Beginning in the late seventeenth century, the proscenium theatre was adopted in every European country.” 38 Copper and Mackey (1995) reiterates that, this general acceptance throughout Europe was probably due to the fact that the proscenium stage has a lot of merits, it is usually deep and it necessitates elaborate scenery during productions. The proscenium is designed to conceal scene changes, and this provides a perfect arrangement for spectacle in the theatre. It also promotes realistic scenery which always looks good behind the proscenium frame. Illusions created here are much more real. Pickering (2010) 39 further attests that; The proscenium arch stage is ideal for the creation of illusion and picture effects. Because the audience cannot see behind the surface of the proscenium it is possible to hide from view a great deal of stage machinery, lighting equipment, constructional reinforcement and scenery, in preparation for several transformations of the stage picture. By careful use of perspective, a designer can create the illusion of a larger space. Single flat surface can be painted to resemble buildings and landscapes or to make whatever visual statement the director desires. By cunning use of gauze and lighting, characters and scenes can be made to appear and disappear at will. It can therefore be argued that, perhaps it is the aforementioned advantages that have contributed in making the Proscenium stage one of the universally accepted standardised stage widely used among most theatre spaces. It is therefore not strange that in Ghana traces of these European influences were inculcated in the theatre buildings where the Proscenium takes over all the other kinds of stages created for acting. This is evident in the type of stage mainly used at the National Theatre, the Regional Centre for National Culture and the E.T.S Drama Studio all in Ghana. 37 http://www.theatreprojects.com/files/pdf/Resources_IdeasInfo_typesandformsoftheatre.pdf 38 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.336. 39 Kenneth, Pickering. Key Concepts in Drama and Performance (2 nd ed.) New York: Palgrave Macmillan, 2010. pp.219-220. University of Ghana http://ugspace.ug.edu.gh http://www.theatreprojects.com/files/pdf/Resources_IdeasInfo_typesandformsoftheatre.pdf 21 However the Proscenium provides the atmosphere of detachment or distancing of the audience from actors on stage. Again it possesses vocal projection problems especially theatres which lacks adequate acoustic gadgets. Also with the types where the distance between the audience and stage is a bit wide. Actors have to put on lapel microphones before they can be heard properly, which sometimes disrupts the actors. Usually characters are expected to remain in their own world, that is within the Proscenium but occasionally when an actor breaks the rule by talking to the audience, it is said that he/she has broken the imaginary ‘fourth wall’. 40 2:2:4 THE ARENA STAGE Unlike the Proscenium, the Arena stage or Theatre-In-The-Round has been designed to situate the acting area in the centre of the auditorium; the audience sit around facing the arena. With this kind of stage the audience are quite closer to the performance and as such provoke a feeling of intimacy and involvement in the actions taking place on stage. Being one of the oldest forms, many scholars believe that it evolved from the ancient Greek theatre. 41 According to Wilson, (1998) 42 Just after World War II, a movement began in the United States of America where a number of theatre practitioners decided to break away from the conventions the proscenium theatres tend to create. It was a part of an overall desire to bring many aspects of theatre closer to everyday life: acting styles, the subject matter of plays, the manner of presentation, and the shape of the theatre space. As against the conventional type thus, the Proscenium tends to separate the acting area from the audience. 40 ‘Theatre Design’ http://theatredesigner.wordpress.com/theatre-design-101/stage-types-proscenium- arch/2006 Accessed: 18-09-2013. 1:040pm 41 ‘Craft&Heritage’http://wooddesign.dgtlpub.com/2011/2011-02- 28/pdf/arena_stage_at_the_mead_center.pdf Accessed: 27 -09-2013. 3:10pm. 42 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.340 University of Ghana http://ugspace.ug.edu.gh http://theatredesigner.wordpress.com/theatre-design-101/stage-types-proscenium-arch/ http://theatredesigner.wordpress.com/theatre-design-101/stage-types-proscenium-arch/ http://wooddesign.dgtlpub.com/2011/2011-02-28/pdf/arena_stage_at_the_mead_center.pdf http://wooddesign.dgtlpub.com/2011/2011-02-28/pdf/arena_stage_at_the_mead_center.pdf 22 One turn this reaction took was the Arena stage, a return, as one may call it to one of the most ancient forms of stage arrangement which foster actor audience integration. Boal, (2008) 43 also added that; “in 1956, the Arena entered into its ‘realist’ stage. Among its characteristics, this stage signified a ‘no’ to conventional theatre… the arena found out that we were far from the great cultural centres …and wanted to create a theatre which would be close. Close to whom? To its public.” An example of the Arena stage is the Efua Theodora Sutherland Drama Studio (E.T.S. Drama Studio). (See fig 24). This crusade did not only arise in the United States. A similar movement gradually emerged in the West African sub regions around the 80s; specifically Ghana and Nigeria where some scholars also reacted against the usage of the proscenium stage. Deandrea (2002) 44 attests that, [t]he search for authentic and ‘rootsy’ forms of dramatic expression could not help involving the physical shape of theatrical space. Needless to say a westernized building with its proscenium-arch stage could not affect the desired organic integration of performers and audience. Traditional performances, after all, did not make use of such structures but of circular dispositions. The researcher agrees with Deandrea in the sense that, in the search for what could be called ‘African’ or in a conscious effort to return to the roots, it became imperative to reconsider the physical space, where many of our gatherings occur in the African setting. Many of the rites performed in Africa normally take place in the courtyard. This promotes an intimate kind of integration between the performers and audience, creating some kind of euphoria which the proscenium stage could not affect. It was quite clear that the Arena stage has gained publicity and hence became the choice of many countries in the sub region. This reaction conceivably could be attributed to the search 43 Augusto, Boal. Theatre of the Oppressed. London: Pluto Press, 2008.p.136. 44 Pietro, Deandrea. Fertile Crossings. Amsterdam – New York: Rodopi, 2002. p.205. University of Ghana http://ugspace.ug.edu.gh 23 for an African aesthetics which started in the post-colonial era, just around the same period when Imperialism ideas were being rejected by Africans. Deandrea (2002) 45 again confirms this saying; In Nigeria, the same dissatisfaction with proscenium-arch theatre was expressed by some critics and practitioners, in 1981, Meki Nzewi lamented the use of the Western proscenium structures: “the modern physical stage in Nigeria is an unimaginative transfer of Euro-American stage but devoid of the facilities of the latter.” Efiok B. Uwatt subscribes to this view and criticizes Soyinka, who complains about this borrowed frame but does not reject it, whereas he praises Ola Rotimi’s experiments, such as his employment in his companies of the ‘ theatre-in-the-round’ structure, the Ori-Olokun Theatre at the University of Ife (1968-76) and the Crab Theatre from 1981 onwards. The researcher therefore agrees with Efiok Bassey Uwatt, 46 on his take, as cited by Deandrea that, “Rotimi himself associates such stage configurations, with the need for the audience participation he tries to attain in his performances; therefore, he accordingly terms the Western Proscenium ‘technical apartheid’.” 47 This is because in attaining actor-audience participation very effectively, the Arena stage cannot be ignored. In another sense it could be suggested that, it is a situation where the Proscenium, which is Western, does not encourage people socialising together as populaces. This makes actors in the Proscenium (western) somewhat unapproachable, so to some extent there are restrictions. Consequently some level of segregation sets in, of which the Arena stage disregards. Apart from its intimate nature, one other factor which contributed to the use of this type of stage is its less expensive nature in creating it. It does not really need the decorated ‘gold and red plush’ which looks more of a temple rather than a theatre space as Wilson (1998) 48 describes it. It should, however, be noted that because of the nature of this stage, special arrangements must be put in place when staging productions on it. The director must find 45 Pietro, Deandrea. Fertile Crossings. Amsterdam – New York: Rodopi, 2002. p.207. 46 ‘Head of English Department, University of Abuja Nigeria’ 2007. www.africanbookscollective.com/authors- editors/effiok-bassey-uwatt, Accessed: 06-12-2013. 02:20pm. 47 Pietro, Deandrea. Fertile Crossings. Amsterdam – New York: Rodopi, 2002. p.208 48 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.337 University of Ghana http://ugspace.ug.edu.gh 24 other means to set the scenes since curtains and backdrops cannot be used. Entrances and exits must be created within the audience, even though it hinders surprise entries. The actors need to ensure that their backs are not turned to any part of the stage for too long, because with that, then, the actor prevents other viewers from witnessing what he or she is doing. Stage lighting, sound, and other effects are also difficult to infuse and the director/designer needs to find appropriate ways of creating them. 49 Based on these pitfalls, one could say that, perhaps this explains the reason why scholars like Wole Soyinka complained about the Proscenium or the “borrowed frame” as it was described by Efiok Uwatt in Deandreas Fertile Crossings but did not reject it either. Deandrea (2002) 50 further attests that; [g]enerally speaking, in Ghana “there has been a commitment since the days of Nkrumah to place both traditional and contemporary performances where they belong, namely, in the very midst of the people.” Consequently, the Drama Studio in Accra was built on the design of a traditional Ghanaian household as an open-air space “embodied the flexible features of the early courtyard performance spaces for both proscenium and circular staging” It should however be noted that despite all the reactions on which type of stage or space truly defines theatre distinctively, the Proscenium has proven to be the most widely used. This is so because many theatre spaces have this type of stage in it. This has indirectly made the Arena and the other types of theatre stages under-utilized. The researcher therefore shares the sentiments of Kotey 51 (2000) 52 when he expressed his opinion that many African play text from recognized playwrights has not been written to suit the Arena. He argues that since the circular formation of doing activities is an instinctive nature that characterizes African performances, play text or production could reflect on that phenomenon. 49 http://www.theatreprojects.com/files/pdf/Resources_IdeasInfo_typesandformsoftheatre.pdf Accessed: 25 - 09-2013. 11:30am. 50 Pietro, Deandrea. Fertile Crossings. Amsterdam – New York: Rodopi, 2002. p.206. 51 Former lecturer at the School of Performing Arts, University of Ghana. 52 Godwin, Kotey. Myth, Legend, History and the Story-Telling Tradition, A Resource For An Authentic African Theatre: The History of Yaa Asantewaa as a Test-Case. University of Ghana, Unpublished MFA thesis. 2000. University of Ghana http://ugspace.ug.edu.gh http://www.theatreprojects.com/files/pdf/Resources_IdeasInfo_typesandformsoftheatre.pdf 25 2:3 THE GHANA DRAMA STUDIO, NATIONAL THEATRE, AND E.T.S DRAMA STUDIO IN RETROSPECT The history of theatre spaces in Ghana cannot be complete without mentioning the chronology of events leading to the establishment of these three theatre spaces. The researcher therefore agrees with Gibbs (2012) 53 on his take that, “the symbolism of the sequence of events connected with these three buildings should not be missed.” Reminiscing from the past clearly shows that, these three theatre spaces have played an important role in the creative industry in Ghana by holding theatrical performances as well as promoting culture through arts exhibitions. Though the first studio the Ghana Drama Studio is no more in existence; the researcher believes that it was the establishment of that studio which sets the ball rolling for the subsequent ones to be built in the country. The focus of this discussion is therefore taking us back to the genesis of these theatre spaces and how they came into being. The research will also discuss their actual purposes, thus the objectives of their establishment will be unveiled and find out why the Ghana Drama Studio had to be demolished for the National Theatre to be constructed. Finally, the study investigates why a replica of the pulled down studio was built at the School of Performing Arts, University of Ghana, and what it is being used for now. It is not the mere fact that, in the Ghanaian society it is an abomination to speak ill of the dead, that, commendations are being hailed at Efua Theodora Sutherland. The researcher believes that, she earned it. So are many accolades such as the “mother of Ghanaian theatre movement.” 54 Indisputably, through her hard work and dedication to the works of arts she deserves to be acknowledged. As a member of the first phase of the National Theatre Movement which faced some challenges such as demands for permanent training schemes, 53 James, Gibbs. “History of Theatre in Ghana.” Helen Lauer & Kofi Anyidoho (eds.). In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p. 1350 54 ‘Background information of the Drama Studio’ www.ug.edu.gh/index1.php?linkid=939,2008. Accessed: 15- 12-2013.06:50pm University of Ghana http://ugspace.ug.edu.gh 26 and spatial inadequacies for proper training, any effort to address those challenges were of utmost priority to Sutherland. Sutherland (2000) 55 states that; [t]he task has engaged the mind, talent, and toil of individuals and groups, the majority of whom have voluntarily rallied in support of the idea of a National Theatre Movement. From their trials, their losses and gains, and their hard-won perceptions, important lessons have been accrued to help determine, shape plans, and direct effort for the second phase of the Movement. What are the lessons? – Talent and efficiency were lost …because of constant withdrawals from training programs …for the realistic reason that they had to earn their living elsewhere. After the first few years the need for full time trainees had become obvious. – Problem of standards made the demand for a permanent training scheme for developing professionals both essential and urgent. She further attests that peculiar problems occurred which needed to receive special attention in the training programmes. For example: The gap between theoretical knowledge and actual performance ability of the members. Actors were faced with serious frustration when there was the need to perform in English, and the most disturbing of them all was the slowdown in output of creative material, particularly dramatic literature. 56 According to Sutherland, recalling from the first phase of the Movement clearly shows that, a number of issues needed to be addressed, such as inadequate creative materials, financial constraints, and difficulty in getting premises for rehearsals. Sutherland then started the Theatre Programme as part of the second phase of the National Theatre Movement and the concept of this Programme occurred to her when she represented Ghana at Tashkent for an 55 Efua Theodora, Sutherland. “The Second Phase of the National Theatre Movement in Ghana.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.48. 56 Efua Theodora, Sutherland. “The Second Phase of the National Theatre Movement in Ghana.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.48. University of Ghana http://ugspace.ug.edu.gh 27 Afro-Asian Writers Conference in 1957. 57 In a conversation Sutherland had with July (2007) 58 , Sutherland narrated how the whole idea occurred to her thus; What moved me there was to see a huge exhibition of books from all other countries that were represented, and see the African area … the few shelves … That hit me… I said to myself then that I would help fill those shelves… So I came back and the writers´ movement was going on…we had started the idea of magazine… I came back more resolved that this thing shall work, and suddenly saw the problem about dramatic literature, the creating of dramatic literature… We needed a program to develop playwriting and I starting the thought that led to the beginning of the theatre, the Experimental Theatre, I called it. And then in 1959 to 1960, we started building the Drama Studio… that compromised the program… the idea of the program… and we opened it and we were away…in October of 1961… I knew that it was through that we would begin to create forms and style of dramas, of theatrical expression that would stand as Ghanaian. This means that her intention was to create some originality, something that could be called Ghanaian. It is not surprising then, when she names her style Anansegro (spider play) which has its roots from ‘Anansesem’ (spider story) peculiar to Ghanaian Ananse story. For the experimentation of her style, she needed a space, as Wilson (1998) 59 rightly puts it “the theatre experience does not occur in a visual vacuum. Spectators sit in the theatre, their eyes open, watching what unfolds before them.” Therefore audience and actors needed to be housed for the theatre experience to occur, hence, the theatre space. July quoted Sutherland regarding the search for the venue as having said that, I looked at all the empty rooms and buildings I could find around the Ministry area. Up and down the Ministry steps, talking to people, saying I needed a place. I wanted to start a Program in drama. Eventually I talked with the Scouts people… It was in 1958 exactly. Right down the beach across from the Scouts headquarters there was this aluminium shed, and I asked about it. They said it was the Sea Scout’ den, that they used it only occasionally. So I said, ‘Could I have it?’ They eventually relieved me of 57 Robert, July. “Here, Then, is Efua’: Sutherland and the Drama Studio.” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke, 2007. pp. 161-162. 58 Robert, July. “Here, Then, is Efua’: Sutherland and the Drama Studio.” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. pp. 161-162. 59 Edwin, Wilson. The Theatre Experience (7 th ed.). New York: McGraw-Hill, 1998. p.355. University of Ghana http://ugspace.ug.edu.gh 28 my problem by letting me use it for a little fee. I moved the group I got together into that place and used it as a regular Program building. 60 Undoubtedly, it became necessary to get a permanent space for the Programme. Through the help of the Rockefeller Foundation Fund, the Government of Ghana, and the Ministry of Education, the Ghana Drama Studio became a reality. Botwe Asamoah (2005) 61 makes it clear the cost of the whole project. He states that; In 1961, the Arts council, through the efforts Efua Sutherland established the Ghana Drama Studio. The construction was £G7,500. The Ghana government gave £G3,000, while Rockefeller Foundation provided £G 2, 000, the remaining £G2,500 came from the Ministry of education´s votes through an appeal by the arts council. Anyidoho( 2000) 62 further attests that, to provide an ideal rehearsal and performance space for the emerging National Theatre Movement, she [Efua Sutherland] mobilized funds and supervised the building of the Ghana Drama Studio, ensuring that its design was in harmony with performance demands of African theatre practice. It is clear from the above that Sutherland needed not only a rehearsal space at the time for the programme but a symbolic space, something tangible that people could identify with and proudly say “that is a place where African drama, experimental African drama is going on. It was quite important to do that, so the Drama Studio as a building is really very important because it helped to make this whole idea gel for people.” 63 The researcher shares both Sutherland’s and Anyidoho’s sentiments on how important it was for the Movement to get an ideal premises of its own, one that is designed in accord with performance demands of African theatre practice as Anyidoho puts it. To a large extent it would raise the image of the 60 Robert, July. “Here, Then, is Efua’: Sutherland and the Drama Studio.” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. p. 162. 61 Kwabena, Botwe-Asamoah. An African – Centered Paradigm for the Second Phase of the African Revolution. New York: Routledge, 2005. p.167. 62 Kofi, Anyidoho. “ Dr. Efua Sutherland A Biographical Sketch.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.78. 63 Robert, July. “Here, Then, is Efua’: Sutherland and the Drama Studio.” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. p. 163. University of Ghana http://ugspace.ug.edu.gh 29 Movement and further clarify its focus. I can imagine how daunting it was for this new idea of African Drama to gain root and how people perceived the Movement that time when it had no permanent space; in view of the derogatory comments and name calling associated with such initiatives these days. In recent times and even with the extent of the growth of these programmes, they are still being ridiculed with the word “Dondology” which literary means “the study of drums”. The Studio according to Kwame Botwe-Asamoah (2005) 64 had three objectives; The first objective of the drama studio was “to create, stimulate and discipline the new Ghana theatre movement, and to provide opportunities for training artists through participation in dramatic productions and other related activities.” The second aim was to provide opportunities and a venue for the meeting of theatre artistes: writers, musicians, producers, actors, choreographers, designers” and others. Finally, it hoped to “provide talent, material and ideals for the program of the national theatre, when that institution is established”. The question one must ask is whether these objectives were achieved before it was demolished. In an interview with Sandy Arkhurst, 65 he attested that, these three objectives had been achieved and even more. Arkhurst (2013) 66 further explained that, they had started developing audience for the studio as far back as 1965. According to him, they did this through three basic ways. First, they organised free productions. Then, a Theatre Season was organised where all the productions that were held within the year both in and outside Accra were performed again in the season. Finally a month within the year was chosen especially during the long vacation to tour the various regions with the productions that were produced within the academic year. Based on these achievements one would expect that the replacement which is the National Theatre and its replica (E.T.S Drama Studio) would continue from where they left. Perhaps at the end of this discussion it will be established as it 64 Kwabena, Botwe-Asamoah. An African – Centered Paradigm for the Second Phase of the African Revolution. New York: Routledge, 2005. p.167. 65 Associate lecturer, University of Ghana, Legon. One of the foremost performing arts student to got the advantage to work with Sutherland in the Studio. 66 Sandy, Arkhurst. Personal Interview. Accra; 11 th November, 2013. University of Ghana http://ugspace.ug.edu.gh 30 were, whether these two facilities have been able to accomplish this. Sutherland herself also shared her thoughts on what she had wanted to do with the Studio after twenty five years of its function with Femi Osofisan (2007) 67 in an interview before her demise; After the 25 th anniversary of the Studio, I was using it as a transition, where you know, you go out to the district level and take all the experience of the Drama Studio work, and you lay it there. That was the next step. So I had a play producers´ seminar within the anniversary program, where those people who had been producing plays were being got ready to go and do this work. The Ghana Drama Studio was ready by 1960 but it was officially opened in October 1961. The inaugural ceremony was presided over by Dr. Kwame Nkrumah the then President of Ghana. Sutherland (2007) 68 added that; “Between 1961 and 1963 was a very creative period for the Ghana Drama Studio. And we were doing two things at once. We were finding talent and getting them involved in practical theatre work […] and also developing an audience.” However along the line Sutherland had to hand over the studio to the authorities of the University of Ghana. According to Anyidoho (2002) 69 , “in May 1963, Efua Sutherland became a Research Associate of the Institute of African Studies. As part of the move, she handed over the Drama Studio to the University of Ghana to be used as “an extension division of the School of Music, Dance and Drama.” Sutherland (2000) 70 emphasizes this point saying, the Ghana Drama Studio, established since 1958 as a training center for actors, writers and theatre personnel, and as a venue for experimentation in 67 Femi, Osofisan. “There’s a Lot of Strength in Our People Efua Sutherland’s Last Interview” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. p.206. 68 Robert, July. “Here, Then, is Efua’: Sutherland and the Drama Studio.” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. p.162. 69 Kofi, Anyidoho. “ Dr. Efua Sutherland A Biographical Sketch.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.79. 70 Efua Theodora, Sutherland. “The Second Phase of the National Theatre Movement in Ghana.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.49. University of Ghana http://ugspace.ug.edu.gh 31 the development of dramatic forms, was integrated into the School in 1963. This has made it convenient for the School to have an experimental base in town and to connect up with the tradition of performance for small critical audience that has had an unbroken run since 1961. Within these periods the studio helped trained scholars like Martin Okyere Owusu, Ben Abdallah, Sandy Arkhurst, Asiedu Yirenkyi and many others, who are now great scholars promoting the arts in diverse ways both in Ghana and abroad. 71 According to Sutherland (2000) 72 ; Performance groups organized on a permanent basis under professional direction in music, dance and drama, are capable of handling regular performances, from the life of a Theatre Movement. Encouraging ones are: The National Orchestra; The Damas Choir; The Student Orchestra- School of Music and Drama; The Builder´s Brigade Drama Group; The University Drama Studio Players; The National Cultural Center Agoroma; The Dance Troupe- School of Music and Drama; The Puppet Team of the Institute of Art and Culture. The Studio remained as a theatre studies facility of the University of Ghana until its 25 th anniversary in 1987, when the then government issued a communique` to pull the structure down to pave way for a bigger and a multi-purpose edifice to be constructed. This became a sad reality for Sutherland in 1988 when finally the Ghana Drama Studio was pulled down for the current National Theatre to suffice. Sutherland in a conversation with Femi Osofisan expressed her disappointment about the whole demolishing and says; [W]ell, I call it… some foolish understanding of what we need to do. That kind of development venture, there´s no such thing now in Ghana. The Drama Studio was there to help find out, and work with, and experiment towards new creations. But they didn’t look at that. So we have the National Theatre there now that´s just … I mean, that’s not a place for experimentation, though I haven’t really ever been inside it. But I can’t do The Marriage of Anansewaa in that theatre, as we could in the Drama Studio, very beautifully. Not there! I can´t do Edufa there… But they didn’t 71 James, Gibbs. “History of Theatre in Ghana.” Helen Lauer & Kofi Anyidoho (eds.) In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p. 1349. 72 Efua Theodora, Sutherland. “The Second Phase of the National Theatre Movement in Ghana.” Kofi Anyidoho & James Gibbs (eds.). In FonTomFrom, Contemporary Ghanaian Literature, Theatre and Film. Amsterdam: Rodopi, 2000. p.49. University of Ghana http://ugspace.ug.edu.gh 32 think of all that at all… Somebody came and said I will give you loan to build a big theatre… But I’m sure, when the artists want to do something again, they will develop their own theatre. I can see that happening in the future. Because this one won’t allow developmental thinking… it’s a monument. 73 I do share Sutherland´s sentiments on the fact that, the Studio was purposely designed and created to suit the Ghanaian style of plays (Anansegro) and to experiment its feasibility as one of the styles in theatre. Again, it is inappropriate to downplay the difficulties Sutherland went through in establishing the studio. Therefore, if for no other reason the studio should have been left as a legacy. The replacement on the other hand cannot be best used as an experimental studio to test plays which follow the Anansegro style. These two spaces are different in both structure and stages and therefore mounting Anansegro in the National Theatre would appear some-what incongruous. However, since it is not the only style taught in Theatre Arts, I believe it was also proactive for the country to have possessed a more conventional or formal type of theatre space, that can accommodate other styles such as tragedy, comedy, melodrama, and the likes in theatre studies. Arkhurst (2013) 74 argues that, Sutherland wished that a facility that will promote the Ghanaian arts should have been built instead. According to him Sutherland would have preferred a “National Theatre” as an “art” and not “National Theatre” as a “facility”. He further states that, “we are yet to build a National Theatre” that will promote our own style. Mohammed Ben Abdallah, 75 on the other hand confirmed that, the idea of the establishing a National Theatre, had been one of the wishes of the first President of Ghana Osagyefo Dr. Kwame Nkrumah. Backed by an Act in the constitution of Ghana, PNDCL 1992: Section 1- 73 Femi, Osofisan. “There’s a Lot of Strength in Our People Efua Sutherland’s Last Interview” Anne V. Adams & Esi Sutherland-Addy (eds.). In The legacy of Efua Sutherland: Pan- African Cultural Activism. Oxfordshire : Ayebia Clarke,2007. p.206. 74 Sandy, Arkhurst. Personal Interview. Accra: 25 th November,2013. 75 The then Chairman of National Commission of Culture under the regime of the P.N.D.C Government. A playwright and a Senior Lecturer at University of Cape Coast. University of Ghana http://ugspace.ug.edu.gh 33 “Establishment of a Ghana National Theatre (1) There is hereby established a body to be known as the Ghana National Theatre.” 76 It is therefore plausible that the nation can boast of such an edifice now. It was Nkrumah’s objective to use the arts which hitherto was seen as just a recreational activity to promote nationalism and patriotism. This kind of vision is manifested in a statement he made in 1963 as quoted by Jesse Weaver (2012) 77 that; “Our African theatre must help our people to appreciate the reality of the changing society, for it is only when there is a complete fusion between African culture and African politics that the African Personality will find its highest expression.” Nkrumah’s intention of promoting the arts was phenomenal and this became apparent in his anxiety to endorse the arts through the National Theatre Movement and the Arts Council at that time. Nevertheless, at the opening ceremony of the Ghana Drama Studio, he expressed his disappointment about the failure of the Art Council as quoted by Botwe-Asamoah (2005) 78 ; The Arts Council which I helped to form with such high hopes has not, I regret to say, come up to my expectation. It may have had its difficulty but the truth remains that it has failed to make sufficient impact on Ghana society. It has failed to give people any vision of the rich store of art and music which we possess. I hope that the Ghana Drama Studio even if it remains independent will operate within the framework of the Ghana Arts Council. This clearly shows how passionate Nkrumah was in promoting the arts for national development and how he hoped that the Ghana Drama Studio, though independent, will to some extent function to promote the arts. It is consequently not surprising that, the idea of the 76 ‘Ghana National Theatre Act’ http://ghanalegal.com/?id=3&law=517&t=ghana-laws22-7-1991 Accessed: 05- 12-2013. 02:20pm 77 Jesse Weaver, Shipley. “The Best Tradition Goes On. Audience Consumption and the Transformation of Popular Theatre in Neo-Liberal Ghana” Helen Lauer & Kofi Anyidoho (eds.) In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra: Sub-Saharan Publishers, 2012. p.1387. 78 Kwabena, Botwe-Asamoah. An African – Centered Paradigm for the Second Phase of the African Revolution. New York: Routledge, 2005. p.168. University of Ghana http://ugspace.ug.edu.gh http://ghanalegal.com/?id=3&law=517&t=ghana-laws 34 National Theatre started from his governance. Attesting to Abdallahs earlier submission, Rebeca Fofo 79 (2013) asserts that, the former president Jerry John Rawlings made possible Nkrumah’s idea of having a National Theatre; The idea of Ghana having National Theatre where the nation’s best cultural performances could be displayed was the brainchild of Osagyefo Dr. Kwame Nkrumah, but this dream could not be materialized until our former president Flt. Lt. Jerry John Rawlings during one of his state visits to China saw a similar structure, which he became interested in. Not long afterwards, an agreement was signed between Republic of Ghana and Republic of China in December, 1990 for the commencement of work. 80 As noted by James Gibbs (2012) 81 , the terms of the agreement were partly negotiated by the then National Commission of Culture chaired by Mohammed Ben-Abdallah. The contract was signed between the Governments of China and Ghana. It was agreed as part of the contract that, the Ghana Drama Studio should be pulled down to pave way for the National Theatre and the latter rebuilt on the campus of the University of Ghana. According to Johnson Adu 82 (2013), work began on the facility on the 8 th of March, 1990. It was scheduled to be completed within thirty months. The National Theatre was completed on 16 th December, 1992 as planned and commissioned. 83 John Djisenu 84 (2013), however, asserts that, between 1992 and 1993 the National Theatre remained dormant. According to him, the legal instrument establishing the resident groups and some department had not been finalised yet, therefore, there were not readily available human resources to make the facility active, especially resident groups. This brought about the split of the University of Ghana, 79 Public Relations Officer, National Theatre: Ghana. 2013. 80 Rebeca, Fofo. Current P.R.O of the National Theatre. Facts to Know A bout the National Theatre. Unpublished Document, 2013. 81 James, Gibbs. “History of Theatre in Ghana.” Helen Lauer & Kofi Anyidoho (eds.) In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p. 1350. 82 Johnson, Adu. a former artistic director of the National Theatre, a Tutor at University of Ghana and a lecturer, University of Cape Coast, Theatre Arts Department 83 Johnson, Adu. a former artistic director of the National Theatre, a Tutor at University of Ghana and a lecturer, University of Cape Coast, Theatre Arts Department. The National Theatre of Ghana . Unpublished Document. 2013 84 Senior lecturer at the School of Performing Arts, Legon. University of Ghana http://ugspace.ug.edu.gh 35 School of Performing Arts resident groups, specifically Abibigromma and the Ghana Dance Ensemble. This turn brought about a serious contention between the University and the National Theatre. Some members left the University resident groups to join what Djesenu called ‘illegal’ resident groups as at that time at the National Theatre. 85 I am of the view that, this goes a long way to confirm Arkhursts’ position that, the country was not ready at that time for such a huge edifice, and the researcher agrees with him on that. Finally when the legal instrument recognising the resident groups was legalised, it established, “the Ghana Dance Ensemble, Abibigroma and the National Symphony Orchestra as the resident performance troupes of the National Theatre in the areas of dance, dramatic art and music respectively. [The object was mandated to the] promotion and development of the performing arts in the Republic.” 86 Johnson Adu (2013) 87 further mentioned that, operations started with a performance by the three resident groups, namely Abibigromma; Dance Ensemble and the National Symphony Orchestra. This was followed by a performance by a Chinese Cultural Troupe. The National Theatre was to spearhead the National Theatre Movement in Ghana and also provide the needed multi-functional venue for concerts, dance, drama, musical performances, exhibitions, and special events of national interest. In addition, Jesse Weaver Shipley (2012) 88 is of the view that, the Theatre was intended to “foster the development of traditional idioms of contemporary arts forms and to preserve the roots, growth and variety of the artistic forms that represent modern Ghana”. Many in the Ghanaian arts 85 John, Djisenu. Personal Interview. Legon: 5 th December, 2013. 86 ‘Ghana National Theatre Act’. http://ghanalegal.com/?id=3&law=517&t=ghana-laws22-07-1991 Accessed: 12-12-2013. 03:40pm. 87 Johnson, Adu. The National Theatre of Ghana.( unpublished document), 2013. 88 Jesse Weaver, Shipley. “The Best Tradition Goes On. Audience Consumption and the Transformation of Popular Theatre in Neo-Liberal Ghana” Helen Lauer & Kofi Anyidoho (eds.) In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p.1395. University of Ghana http://ugspace.ug.edu.gh http://ghanalegal.com/?id=3&law=517&t=ghana-laws 36 community saw the National Theatre as the fulfilment of Nkrumah’s cultural nationalist vision for using Ghanaian forms of art for the unity and progress of the nation- and for African peoples more generally. Though it was a step in the right direction, others like Arkhurst again argued that, the time was not ripe for the nation to have had a National Theatre (building) as huge as it is. At that point the Movement had not been able to achieve the vision of creating smaller studios in and around the city of Accra and other regions like the Kodzidan project in Atwea in the Central Region of Ghana, which will feed and supply the National Theatre with human resource as far as promoting the arts is concerned. Arkhurst (2013) 89 believes that by so doing the industry would have been able to develop its audience to be loyal and consistent to the theatre. Because all these measures were not put in place before the establishment of the National Theatre, he believes that this might probably be one of the reasons why the National Theatre is having difficulty in filling the 1,492 capacity seat auditorium especially during artistic performances. He further reiterates that “the institution started from the roof instead of the foundation” and for him, the foundation was weak. If the industry had taken its time to build a solid foundation, he believes that it would have gone very far than it is now. I agree with Arkhurst because, Nkrumah’s intention to foster development through traditional idioms and contemporary art forms, as well as preserve the roots, growth and variety of the artistic forms that represents modern Ghana to some extent was not achieved before the establishment of the National Theatre. This is because, conceivably Ghana as at that period had not assimilated this vision enough to understand the importance of preserving such legacy as the studio. Therefore since there was a bigger one to be built others felt razing the studio down was not too much of an issue overlooking its symbolic connotation. 89 Sandy, Arkhurst. Personal Interview. Legon : 11 th November, 2013. University of Ghana http://ugspace.ug.edu.gh 37 Also Sutherland’s visions after the 25 th anniversary came to a halt which leaves us with the failure of the Movement not being able to reach the roots and thereby preserving it. Like Sutherland, Arkhurst further argues that, the National Theatre Movement did not have enough experience to manage that big theatre. He believes that, the nation should have acquired smaller theatres which are designed to suit the countries style of plays which in another sense would be less expensive in managing it. 90 Gibbs (2012) 91 admits to this assertion and says that, “The design of the whole building [the National Theatre] requires very considerable expenditure on air conditioning – a cost that has rendered hiring the hall prohibitively expensive for many theatre groups.” Presently there are few theatre companies who can afford to hire the theatre for performance because renting the space ranges between one thousand Ghana Cedis and seven thousand Ghana Cedis per day, depending on the type of auditorium one prefer, day, time and performance type. This information was confirmed by the Bookings Department of the National Theatre headed by Doris Wreko. To some extent the researcher shares the sentiments of both Sutherland and Arkhurst because in every industry its foundation is extremely necessary. The foundation determines its future success, growth, continuity, and consistency. So if the foundation is weak it is very difficult for its vision to be feasible. On the other hand I also agree with Abdallah on his opinion that, the nation as at that time was not financially sound to sponsor such a big project like the construction of the National Theatre even as an “art” or “facility” and for that matter could not have rejected such a gargantuan offer from the Chinese Government. Abdallah (2013) 92 affirmed that, China as at that period was fond of building stadia and theatres for third world countries. When the former president Jerry John Rawlings visited China and was offered this 90 . Sandy, Arkhurst. Personal Interview. Legon : 11 th November, 2013 91 James, Gibbs. “History of Theatre in Ghana.” Helen Lauer & Kofi Anyidoho (eds.) In Reclaiming the Human Sciences and Humanities through African Perspective volume II. Accra:Sub-Saharan Publishers, 2012. p. 1350 92 Ben, Abdallah. Personal Interview. Accra: 29 th October, 2013. University of Ghana http://ugspace.ug.edu.gh 38 opportunity he opted for the multi-purpose theatre facility. Abdallah added that, if we had our own means maybe we could have inculcated other type of stages such as the arena which is quite peculiar to our part of the world and others like thrust, and end stages. Altering the architectural design was impossible, considering the political nature of the whole deal. The theatre was finally completed and commissioned by Jerry John Rawlings in 1994. Work began on the replica studio at the campus of the University of Ghana on the 25 th of June 1990 simultaneously with the bigger work of the National Theatre. According to Abdallah, the site between the Department of Agriculture and the Institute of African Studies was vacant, so the government and the University authorities agreed to place the studio there. The site was agreed based on proximity; as it was going to be closer to Institute of African Studies and the School of Performing Arts. Work on the studio did not take that long, as signed in the agreement that it would take nine month for completion. The studio was ready in February 1991. According to the then Studio Manager John Djisenu (2013) 93 , the studio after its commencement in 1991 faced serious drainage problems; the main stage could flood when it rained heavily. As part of the contract, the Chinese were to build a seven unit block for the School which currently houses the library, director’s office, accounts office, computer lab, and two seminar rooms. When the contractors came back to complete that unit block they had not done earlier with the studio, they did a massive stage renovation to curb the flood and change some of the exits and entrances to where we find them now. They also increased the height of the proscenium stage. Since then, there has not been any significant structural change though the School is growing in student population and expanded its academic curriculum. It was officially handed over to 93 John, Djisenu. Personal Interview. Legon, 5 th December 2013 University of Ghana http://ugspace.ug.edu.gh 39 the University authorities’ on the 14 th of March 1991. The studio which was named after the late Efua Theodora Sutherland, and currently known as E.T.S Drama Studio, has remained the property of the University of Ghana under the auspices of the School of Performing Arts. It has been the only viable Studio for staff and student workshops, experimentation, and productions. 2:4 PERCEPTIONS OF THEORISTS ON THEATRE SPACES There have been various theories about the act of theatre as to which of its component is more important than the other. Is it the stage and its spectacle [artistic and technical inputs], the actor, or the audience? By suitability the researcher combines all the three because these components are indispensable to each other. I therefore agree with Copper and Mackey (1995) 94 with their assertion on the choice of theatre space that “what [one] need to consider, however, is which performance Space or area is most suitable” Again there has been further controversy on theatre spaces as to what can be termed conventional and unconventional. According to Pinkering; (2010) 95 The most basic convention is that an audience watches and listens in a designated space while actors perform in another designated space… in which the audience accepts that a ‘stage’ space represents another space or that they can see into several rooms simultaneously. By this submission one could say that, the Proscenium stage can form a conventional type of stage. Also the whole facility could also be termed as such, because within the auditorium we have a designated spa