RESEARCH  REPORTS 

96.

GHANAIAN  PRODUCERS  FOR  RADIO  AND  STAGE—

SIMILARITIES  IN  TRAINING  PROGRAMMES

by  J.  Scott  Kennedy

The object  of  this  project  is to examine  the  nature  of a  training
programme  for  producers  in  Ghana  and  to determine  the similarities  and
dissimilarities  in such training  programmes for  producers of  radio drama
and  producers of stage drama  in  Ghana.

The  subjects  of  this  investigation  include  male  and female  adults

and  make a  total  of  thirty-two.  The  instruments  used include  intensive
interviewing  via  interview-response  sheet,  autobiographical  case  histories,
taped  interviews/  graded  technique  exercises,  questionnaires*  and  parti-
cipant  observation.

This  initial  investigation  limits  itself  in scope to an  intensive

study  of  three  specific  groups  in Accra  including  the  following:

(1)  Producers of  Drama  for  Radio  from the  Ghana

Broadcasting  Corporation.

(2)  Producers of  Drama  for  Stage  from  the  Ghana  Drama

Studio.

(3)  Producers of  Drama  for  Stage  from the  University  of

Ghana  School  of  Drama  students.

The  approach  and  check  includes a  specific  design and analysis
based on the  'Tune-In1 and  'Unlocking'  Process.  Special  check-sheers,

*  Dr.  J.  Scott  Kennedy  is a  Senior  Research  Fellow  in Music  &  Drama.

RESEARCH  REPORTS 

97.

study-sheets,  and syllabi  have been designed  in  the areas of  producing,
directing,  drama analysis,  oral  interpretation,  and acting  technique.
Graded test's and exercises are being  used in a series of  production
exercises.

Under  focus  is the  process of  producing,  whether  it  be for stage
or  for  radio.  The analysis uses as a point  of departure  the discipline  of
the  Professional  Director,  Critic,  and  Producer,  as well  as the  discipline
of  the  Specialist  in  Communication.

A  basic  rationale  is included  in  the design and study. 

If  is stated

The producer's ability  to  COMMUNICATE  in fhe basic areas

as follows: 
of  his work  determines his effectiveness  as a producer.  The producer's
ability  to use language and technique  determines  his ability  to communicate
The producer's  technique  is,  to a  large degree,  determined by his use of
language and communication.  The producer's  task  is to handle the objects
of  his work.  The major  objects  of  his work  include: 
(2)  People  (players) 
(audience).

(3)  Place  (studio or stage) and  (4)  People

(1)  Play  {scTTpFJ

Technique  is fhe  producer's  tool  for  the analysis,  creation,  inter-
pretation,  and execution  of a dramatic  experience  (his play)  through his
theatrical  medium  (his actor).  Technique  enables a producer  to design,
interpret,  and execute a production.

It  follows  then,  that a training  programme  for  producers must be
designed to enable a producer  to create  theatrical  life  through his actors
and finally  communicate  this experience  to  his audience.  Moreover,  the
process  ?n the  training  programme must design tasks that enable a producer
to make theatre  and to communicate  this theatre via  the most effective
means to an audience.  The participant  observation  phase of the  'Tune-In'
and  'Unlocking'  process  stresses the  following:

0)  Study the  subject and discover  his assets and  liabiliHes^as

a  producer.

RESEARCH  REPORTS 

98.

(2)  Study  Hie  subject  and  find  out  .vhat  technique,  if  any,

exists,

(3)  Design  tests and  exercises  thai  develop  a  producer's 

» <i

technique.

(4)  Utilize  tapes,  production  tasks,  irnprovisationa!  scenes,

and  interpretation  tasks,

(5)  Design a  method  that  aids  the  producer  in developing  hfs

own "technique  in  respect  \o  play  analysis,  audience
analysis/"ancThis  use of  vertJaTBeTiaviour  and  communication.

(6)  Sefl«  hooi.  -•!•,?•] anafyzp  the  end-product  in  theatrical  productions.

Major  ncpects  of  the  training  programme  Include  the  following:

(1)  Approach  to  Productions

The  Process  --  Method  —•  Objectives

(2)  Looking  at  Technique

(3)  The  Role of  the  Producer

(4)  Unlocking  the  Artist

(5)  Research  for  Technique

{6}  The  Script  and  the  Actor

(7)  Basic  Communication  for  the  Ghanaian  Actor

(0)  Voice  and  Speech  Production  —  Method  of  Approach

(9)  Criteria  for  Standards of  ExceMence  in  Theatre  Production

(10) 

isolating  Production  Problems

{] 1)  Choice  of  5'jHabifi  Ploys  for  Stage and  Radio

RESEARCH  REPORTS 

99.

(12)  Nature  of  the  Dramatic  Experience and the  Ghanaian  Audience

(13)  Looking at  the  Script

(14)  Opening  up the  Script

(15)  Opening  up the Actor

(16)  Dressing  the  Stage or  Studio

(17)  Trying  to  Understand the WORK as a TEAM

(18)  Discovering  the  ENERGY of the  Dramatic  Experience

(19)  Discovering  the  RHYTHM of  the  Dramatic  Experience

(20)  Characterization  and Communication.

COMMUNICATING  CULTURE  THROUGH  THEATRE AND  THE ARTS

The object  of  this  project  is to examine  the nature of  'the  Ghana-
Ian experience1  in  respect  to  the  culture and  life  of  the  Ghanaian as seen
through  his drama,  theatre,  and art  forms.

The subjects of  this  project  include  male students  from America

and Canada who  have  had no previous exposure to Ghana  or Africa,
There are six  subjects.  Moreover,  these subjects,  specializing  in the
areas of  history  and political  science,  have had little  or no formal  exposure
to or discipline  in  the arts,  either  in  their  own country  or  in Africa.

The method embraces an  intensive  four-week  courte  In Theatre

and the  Related Arts of Africa.  A  team-workshop approach  plus the  lecture
method  is employed which  utilizes  two American specialists  in drama and

RESEARCH  REPORTS

100.

theatre  studies,  as well  as Ghanaian  specialists  In all  of  the major areas
of  the arts and culture  of  Ghana,  Specific  tasks are designed h:  Include
seminarsr  hfps,  dialogue-confrontations,  visitations,  required r:>Gc''>ij'i..
discussions,  ifjeuk-outi,  end-papers,  and examinations,  as well  as aukt-
blocr-'sphica!  case histories.

The approach and check  includes a specific  design and analyst?
based on  the  *Tune-In' and  'Unlocking'  Process.  Special  check-sheets,
study-sheets,  and syllabi  are designed and structured around the Theatre
and  the  Related Arts  of Africa.  On  the other  hand, special  tasks and
tests are also used based on the  required  reeding and classroom experiences
?n order  fo determine  an objective  picture  of  the knowledge,  skills,  and
'..••sights of  the subjects  in  respect  to  Ghana and Africa.

The examiner  is expected  to  take a criHcal  look at  the behaviour

and attitudes  of  *he subjects  in respect  to their  learned'Ghanaian  or
African  experience1.

1 

i