Total Theatre Aesthetics and Directing in Contemporary Nigerian Theatre: Towards an African-Centred Performance Paradigm

Total Theatre has long been identified as a defining characteristic of African performance traditions; however, its systematic articulation within contemporary directing theory remains limited. While African theatre scholarship frequently acknowledges the integrative nature of indigenous performance, combining music, dance, ritual, spectacle, and communal participation as insufficient attention has been paid to how these elements are consciously organised through directing practices. This article reconceptualises Total Theatre aesthetics as an African-centred directing paradigm, rather than a descriptive cultural attribute. Drawing on recent African and global performance scholarship (2020–2025), the study synthesises Total Theatre theory, postcolonial performance aesthetics, ethno-dramatics, and contemporary directing theory to establish a coherent conceptual framework. It argues that contemporary Nigerian directing practices exemplify an alternative theatrical modernity grounded in holistic orchestration, ritual logic, and experiential design. By foregrounding Total Theatre as a methodological and theoretical framework for directing, the article contributes to emerging discourses on African-centred directing, performance ontology, and postcolonial theatrical modernities.