PUBLICITY AS A MARKETING STRATEGY. A CASE STUDY OF ELECHI AMADI’S ISIBURU AS PRODUCED BY THE RIVERS STATE COUNCIL FOR ARTS AND CULTURE.
TABLE OF CONTENT
Table of content
Research of study
Significance of study
Statement of problem
1.0 definition of terms
1.1 synopsis of the play, Isiburu
1.2 playwright’s Biography
2.0 literature review
3.0 plot structure Analysis of Isiburu
3.1 language/style/techniques of Isiburu
3.2 thematic structure of Isiburu
3.3 Character/Characterization of Isiburu
3.4 History of the Rivers State Council for Arts and Culture
3.5 the Theatre of the Rivers State Council for Arts and Culture
4.0 defining publicity
4.1 publicity in the production of Isiburu
This project is a critical look of the publicity as a marketing strategy with specific reference to the River State Council for Arts and Culture. The project looks into the different publicity strategies put in place by the Rivers State Council for Arts and Culture.
In terms of publicity, Hand bills, Billboards and several other publicity measures were put in place, faced with perennial problems of poor funding, the council has not been able to function to its fullest essentials. The effect of this, as this research has discovered, is that fewer productions are staged and low audience patronage is achieved due to inadequate publicity strategies. However, some useful recommendations are made in this vein.
Chapter one introduces the topic, defines relevant terms and gives an idea on the focus of the research. Chapter two reviews relevant literatures in this research.
Chapter three presents the History of the Rivers State Council for Arts and culture.
Chapter four looks at some solutions to publicity strategies chapter five concludes are recommends solutions to identified problems.
Purpose of study
This work is on the publicity strategies adopted by the council for Arts and Culture in Rivers State. It examines the historical development and management of the centre, finds out the factors that helped or marred the marketing of its productions. It also identifies the marketing related problems of the centre, analyses them and recommends solutions to them. It generally investigates how to efficiently and effectively market a commercial based production.
The findings of this study will illuminate public understanding of publicity strategies in the cultural centres and way that the marketed product is adequately channelled to the appropriate or targeted market.
Davidson and Doody (1996) stated that the success of an individual frim is based on the ability of its management to recognize and understand the diversity among audiences, which brings about the various types of marketing strategy that can be employed effectively to meet the demands of audience.
The research methods applied in this study are both the primary and secondary sources. The primary sources are those sources, which contain a direct account of an event or phenomenon given by someone who actually observed. The secondary sources, on the other hand are those materials, which contain an account of an event or phenomenon by indirect sources. The author of a secondary sources materials tires to collect and synthesize a pool of primary materials being her own interpretations, viewpoint and to the primary material; examples are text books, encyclopaedias, magazines, journals etc. profitability. The various types of marketing strategy would be talked about in chapter four.
A major problem facing most Theatre establishments is there in ability to be audience oriented. However, the publicity implemented in cultural centres vary. Some cultural centres do not require serious publicity strategies, yet have a large turnout whenever they have any production. While others cannot do without aggressive publicity strategy.
SIGNIFICANCE OF STUDY
The purpose of this work is to capture and expose to others certain aspects of theatre that needs to be re-examined. It is the first time to investigate the publicity strategies used in Rivers state Council for Arts and Culture. It throws a lot of light on the issue of poor marketing. E.g the causes of low audience turn out in cultural Centre productions. It remains justified because it highlights the various publicity strategies that should be adopted in other to meet with the exigencies that should be adopted in other to meet with the existences of producing a play.
STATEMENT OF PROBLEM
The major problem that arises which poses difficulty is the issue of organized publicity strategy. Whether the proposed production is given a good publicity, the price tag attached as gate fee is the appropriate fee or the quality of production is adequate for the targeted customers or audiences. All these are some of the problems militating against a proper production. These difficulties encountered as mentioned shall be identified and investigated in this research.
A lot of researches have been carried out on productions that have been performed at the Rivers State Council for art and culture, but none has critically looked at the publicity strategy employed. In this light, this research would focus on the marketing strategies that are used for their productions, finding out their short comings and proffering solutions to them.
Marketing strategy is an essential part of any organization for any organization to be successful, it has to be properly marketed. As stated by Pride and Ferred in Kalu, they agree that marketing strategy ‘’encompasses selecting and analysing a target market and creating and maintaining an appropriate marketing mix that will satisfy the market’’ (Kalu, 1998:66). An improper or misdirected marketing strategy would yield less or no dividend. As such marketing strategy should be geared in such a way that the marketed product is adequately channelled to the appropriate or targeted market.
Davidson and Doody (1996) stated that the success of an individual firm is based on the ability of its management to recognize and understand the diversity among audiences, which brings about the various types of marketing strategy that can be employed effectively to meet the demands of audience profitability. The various types of marketing strategy would be talked about in chapter four.
A major problem facing most theatre establishments is there in ability to be audience oriented. However, the publicity implemented by cultural centres vary. Some cultural centres do not require serious publicity strategies, yet have a large turnout whenever they have any production, while others cannot do without aggressive publicity strategy.
The Oxford Advanced Learner’s Dictionary defines publicity the given of information about something in order to attract the attention of the public’’ (Oxford, 1998:937)
The Oxford Advanced Leaner’s Dictionary defines production as:
The action of manufacturing, growing extracting etc. things especially in large quality’’ (Oxford 1998: 923)
The Oxford Advanced Learner’s Dictionary defines strategy as:
a plan designed for a particular purpose’’‘’the process of planning something o carrying out a plan in a skilful way’’ (oxford, 1998:1179)
The actors offering these services to the spectators. Grotowski, on the other hand, believe that what takes place between the spectators and actors could be described as event. While Kenneth Cameroun and Patti Gilespre both agree with the fact that the theatre is an art, they also advocate the presence of the audience however, they rather explain the term theatre from the perspective of what the performers do and how they do them. In this Opinion, Christ Nwamuo observed that:
Theatre is a demonstration of any action by anyone or a group of people at a particular place and movement time, with or without make-up, costumes, rehearsals and/or improvisation before an audience gathered for interest to share and to celebrate’’ (1984:40).
He goes on to conclude that theatre is a discipline which combines learning with performance or re-enforces learning by doing. Explaining the theatre as a discipline also, Adedeji further says that:
By its scope and practices, the theatre is a discipline with both cultural and vocational, academic and technical, public relations oriented and image making, but whose concepts and thoughts are coalesced and synthesized for the edification of man, the development of the individual and society and society and the refinement of the human, artistic excellence (Adedeji, 1981:3)
Looking at a theatre from the perspective of African Traditional theatre, Stanley Obuh defines the Igbo traditional theatre as a series of events, dramatic scenes and processions by a group of performers before an audience, most of whom are participants in the event. Obuh goes on to make a little distinction by saying that theatre is a transaction between the performers and the audience. It has to be designed for a presentation before an audience in other for it to theatre (Obuh, 1984:45). Though Oscar Brockett in his book the Theatre. An introduction does not come out with a clear-cut definition of the term theatre, he observes that it is the art that comes closed to life as it is lived (1979:12). From all the definitions given and for the purpose of this research, we can define theatre as a place of performance, as well as an act of performance for which the building is only part of, or, s what takes placed between the actors and the audience. The term theatre can still be defined and explained to mean more things depending on the perspective from which one looks at ti. It is a building where theatrical activities take place.
According to Longman’s Dictionary of Contemporary English, a stage is the raised floor in a theatre on which plays are performed. This definition implies that stage refers to the floor on which all theatrical performances take place.
The lobby refers to a wide, spacious or large hall just inside the entrance to a theatre hall. It is also called the foyer.
Back stage refers to the areas in the theatre where performance preparation could be handled there.
Auditorium simply refers to the part of the theatre where the audience sit while watching a play, it also means a large building used for concert performances.
Ticket refers to all printed pieces of papers, which shows that someone has paid to enter the theatre.
As the name implies, it refers to designated persons who are permitted to sell tickets most times at the ticket booths.
A business manager refers to the official of the theatre who has the responsibility of handling all financial transactions for the theatre. He is in charge of approving the use of theatre or any activity. He is also in charge of soliciting for sponsorship.
The house manager is in charge of controlling the physical structures, appliances (electrical and mechanical for maintenance purposes.
The box-office refers to the placer in a theatre where tickets are sold. Synthesized for the edification of man, the development of the individual and society and the refinement of the human, artistic excellence (Adedeji, 1981:3).
Looking at a theatre from the perspective of African traditional theatre, satanley Obuh defines the Igbo traditional theatre as series of events, dramatic scenes and processions by a group of performers before an audience, most of whom are participants in the event Obuh goes on to make a little distinction by saying that theatre is a transaction between the performers and the audience.
1.1 SYNOPSIS OF THE PLAY Isiburu
It is the sixth year, Isiburu; the great Ikwerre wrester has defeated all his opponents. He is preparing for the seventh year which will eventually made him the overall wresting champion of Ikwerre, should he beat his opponents again. Amadioha, the king of sky and thunder calls him to his service. The implications of this is that, Isiburu will forfeit his wresting carrier and accord Amadioha a full time services. Isiburu pleads that he be given one more year to acquire the championship before serving the gods he further ignores the gods and becomes stubborn, goes ahead to acquire the championship. Uzo who thinks, his fiancés, Mgbeke is used for sacrifice to ensure Isiburu’s final victory, he decides to revenge by breaking Isiburu’s pot of life. On his victorious return from the wrestling area and Isiburu discovereds his pot broken and as a result dies.
The elders and spiritual heads of the land appears on scene, perform some traditional rituals to Amadiha and isiburu resurrects from death to join the service of the gods.
1.2 PLAY WRIGHT Biography
Elechi Amadi was born in Aluu (near Port Harcourt), in the Ikwerre region of Eastern Nigeria, into an Ibo family, representing a minority nation (tribe), the Ikwerre. He studied at the Government College in Umuahia, and like other major Nigerian writers, he is educated at the University College of Ibadan. Amadi receivived his B.Sc. in physics and mathematics in 1959. He Worded in 1959 – 60 as a land surveyor in Enugu and then as a science teacher in protestant mission schools in Oba and Ahoada. Eleechi Amadi’s first novel The Concubine, was published in 1966. Other novel published by him includes, the Great Ponds, sunset in Biafra, the slave, Dancer of Johannesburg, Estrangement. His plays includes Pepper soup, the Road to Ibadan, Isiburu.
Adedeji, J. ‘’The Theatre in An African University’’ An Appearance and Reality’’ in Innocent Ohiri ‘’Aspect of Theatre management’’, (nd).
Brockett, O. The theatre: an Introduciton. New York: Holt, Rinechart and Winston, 1981.
Davidson and Doddy Management New York, Harper and row, 1996.
Obur, S. ‘’The Theatre: Use of Mask in Southern Igbo of Nigeria’’ New York: in Aspects of Theatre Management By Innocent Ohiri (Unpublished) (nd) 1984.
PUBLICITY AS A MARKETING STRATEGY. A CASE STUDY OF ELECHI AMADI’S ISIBURU AS PRODUCED BY THE RIVERS STATE COUNCIL FOR ARTS AND CULTURE.
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