ABSTRACT

Scholars have long overlooked entrepreneurship in theatre arts. The difficulty of making firms operating in these contexts economically, self sufficient and the consequent dependence on the public for funding have long diverted the attention of scholars from the topic. Only recently, especially thanks to the advancement in theory on entrepreneurship, the phenomenon has begun to be examined in these contexts. This study which is mainly based on a study of theatre and entrepreneurship with focus on Ibom Tropicana Centre, Uyo, Akwa Ibom State aims to examine in how the organizational systems in public can be enhanced through theatrical activities.

CHAPTER ONE

GENERAL INTRODUCTION

1.1     Introduction

Theatre and Entrepreneurship has been widely spoken about in many circles. No doubt by now we have heard the Theatre in relation to Entrepreneurship. So, what is it, how do we do it and who benefits? In its crudest form theatre and Entrepreneurship is about earning a 21st century living from ones art. The term also explains how art can impact audiences and communities. The premise is simple, artists posses skill to not only act entrepreneurially but can also receive the same benefits as any Entrepreneur. Theatre as a discipline, art form, industry and community can lead the way in this emerging discipline of theatre and entrepreneurship as it exist both in higher education and professionally. The training that they undertake is (perhaps without most participants knowledge) preparing the practitioners for a possible life as an entrepreneur and theatre practitioners.

Most in the business of theatre begin in acting class. Acting is the window into the industry and from there, many either leave the industry, continue acting or find new talents, passions and interest, like directing, writing, producing, costuming, designing and all other aspects of theatre and roles within the process. In theatre training acting is not only thought but the explore front of the house to the back of the house. They do practicum that requires hanging lights, selling of tickets, answer phones on occasions, build and strike sets, the don’t just play one role the make theatre. Entrepreneurship do the same thing, they just make “Business Theatre” the over-arching. Premise in Pine and Gilmore’s Tome, the experience economy.

For example, the improvisation class develop a sensitivity of imagination is developed and impulses, learning how to say “yes’ and to follow impulses without fear, judgment or resources. Theatre practitioners act with others in highly bizarre and complex scenarios that need to be acted through entrepreneurs. Similarly often find themselves in such situations and must rely on quick thinking problem solving and the following of impulses.

Furthermore, the story telling skills learn as performers, play-well into branding as artists, entrepreneur or arts business. The research skills used to research characters and plays can simply be repurpose to research ones market and competition. The understanding and experience in collaborating aids in building a culture round creative business that represents values: personal professional, political, artist etc just like the cast plays entrepreneurs hire employees.

The self discipline develop from long nights and countless hours of rehearsals helps its in practicing the determination and endurance to plan and build creative business in an actor alone, a business of one. The hardship endure in struggling with lines, dealing with difficult emotions on stage, performing in previews before a live audience, being vulnerable and open to other partners the are working with, listening skills being available for our partners and filling in where necessary when a crisis arises on stage. These theatre skills are also entrepreneurial skills. Entrepreneurs use these in working with others and in growing, managing the business they create.

As a collaborative art form theatre cannot be created alone. One must have at least one actor and at least one audience member. Similarly an entrepreneur must have donors, sponsors, investors and customers. (The latter better conceived as an audience member). But as we know, theatre require more people than just two, it involves many individuals who are often involves, working in the background, seemingly unnoticed, but nonetheless vital to the process. No entrepreneur builds a business alone. Entrepreneurs need others to manifest (“Business Theatre”) just like theatre artist.

Those in theatre are skilled in collaboration, taking direction (adaptability) and vision building (creating something out of nothing). They have skills in problem solving in the moment, in selling out themselves as actors through auditions. In brief, theatre artists are the ideal candidates to lead the way in showing other artists how a living can be made in the arts, as so many skills in theatre are the same skills in entrepreneur is in “Business Theatre”.

Many artists feel they are, at their essences artist, entrepreneurs feel similarly. The act of entrepreneuring’ is an art. Meaning and passion fuel, creativity drives through the difficult and lean times. Entrepreneurs are also created but rather than focusing on the creation of a character, they are creating a big vision and tremendous value as they realize opportunity. They are creating jobs and the processes are stimulating the economy. What then becomes, required of these creativities once they discover parallels between their innocence the discover, the parallels between their innate theatrical skills and the skills absent from business theatre troupe training such as Ibom Tropicana cinema which this topic focus on aims to examine how organizational system in public can be enhanced through theatrical activities.

1.2     Statement of Problem

Theatre and entrepreneurship in Akwa Ibom State occupies an exceeding significant position in Akwa Ibom economy. Their significant derives from the following consideration set out by Sullivan et al., (56). Numerically, the account for a very percent of a total number of business establishment and theatre practice in the state, though their contribution to value added is disproportionately low, normally in the case of Akwa Ibom State. From this view point, the development of theatre and entrepreneurship in Akwa Ibom State can be seen as one of the necessary condition for economic development. Presently, theatre and entrepreneurship is sub optimized. These problems have reduced remarkably the volume and variety production and employment possible for theatre and entrepreneurship in the national economy. Theatre and entrepreneurship have not performed credibly well and hence have not played the expected vital and growth development. Akwa Ibom have experience exponential growth in the number of firms and theatre troupes.

However, majority of these practices are measured in terms of capital, employment, production and revenues. Added to the above is difficulty confronted Ibom Tropicana cinema in accessing financial credits, but the most serious is lack of government, interest and support.

1.3     Justification of Study

In Akwa Ibom State, the practice of theatre and entrepreneurship is one of the indigenous practice in which the state is known for. Theatre practice and entrepreneurship brings development to the state, improving the culture of the society, creativity, innovations and new ideas in which Ibom Tropicana cinema is one of the places in Akwa Ibom State. The cinema is a place for relaxation and entertainment of any kind of silver-bird movies it all aims in satisfying movie lovers for entertainment and relaxation.

1.4     Scope and Limitation of Study

The study which covers the entrepreneurship and theatre in Akwa Ibom State with focus on Ibom Tropicana Cinema Centre, the limitation face by Theatre and Entrepreneurship in Akwa Ibom State is lack of government interest in the business and theatre practice. The citizens need government support both financially and other wise another is lack of theatre troupe and business companies in other to employ the indigene of the state to earn a living from it. Akwa Ibom Sate lack good theatre troupes and companies in other to practicalize theatre performances and also to serve as means of employment to reduce the rate of poverty and bring development to the state.

1.5     Significance of the Study

This study will be of immense benefit to the people of Akwa Ibom State, the business community and theatre practitioners. The research work will also serve as a guide to other researchers that wants to embark on similar research on theatre and entrepreneurship in Akwa Ibom State which focused on Ibom Tropicana Cinema.

1.6     Objective of Study

Realizing the role entrepreneurs and theatre in our national economic development, it is the view of this study to find out the factors inhibiting the development of theatre and entrepreneurship in Akwa Ibom State.

The study aims to achieve the following objectives:

1.  Identify the variables that influences entrepreneurial development in the society

2. Examine the society and show to what extent environment and policy discourages the emergence of a vibrant indigenous entrepreneurship.

3. And offer suggestions aimed at creating an enabling environment for the development of theatre and entrepreneurship in Akwa Ibom State.

1.7     Organization of Work

This work is divided into chapters. Chapter one is the introductory part of the work. Chapter two talks about the overview of theatre and entrepreneurship in Akwa Ibom State in which Ibom Tropicana centre is an example of it. In chapter three, the study explains the concept of research methodology, points out her research design, method of data collection, data analysis and also definition of terms. While chapter four focused on the case study which is Ibom Tropicana Centre, its management, operations, staffing and chapter five focuses on summary of findings recommendation and conclusion of theatre and entrepreneurship in Akwa Ibom State with focus on Ibom Tropicana Centre.