Friday November 29th, 2024
TAS 2024 WELCOME ADDRESS
Being the Welcome Address by Alayande Stephen T., Chief Executive Officer/Co-Founder at the Opening Ceremony of the TheatreMania Africa Summit (TAS) 2024 today Friday 29th, November, 2024
Distinguished Guests, Esteemed Colleagues, Theatre Enthusiasts, Creative Minds, Gentlemen of the Press, Students and the future of the Industry here gathered-
It is my great pleasure to welcome each of you to the TheatreMania Africa Summit (TAS) 2024, one of the Build-up events to herald the coming of the TheatreMania Africa Festival & Awards (TAF) 2025 here in Nigeria come October, 2025. This is a journey we started since 2013 and we kept putting different puzzles in its rightful place one after the other in Nigeria and across other Africa countries.
TAS 2024 is a gathering that marks a transformative chapter for African theatre and the creative arts. As we convene here in Lagos, the commercial and creative heart of Nigeria, we stand united under the theme, “The Future of Theatre: Embracing Innovation and Technology in Theatre Productions.” This is not just a theme but a call to action, a vision for how we, as custodians of African stories, can harness the latest innovations to breathe new life into our heritage and propel our art form to new heights.
Today, we live in an era where technology is not just a tool but an enabler of extraordinary possibilities, I dare say that the world of theatre is no exception. From London’s West End to Broadway in New York, groundbreaking advances in technology have brought about experiences that would have been unimaginable only a decade ago. Digital projections, Augmented Reality (AR), Virtual Reality (VR), 3D soundscapes, and even robotics have transformed stages into immersive environments, allowing audiences to experience narratives in dynamic and deeply engaging ways.
The renowned production of War Horse by the National Theatre in London, for example, is celebrated for its life-size puppet horses created by the Handspring Puppet Company of South Africa. This production illustrates how advanced puppetry, combined with animatronics, creates a lifelike experience that is both technically impressive and emotionally compelling.
In Japan, theatre companies are experimenting with holography, bringing characters to life in three-dimensional space without the physical presence of actors. Such was the case in Super Kabuki II: One Piece, where holographic elements blended traditional Kabuki with contemporary pop culture in a spectacular display of immersive storytelling. These technologies not only provide audiences with thrilling experiences but also present us, as theatre professionals, with a unique opportunity to blend our traditions with digital enhancements, showcasing the resilience and adaptability of African storytelling.
Embracing technology in theatre is not only about adding new visual effects or incorporating digital sets; it is about enhancing our ability to connect with our audiences on a deeper level. With the rise of digital platforms, live-streaming capabilities, and interactive performances, theatre is no longer confined to physical spaces.
Productions can now be shared globally, allowing audiences from different continents to engage with the same production simultaneously. Is this not exciting, thrilling and mind blowing?
Imagine, gathering to watch our usual stage plays/Musicals at Shodex Gardens/Freedom Park/Terra Kulture/National Theatre here in Lagos, and having a rare opportunity of making use of hologram technology to have in our audience lovers of African Theatre/Stories globally watching real time the same stage production, aside the immersive experience, the globalisation of our productions/stories, there is also the angle of cashing in financially via ticketing the show either in dollars, pounds, rand or even yen from Japan.
For Nigerian theatre and African theatre at large, this is a profound opportunity to extend our reach beyond our borders, bringing our stories to international audiences and building a global community around African cultural narrative.
In light of these global advancements, we must ask ourselves: how can we, as African theatre practitioners, infuse our productions with technology in ways that enhance, rather than detract from, our storytelling? The journey to answer this question begins here at the TAS 2024.
Over the coming sessions, we will hear from innovative voices in our industry, exchange ideas with one another, and explore partnerships that can drive the fusion of technology with African theatre. Together, we will examine how digital innovations can enhance every aspect of our productions—from script development, pre-production, ticketing, marketing, set design to audience engagement and post-performance interactions.
As we look to the future, we must also consider the responsibilities that come with these new tools. Technology must be seen as a means to deepen our audiences’ connection to the African experience, not as an end in itself.
The authenticity of our storytelling, the preservation of our cultural roots, and the raw emotional power of our performances must remain at the heart of all technological advancements we adopt. Let us remember that, ultimately, theatre is about human connection. Every innovation we explore must serve to bridge, rather than distance, the artist and the audience, and ensure that the soul of African theatre remains intact.
This summit is an opportunity for us to explore the possibilities that lie ahead, not only for African theatre but for our society as a whole. Through the arts, we have the power to address societal issues, foster understanding, and promote unity. By embracing technology, we are not abandoning tradition; instead, we are honoring it by making our stories more accessible, relatable, and impactful.
As we embark on this journey together starting from this Summit to the main festival and Awards next year here in Nigeria (TAF 2025), let us celebrate our collective creativity, the resilience of African storytelling, and the endless potential that lies within the fusion of innovation and tradition.
Let me use this medium to celebrate my age long Co-Traveller in this journey, my Co-Founder of TheatreMania Africa project in person of Mr. Paul Uwagbai, a true Theatre giant whose impact in the Industry in Nigeria since 1986 that he co-founded Black Image Theatre Production here in Lagos cannot be wished away or under-estimated.
This Summit would not have seen the light of the day without the immense support of all our Event Partners from Shodex Gardens, Nkan Media, QUIDBOT, Platos Health, The Street University Project (TSUP), TheatreMania Africa Festival (TAF) and all our numerous Media Partners from WAP TV, HIP TV, RAVE TV, R2TV, R2FM, Yaw Naija, Goldmyne TV, THM360, Brand Times, The Nollywood Reporters, Paparrazi Press, Showbiz Afrika, FilmKraft, GreyLotus, Fresh Waves Concept, Plusplace Media, Eagles House Media, Plus Place Media, Aims Media, Splash9ja, TheatreDome, Mnet24 Studio, Chico Creative etc.
This Summit is put together by TheatreMania Africa Concepts.
Thank you all for being part of this historic gathering and welcome to TAS 2024 – may it be an inspiring, enlightening, and transformative experience for us all.
