An Original Investigation into the Theory of Audience Reception in Nigerian Theatre

Audience reception theory has been developed predominantly in European and North American theatrical contexts, and its application to Nigerian theatre requires fundamental reconceptualisation to account for the interactive, communal, and culturally embedded dimensions of Nigerian theatrical reception. This study conducted an original investigation into audience reception theory as it applies to Nigerian theatre, developing an original Nigerian Theatre Audience Reception Framework. A multi-phase methodology employing empirical research and theoretical synthesis was used. Phase 1 compiled empirical audience reception data from 600 theatre audience members across Lagos, Kano, Enugu, and Port Harcourt, using real-time response measures, post-performance interviews, and focus group discussions. Phase 2 analysed data through the lens of existing reception theory (Fish, Jauss, Bennett) before developing Nigerian-specific theoretical modifications. Phase 3 refined theoretical propositions through expert consultation with 20 performance scholars. Key original findings included the centrality of communal response rituals (call and response, collective laughter, shared vocalisations) in structuring meaning-making that individual reception theory could not capture, the role of ethnic and regional identity in pre-shaping expectations, the function of vernacular language in generating reception solidarity, and the performative dimension of audience behaviour as co-authorship. The original Nigerian Theatre Reception Framework proposes five reception dimensions not captured in standard models. Expert review confirmed the study's theoretical originality. Recommendations include integrating reception analysis methods into Nigerian theatre training and adopting the framework in PhD supervision of audience studies research.

Keywords: audience reception theory, Nigerian theatre, reception framework, performance studies, original theory