Theatre Needs Support to Train Actors, NATAP President

The President of the National Association of Theatre Arts Practitioners, Makinde Adeniran, has said Nigeria's theatre industry may lose its ability to train actors and keep performing arts alive without strong government policies and investment in lasting structures.

Adeniran explained that theatre is the backbone for training performers in the creative industry. He warned that ignoring it could weaken the entire sector, including the film industry.

During an interview with ARISE NEWS on Sunday, he referred to theatre as a place where actors can build and reshape their skills. He argued that film alone cannot offer the same level of learning.

"For every performative arts, the theatre is a laboratory. You don’t take care of it, the ecosystem will fall," he said.

He noted that actors should not depend only on film productions to grow their skills. He said directors might only focus on certain parts of their performances.

"You want to learn acting? You don’t learn acting in film. Because you may be doing your best acting, right, and the director of film may just be focussing on one button. So learning acting really is on stage. To reinvent yourself as an actor, no matter who you are."

Adeniran pointed out that Nigeria's creative industry has huge potential but lacks strong government support. He believes that past government efforts have concentrated too much on individual projects and infrastructure instead of creating lasting policies for the sector.

"And that is one thing that is bedevilling the industry. We have it as a potential. Now that we are even talking about creative economy."

He stressed that just building structures is not enough to keep the creative industry alive. He called for systems that ensure ongoing benefits from government support.

"We cannot say building is the life of the industry. You may have infrastructure. I’m not one of those who are quick to say government must throw money. As a matter of fact, I always say, when you throw money first, you are throwing it into open air. Because there’s no structure that will contain the money you are throwing."

Adeniran wants a clearer understanding of the creative economy and specific policies for its different parts. He believes it is important to focus on what they do within the creative economy for future growth.

"Sometimes when we use this creative economy, I think it’s a carpet. Because under creative economy, there’s so much. So let’s narrow down to what we are doing under it so that we can have a focus, we can build for the future."

He also warned against government projects that are based on personal interests instead of long-term national goals.

"Some of the projects I’ve seen, most of them are happenstance. Yes, our people will rush. You see, there’s always a life for every project they bring up. And the life is just one individual who is saying this is what I want to get out of it. We don’t have the time.

"But what is the country, the collective going to get out of that thing? That is the way we should reason."

He said the lack of good preservation methods means that theatrical performances could end without leaving any record for future generations.

"And the fear, for me now, that is the fear as an individual practitioner, that’s the fear I battle with daily. And I say, we just put everything in the air and it’s gone."

Adeniran added that experienced practitioners should help guide younger entrants so they do not repeat the same mistakes.

"Now we are back to the point where you are looking at the future and then you are seeing kids who are coming into the space that you have come through. The best you can do at that point is to begin to advise them so that they don’t commit the same mistakes that you have done."

He also remembered the impact of the 1986 Agiofest festival, which brought four Nigerian plays to the National Theatre and helped set up the association.

He said the festival united young theatre practitioners who saw the need to organize and protect their interests.

"You see, Agilefest was a little bit before NATAP because Agilefest would be part of the trigger element for NATAP."

He described this gathering as a significant moment for practitioners and the National Theatre.

"It was a big thing around the National Theatre. They even gave life to the National Theatre. The National Theatre as a building, as an architectural masterpiece, was lacking content after the first act."

Adeniran said the association will keep engaging with policies and hosting yearly meetings to tackle challenges in the industry. He added that the 40th anniversary reunion of Agiofest could be a chance to keep the discussion going.

"Even if every year we are looking forward to that, maybe after the conversation today, the reunion today, we will then decide how to carry Agrofest further, you know. Maybe you become a kind of brand that is a conversation or policy driver, you know. We come together every year to talk about, look at the current situation, make a position."