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\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl9\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}\pard\plain \ltrpar\qc \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid941577 
\rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \ab\af0\afs38 \ltrch\fcs0 \b\fs38\insrsid941577\charrsid941577 APPLAUSE:}{\rtlch\fcs1 \ab\af0\afs38 \ltrch\fcs0 
\b\fs38\insrsid12849733\charrsid941577 
\par }{\rtlch\fcs1 \ab\af0\afs38 \ltrch\fcs0 \b\fs38\insrsid941577\charrsid941577 JOURNAL OF THEATRE AND MEDIA STUDIES
\par }{\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577 
\par 
\par 
\par 
\par 
\par 
\par 
\par }{\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577\charrsid941577 
\par 
\par 
\par 
\par VOL. 1, NO.2, 2006
\par 
\par 
\par 
\par 
\par }\pard \ltrpar\qj \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid941577 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577 
\par 
\par 
\par }{\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577\charrsid941577 Department of Theatre Arts
\par University of Calabar,
\par Calabar }{\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577 
\par }\pard \ltrpar\qc \li5\ri1690\sb120\sl-542\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1690\lin5\itap0\pararsid8323731 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid941577 \page }{\rtlch\fcs1 \ab\af0\afs23 
\ltrch\fcs0 \b\fs23\expnd1\expndtw6\cf1\insrsid15553141 THE C}{\rtlch\fcs1 \ab\af0\afs23 \ltrch\fcs0 \b\fs23\expnd1\expndtw6\cf1\insrsid941577 HORISTER AS A PERFORMER}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 
\par }\pard \ltrpar\ql \li2146\ri446\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin446\lin2146\itap0\pararsid941577 \cbpat8 {\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\cf1\insrsid941577 
\par Felix A. Akinsipe 
\par Department of Theatre Arts, }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\expnd0\expndtw-1\cf1\insrsid941577 Ahmadu Bello University, Zaria}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 
\par }\pard \ltrpar\ql \li14\ri0\sb293\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin14\itap0\pararsid941577 \cbpat8 {\rtlch\fcs1 \ab\af0\afs23 \ltrch\fcs0 \b\fs23\cf1\insrsid941577 Introduction}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 

\par }\pard \ltrpar\qj \fi725\li10\ri5\sb264\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin5\lin10\itap0\pararsid941577 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid941577 
The fight and romance between the church and the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid941577 theatre is a long one. However, the fact has been established }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid941577 
that the spoken drama and the musical dance (theatre) must }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid941577 have both probably developed from religion or as a means of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid941577 
religious worship (Hodgson 1972:72). All through the ages }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid941577 however rind the theatre being sometimes totally embraced }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw9\cf1\insrsid941577 
by the church and sometimes sternly denounced by it. For }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid941577 example, the church had begun to attack the minstrel or Harper }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid941577 
or dancer, actors and stage players - the theatre - as early as A. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid941577 D. 348 when the Third Council at Cartage:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 
\par }\pard \ltrpar\qj \li917\ri850\sb403\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin850\lin917\itap0\pararsid941577 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd5\expndtw28\cf1\insrsid941577 ...declared such people to be }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid941577 excommunicated and the council of Eliberis }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd-1\expndtw-5\cf1\insrsid941577 adds, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd6\expndtw34\cf1\insrsid941577 'If}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd-1\expndtw-5\cf1\insrsid941577  a Sooth-sayer or stage player have a }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid941577 mind to become believers, that is, to be }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw1\cf1\insrsid941577 baptized, let them be received on condition }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid941577 that they first bid adieu to their arts, and }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid941577 return not to them again}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\super\insrsid941577 1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid941577  (Edwards 1984: }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd-1\expndtw-7\cf1\insrsid941577 24).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 
\par }\pard \ltrpar\qj \fi725\li24\ri0\sb403\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin24\itap0\pararsid941577 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid941577 
However, around the same time, the theater was }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid941577 embraced in some churches so much that Basil (Bishop of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid941577 Caesarea in 370) c
alled dance the noblest act of the angels and}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid941577 
\par }\pard \ltrpar\qj \li14\ri250\sb144\sl-293\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin250\lin14\itap0\pararsid15623203 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid15623203 \page }{\rtlch\fcs1 \af0\afs25 
\ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid15623203 by the sixth century, there is evidence of dance in the churches }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 
especially at Christmas Rasters and other festivals. (Edwards, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid15623203 1984:25). This ancient trend has continued till modern times. }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-6\cf1\insrsid15623203 For example,}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid15623203 
\par }\pard \ltrpar\qj \li946\ri1210\sb326\sl-278\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1210\lin946\itap0\pararsid15623203 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid15623203 
In May 1967 a dramatic presentation of the mass was performed in Liverpool's Roman }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 Catholic Cathedral. It was planned for two }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-1\cf1\insrsid15623203 years, involved thirty-six dancers, a choir }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid15623203 of eighty, an orchestra of fifty and cost }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-5\cf1\insrsid15623203 \'a350.000 (Edwards 1984: 4).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid15623203 
\par }\pard \ltrpar\qj \fi701\li106\ri62\sb365\sl-278\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin62\lin106\itap0\pararsid15623203 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid15623203 Up till today, th
e argument persists. Has the church }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 
anything to do with the theatre? While some churches embrace the theater there are some that will have nothing to do with it. Nevertheless, we shall go on to establish in this paper that the }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-5\cf1\insrsid15623203 church has some common grounds with the theater in function, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 purpose and practice. The paper therefore examines who the }{
\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd3\expndtw15\cf1\insrsid15623203 theatre artists and the choristers are, and their }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 
interrelationships. Since the church and the theatre, as well as, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw1\cf1\insrsid15623203 the chorister and the theatre artist are seen differently by }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-3\cf1\insrsid15623203 different people, there is need to define their characters see if }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid15623203 they have anything in common.}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid15623203 
\par }\pard \ltrpar\ql \li182\ri0\sb394\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin182\itap0\pararsid15623203 \cbpat8 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\cf1\insrsid15623203 The Theatre and the Theatre Artist.}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid15623203 
\par }\pard \ltrpar\qj \fi710\li202\ri0\sb91\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin202\itap0\pararsid15623203 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid15623203 
The theatre may refer to the building where different }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-1\cf1\insrsid15623203 performance arts take place. The theatre also entails the }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-4\cf1\insrsid15623203 performance of the different arts, i.e. music, dance and drama. }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw1\cf1\insrsid15623203 The theatre (building) usually consists of the acting space }{
\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\cf1\insrsid15623203 (stage) and the audience's position (auditorium). Barringer }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid15623203 
(1991: 9) posits that the three basic components of theatre are }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd1\expndtw8\cf1\insrsid15623203 the actor, the space, and the audience. For a theatre }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd1\expndtw6\cf1\insrsid15623203 performance to take place therefore, there have to be the}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid15623203 
\par }\pard \ltrpar\qj \li38\ri0\sb77\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin38\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid15623203 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\cf1\insrsid4874495 performers (actors, actresses, singers, musicians, dancers etc.) }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid4874495 who perform on the stage (usually a raised platform) before an }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid4874495 audience (who might have paid or not to see the performance). 
\par }\pard \ltrpar\qj \fi682\li38\ri0\sb77\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin38\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 
The theatre may also refer to the performance that is }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid4874495 going on. When an experience (message) is being shared by the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 
performers and the audience with or without other elements of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid4874495 the theatre such as; lighting, scenery, sound effects etc. a }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-2\cf1\insrsid4874495 theatre is said to be taking place. This simply means that the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 theatre aims, very importantly, to, pass across a message, that }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid4874495 is, communicate with the audience. That is why Antonin }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid4874495 Artaud says:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\ql \li2194\ri0\sb413\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2194\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 The theatre}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\ql \li2198\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2198\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid4874495 Is the state}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid4874495 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid4874495 The place}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\ql \li2194\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2194\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 The point}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid4874495 
\par }\pard \ltrpar\ql \li2198\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2198\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 Where   we }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw2\cf1\insrsid4874495 can   get   hold   of   man's}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid4874495  anatomy}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\ql \li2194\ri0\sb10\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2194\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 And through it heal and dominate life.}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\ql \li2189\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin2189\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 (Akinwale 1993: 12).}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\qj \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4874495 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 The theatre artists therefore, are the creative thinkers }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid4874495 (people or group) behind any theatrical and artistic experience. They are the vehicles through which theatre is achieved. They }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 
include the directors, choreographers, playwrights, librettists, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid4874495 composers, conductors, actors, actresses, dancers, singers, }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw2\cf1\insrsid4874495 stage managers, theatre technicians and designers etc. who }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw9\cf1\insrsid4874495 attempt through their creative visions to recreate life }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw1\cf1\insrsid4874495 experiences for the audience's better understanding, appraisal }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 or entertainment. The artist is therefore seen 'as a Seer, a }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 Visioner, Thinker, a Creator, the Conscience of the society, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 Gadfly, a Prophet, a Town Crier, a Teacher and a Revealer of }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 Divine mind (Sofola 1994: 2). The theatre artist is therefore }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid4874495 tasked with representing, educating, entertaining, as well us, }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 correcting his society.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid941577 
\par }\pard \ltrpar\ql \li0\ri0\sb504\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid4874495 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd3\expndtw15\cf1\insrsid4874495 The Church and the Chorister}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\qj \fi725\li5\ri10\sb120\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin10\lin5\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 
The church may refer to the (building) where different }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid4874495 people (Christians) converge to worship. The church (building) }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid4874495 
usually consists of an altar (a flat-topped raised platform where }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid4874495 the priests and, sometimes, the choristers sit) and the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd2\expndtw10\cf1\insrsid4874495 congregation's position. The church can also refer to the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid4874495 service (form of worship, prayer, and sermons, singing and }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw2\cf1\insrsid4874495 other activities) taking place in such building, which is usually }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw12\cf1\insrsid4874495 aimed at fostering communication, relationship and }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw3\cf1\insrsid4874495 understanding between God and human beings. The church }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 
attempts to say things (preach) and do things directed at man (the congregation) to make them confirm to norms especially }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid4874495 the divine norms or standard. That is why Rene Padilla stated }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid4874495 without mincing words that 'preaching continues to be }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 unavoidable to the church, as burning is to fire. If the church }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw9\cf1\insrsid4874495 ever ceased to preach she would cease to be the church }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid4874495 (Edwards! 984: 117-8).}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid4874495 
\par }\pard \ltrpar\qj \fi725\li24\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin24\itap0\pararsid4874495 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid4874495 
The choir is therefore one of the groups in the church }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid4874495 through whom the Church achieves it objectives. They are }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid4874495 
vehicles of carrying messages across to the congregation to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid4874495 enhance or buttress the service. The }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\expnd1\expndtw5\cf1\insrsid4874495 
Chambers Dictionary' }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid4874495 defines the choir as 'an organised group of }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\expnd0\expndtw3\cf1\insrsid4874495 trained }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw3\cf1\insrsid4874495 singers, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid4874495 especially one that }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\expnd1\expndtw5\cf1\insrsid4874495 performs }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw5\cf1\insrsid4874495 in the church' (Robinson 1996: }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 244, emptiasis mine). The choir is a recognised part of the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw5\cf1\insrsid4874495 Christian worship in the bible. Thus we have such choirs as }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid4874495 David's (lChro.16: 4-9) Zerubabel's (Ezra 3: 10-11) and }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw5\cf1\insrsid4874495 Nehemiali's temple choir (Neh.12: 27-30). In the same way music is very vital to Christian worship. Song was used to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid4874495 
perform many miracles in the bible. The book of psalms in the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 Old Testament is a bundle of examples in this line while the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw5\cf1\insrsid4874495 prison experience of Paul and Silas in the New Testament }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid4874495 (Actsl6:25-29) is vivid example. It is also
 worthy of note that the bible records that God himself rejoices in singing (Zeph.3:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid4874495 
\par }\pard \ltrpar\qj \li48\ri0\sb101\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin48\itap0\pararsid11995738 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid4874495 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\cf1\insrsid11995738 17), as well as, the hosts of angels (Job 38: 7). In the New }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid11995738 Testament Jesus Christ, the son of God was recorded as singing }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid11995738 hymns with his disciples (Mark 14: 26; Matt.26: 30). Paul at }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid11995738 various times also called on Christian to sing hymns and }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw1\cf1\insrsid11995738 praises to the Lord (lCor.14: 15; Eph.19: 26). The bible is full }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid11995738 of books of songs, hymns and several occasions in which }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \cf1\insrsid11995738 music is used. No wonder the Psalmist said:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11995738 
\par }\pard \ltrpar\qj \li1469\ri1454\sb274\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1454\lin1469\itap0\pararsid11995738 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid11995738 
Praise ye the Lord. Praise God in }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid11995738 his sanctuary... Praise him with }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid11995738 the sound of the trumpet; Praise }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-2\cf1\insrsid11995738 him with the psaltery and harp! Praise him with the tumbrel and }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid11995738 dance; Praise with stringed }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-3\cf1\insrsid11995738 instruments and organ Praise him }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid11995738 upon the loud cymbals: praise }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid11995738 
him upon the high sounding }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid11995738 cymbals. Let every thing that }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid11995738 hath breath praise the lord. Praise }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid11995738 ye the Lord (Ps 150: 1,3-5).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11995738 
\par }\pard \ltrpar\qj \fi734\li19\ri29\sb278\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin29\lin19\itap0\pararsid11995738 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid11995738 
If music is so much loved by God and so dear in his }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid11995738 worship it is therefore very important that it should be done }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid11995738 
very well. This is because the art of singing in the church, if it }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid11995738 is done well, can be the best way of moving closer to the Lord }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid11995738 spiritually, knowing His mind, finding His face and presenting }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid11995738 oneself or the entire service/congregation before Him.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11995738 

\par }\pard \ltrpar\qj \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid11995738 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid11995738 There is no doubt that all these can only be best }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid11995738 achieved if the choristers who are responsible for organising, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid11995738 coordinating and rendering songs in the church see themselves }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid11995738 as the (artistic) vessel being used in reaching God and their }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid11995738 medium as an art. Of all the various media of communication }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid11995738 in the theatre the choristers rightly belong to the music }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid11995738 medium. They are the creative artists (people) behind any }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid11995738 musical experience in the church. This therefore, puts them}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid4874495 
\par }\pard \ltrpar\qj \li0\ri62\sb106\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin62\lin0\itap0\pararsid16350603 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid11995738 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw2\cf1\insrsid16350603 within the context of the performing (theatre) artists of the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 
church. It is only when they realize this and see their roles as artistic and themselves as artists in the church that they can put }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid16350603 on all the professional commitment of theatre artists toward }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid16350603 making a great performance for the Lord. This is also when }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid16350603 they can be business-like in their approach to the choral }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid16350603 performances.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16350603 
\par }\pard \ltrpar\qj \fi710\li14\ri43\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin43\lin14\itap0\pararsid16350603 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid16350603 
From all the above, a fundamental link has been }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid16350603 established between the theatre and the church and between the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 
chorister and the theatre artist. The church as a building is not }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid16350603 different to the theatre as a building. The 'stage' is common to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid16350603 
both as they usually have a raised platform in the front where }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid16350603 the theatre artist performs and where the choristers and (priests, }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid16350603 etc.) also perform. The auditorium is also common to both. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid16350603 This is where the audience seats in the theatre and the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid16350603 congregation in the church.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16350603 
\par }\pard \ltrpar\qj \fi720\li34\ri34\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin34\lin34\itap0\pararsid16350603 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid16350603 
Having established the above, we shall now focus on }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid16350603 the common grounds between the theatre artist and the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 ch
orister to show how they are closely linked and perform the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid16350603 same function. There is however, emphasis on what the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid16350603 
chorister should do or not do to be a good artist in the church.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16350603 
\par }\pard \ltrpar\ql \li53\ri1382\sb173\sl-413\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1382\lin53\itap0\pararsid16350603 \cbpat8 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\expnd0\expndtw-2\cf1\insrsid16350603 
The Chorister and the Theatre Artist: The }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\expnd0\expndtw3\cf1\insrsid16350603 Common Grounds }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\expnd0\expndtw-2\cf1\insrsid16350603 (a)    Communication}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid16350603 
\par }\pard \ltrpar\qj \fi490\li58\ri0\sb82\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin58\itap0\pararsid16350603 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid16350603 
As stated earlier, to communication is the major function }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 of the theatre artist. He aims at passing messages across to the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid16350603 audience and once this fails, it can be concluded that no }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 meaningful theatre has taken place. The same way the message }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid16350603 is very important to the chorister. The choir is known to use }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid16350603 music to preach, worship, teach, encourage, praise, pray and }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid16350603 entertain among other things. So, once the aim is lost the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw12\cf1\insrsid16350603 chorister also becomes irrelevant. Obviously, what the}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid16350603 
\par }\pard \ltrpar\ql \li19\ri0\sb86\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin19\itap0\pararsid12593769 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid16350603 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw3\cf1\insrsid12593769 chorister aims at is also the ultimate goal of the theatre artist. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 Sofola (1994: 22) defines art as:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12593769 

\par }\pard \ltrpar\qj \li898\ri1003\sb269\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1003\lin898\itap0\pararsid12593769 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid12593769 
The medium through which the soul of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw14\cf1\insrsid12593769 man reaches out beyond itself. To }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw11\cf1\insrsid12593769 transform and make intelligible the }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 prodding within the inner recesses for the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid12593769 ultimate truth, the meaning of existence, }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\cf1\insrsid12593769 man's place in the cosmos, his relationship }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid12593769 to the supreme creator and his fellow }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid12593769 
creatures, and finally the ultimate end of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd-1\expndtw-8\cf1\insrsid12593769 man.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12593769 
\par }\pard \ltrpar\qj \fi720\li0\ri0\sb274\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12593769 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid12593769 
To communicate effectively therefore, the artist makes use of various artistic techniques of effective communication. This includes projection, audibility and clarity. The same way }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid12593769 
the chorister must be loud enough without shouting. Every }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid12593769 word of the lyrics must be pronounced distinctively and }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid12593769 
appropriately. It is observed that some choristers omit or }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid12593769 swallow (do not articulate) some parts of the lyrics in their renditions especially the last one or two letters of some words. }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 For example many choristers do not pronounce the last letter of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid12593769 the word 'Lord'. The 'd' is usually removed therefore what is }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 pronounced is 'Law'. This gives a different meaning entirely to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid12593769 
the song. Let us consider the praise song below as an example }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid12593769 in this line:
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12593769 
\par }\pard \ltrpar\qj \fi720\li1440\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin1440\itap0\pararsid12593769 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid12593769 He is Lord, He is Lord amen. 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid12593769 He has risen from the dead 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid12593769 He is Lord. 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 Every knee shall bow 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid12593769 Every tongue confess, that 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 Jesus Christ is Lord.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid11995738 
\par }\pard \ltrpar\qj \fi720\li10\ri29\sb360\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin29\lin10\itap0\pararsid1513475 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid12593769 \page }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid1513475 As a theatre artist, proper attention must be paid to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid1513475 attending to such problem because the choristers might be }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \cf1\insrsid1513475 communicating another thing entirely if the congregation misconstrues his words for something else.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid1513475 
\par }\pard \ltrpar\qj \fi720\li5\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin5\itap0\pararsid1513475 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw11\cf1\insrsid1513475 
The body carriage and facial expression of the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid1513475 choristers are of paramount importance to the expressiveness }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid1513475 
of the choir. The body posture must be straight, firm and }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid1513475 attractive. If a solo singer comes forward and cuts a bad }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid1513475 
posture, this will not only make people lose interest in him, that }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid1513475 posture will affect the voice quality too. The neck and head of }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid1513475 the singer must be held upright.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid1513475 
\par }\pard \ltrpar\qj \fi720\li0\ri5\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin5\lin0\itap0\pararsid1513475 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid1513475 
The chorister sometimes may have to stand for a long }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid1513475 time but should not be seen leaning on the wall, chair or }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid1513475 
anything for that matter. Standing should be part of the training the chorister is used to already. Choristers must not express }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid1513475 
weakness or tiredness even if they actually are. The faces of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid1513475 the choristers must express the type of songs they are singing. Wh
en singing of love and joy the faces should be full of beams }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid1513475 and smiles to accompany the mood of the song. Also, when }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid1513475 
singing songs of warning or about hell, the faces should be }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd2\expndtw10\cf1\insrsid1513475 serious: There is going to be a sort of confusion and }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid1513475 
contradiction if the choristers' faces are hardened when they }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid1513475 are singing about the joy and bliss of being a church worker }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid1513475 like them. The chorister must realize that he/she is not an }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid1513475 
ordinary member of the church. He is a person who after being a member for some time, voluntarily joins the choir knowing }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid1513475 
fully well that he is taking up another responsibly or role - as a }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid1513475 performer.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid1513475 
\par }\pard \ltrpar\ql \li48\ri0\sb91\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin48\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid1513475 \page }{\rtlch\fcs1 \ab\af0\afs23 \ltrch\fcs0 
\b\fs23\expnd0\expndtw4\cf1\insrsid6103994 (b)   Rehearsal}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \fi509\li43\ri0\sb158\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin43\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid6103994 
Rehearsal is another common ground between the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6103994 chorister and the theatre artist. Rehearsal forms the basis of any }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6103994 
good artistic work. The theatre artist will not just mount the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6103994 stage without adequate rehearsals. This is well noted by }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 
Rkwueme (1972: 45-46) when he asserts that:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \li912\ri1051\sb274\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1051\lin912\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6103994 
Any serious celebration or demonstration }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6103994 by a performing group, for example a }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 dancing group or an age set band, or some 
}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6103994 such organised group, requires hard work, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 week or months of rehearsals, clear cut divisions of labour and strong discipline. }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid6103994 Without these, the group cannot prosper }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6103994 and its efforts to put up a reasonable }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid6103994 performance are in vain.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \fi734\li0\ri34\sb278\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin34\lin0\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6103994 
Rehearsal is what the chorister normally refers to as}{\rtlch\fcs1 \af0 \ltrch\fcs0 \scaps\expnd3\expndtw16\cf1\insrsid6103994  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 
'practice' in the church setting. This they know is so important }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6103994 to their output that it cannot be played with. Therefore, like the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 
theatre artist it has been noted of the choir rehearsals that:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \li869\ri1075\sb274\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1075\lin869\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 
It is important that all members attend }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 rehearsals regularly. Absenteeism is a most disturbing and destructive problem in any }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw7\cf1\insrsid6103994 choir. If members are not all there, the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6103994 parts are not balanced. Absent members }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 
will miss learning what others have learnt }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6103994 and the whole choir will more or less begin }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 
afresh when the absent members do come. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 Time and energy are therefore wasted unnecessarily (Ekwueme 1993: 14).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \fi720\li0\ri19\sb82\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin19\lin0\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid6103994 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\cf1\insrsid6103994 Concentration is a must for the choristers at rehearsals }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid6103994 and in performance. If a chorister does not concentrate at }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid6103994 rehearsal he may miss some of the very important instructions }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6103994 given about how they are going to render a piece - when to sing }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 twice, or skip, in the piece for instance. We then see that after }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 everybody had stopped singing, a non-concentrating chorister }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 begins the first two words of the refrain before keeping shut. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 That as it may be, is a minus against that performance.}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid6103994 
\par }\pard \ltrpar\qj \fi715\li5\ri14\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin14\lin5\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 Therefore, side talks, unnecessary jests and comments }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 should be discouraged in rehearsal and during performance. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 
Efforts should be made to avoid distractions and distractive elements among the choristers. Nobody should be egoistic or }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 arrogant, the use of foul language should be discouraged and }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 keeping malice should be done away with.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \fi725\li5\ri5\sb259\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin5\lin5\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 However, the choristers themselve
s should discipline }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6103994 their individual minds so that it will not wonder away at }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 
anything. The mind should not be engaged in thinking about }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 other thing(s) during a choir engagement. The chorister should also avoid searching out or concentrating on some particular }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 people among the congregation. This can lead to a momentary loss of concentration. In all, the chorister should avoid noise }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6103994 
making. Noise from within the choir will be competing with }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid6103994 their songs and thus, affect it negatively. They should }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6103994 
discourage having to tap or call another member of the choir, scratching the body and other things like that should also be minimized or totally done away with.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\ql \li19\ri0\sb403\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin19\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid6103994 (c)   }{\rtlch\fcs1 \ab\af0\afs25 
\ltrch\fcs0 \b\fs25\expnd0\expndtw-4\cf1\insrsid6103994 Discipline}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \fi715\li19\ri0\sb125\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin19\itap0\pararsid6103994 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6103994 
The theatre discipline is also a paramount ingredient for a chorister. There are various levels of discipline in the theatre }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6103994 
like obeying the call time, obeying the director or the stage manager and generally submitting oneself to directions and }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid6103994 control. The director no matter how young is the overall boss}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6103994 
\par }\pard \ltrpar\qj \li34\ri0\sb91\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin34\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid6103994 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-3\cf1\insrsid6948378 of a production and his decisions are final. The artist must obey him no matter how old. In any case, the director today might }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6948378 
become an artiste in another production tomorrow and one of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 his former artistes the director. Likewise, a boy of twenty-five }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid6948378 years may play the role of a husband and the lady playing the wife may be far older. However in the play, the lady may have }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6948378 
to kneel down for 'her husband'. Age has nothing to do here. It }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6948378 takes a disciplined mind to undertake any of the tasks of an }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-3\cf1\insrsid6948378 artist.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \fi720\li29\ri0\sb293\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin29\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6948378 
This should also be a case with the choristers. He must }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 
be properly disciplined. There has to be individual and group discipline among the choristers. They, for example, must obey their leaders at all times. They must be ready to take instruction and submit themselves to the direction. Any suggestion or idea }
{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6948378 from the chorister must be made with wisdom. Even a good }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 
idea may not pass through if the chorister engages his leader in }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6948378 argument. Albright el. al. (1968: 457) suggest that:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \li917\ri1037\sb274\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1037\lin917\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6948378 
The tactful actor, when he disagrees with }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 the director on some matter, and sees that }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6948378 the director is trying to terminate the }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 discussion, waits until after the rehearsal to }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw6\cf1\insrsid6948378 protest. He is more likely to win the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-2\cf1\insrsid6948378 argument then.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \li0\ri14\sb278\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin14\lin0\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 
Any of such idea or suggestion that were not agreed upon must }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6948378 be dropped no matter how bright they seem. So they must obey }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 
also their conductor even if he 'misses' or changes the original }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6948378 decision on a particular piece in performance. At that stage the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid6948378 conductor's direction is superior. What will happen if some }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6948378 members of the choir stick to the original plan and others }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw6\cf1\insrsid6948378 follow the new or changed pattern of the conductor is a }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 disaster.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \fi715\li5\ri24\sb91\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin24\lin5\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 \column }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-2\cf1\insrsid6948378 The chorister just like a theatre artist must also maintain }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6948378 individual discipline; the artist must be seen to carry proper }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid6948378 ethical bearing in appearance, moral conduct and general }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid6948378 demeanor (Sofola 1994: 2). As a preacher, that he is, the }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6948378 chorister must not be seen going against what he preaches even }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 outside the chu
rch. He should be aware that all eyes are on him and the impression he creates in people's minds will affect their }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6948378 appreciation of his work.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 

\par }\pard \ltrpar\ql \li0\ri0\sb398\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 (d)    }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\cf1\insrsid6948378 
Picturization and Composition}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \fi730\li0\ri10\sb130\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin10\lin0\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid6948378 
One of those things that make the theatre so interesting and attractive is the arrangement of the stage. The picturization of a work of art is made to unfold and change at all times. The }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid6948378 
stage is not allowed to be stagnant. The director makes sure }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6948378 that pleasant pictures are presented always and the entire work }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 
is arranged beautifully. This is another factor that the chorister should emulate. As much as we may want the different parts to be together in the choir, it will be wrong to place a fat and tall }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw2\cf1\insrsid6948378 lady in the middle of the front row and a slim and short one }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid6948378 behind her. This arra
ngement, apart from the fact that the lady at the back will be masked (covered) in person her voice will }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 also be drowned. Such a fat lady is best placed at one of the extreme sides of the first row.}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \fi725\li14\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin14\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 The choir should not be arranged anyhow. They must}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd7\expndtw36\cf1\insrsid6948378  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 be arranged in a way that must be pleasing to the congregation. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-3\cf1\insrsid6948378 
It must be in a way that all the choristers are visible and no one }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid6948378 seems to be hiding behind anybody. The best way to achieve }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid6948378 this will be to create levels among the rows by the use of risers }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 (raised platform) for each row so that the row behind is about a }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid6948378 foot higher than the one in front. Such arrangement as this is }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid6948378 not only neat, it is also beautiful and it will in no small measure }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid6948378 engage the interest of the congregation.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \fi720\li29\ri0\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin29\itap0\pararsid6948378 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid6948378 The placement of the inst
ruments and instrumentalists is also part of the stage arrangement to be taken care of. They}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6948378 
\par }\pard \ltrpar\qj \li173\ri0\sb149\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin173\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid6948378 \page }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid13248758 like the choristers, must be seen and pleasantly arranged. The choristers should know that in spite of the message or ministry, they must be entertaining, as well, to be able to sustain (he }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \cf1\insrsid13248758 congregation's interest in their performance.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 
\par }\pard \ltrpar\ql \li158\ri0\sb394\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin158\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid13248758 (e)   }{\rtlch\fcs1 \ab\af0\afs25 
\ltrch\fcs0 \b\fs25\expnd0\expndtw-4\cf1\insrsid13248758 Technical Theatre and Stage Design}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 
\par }\pard \ltrpar\qj \fi730\li144\ri48\sb168\sl-264\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin48\lin144\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid13248758 
Design and technical theatre provides visual and aural }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid13248758 accompaniment to the various productions in the theatre. They}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 
\par }\pard \ltrpar\qj \li115\ri62\sb288\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin62\lin115\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid13248758 
include costumes and props, stage set and make-ups, lighting }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 and sound effects. Good uses of them not only aid the aesthetic }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd1\expndtw5\cf1\insrsid13248758 value of a production but help the audience in proper }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 understanding of it.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 
\par }\pard \ltrpar\qj \fi773\li58\ri86\sb58\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin86\lin58\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 
The use of costumes and some props will, in a big way, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw8\cf1\insrsid13248758 help the choristers in achieving their objectives. Some }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 choris
ters dress in such sophisticated 'worldly' attires that one }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid13248758 wonders if they are of God. In such cases, some members of }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd2\expndtw12\cf1\insrsid13248758 the congregation would be put off. While some will }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid13248758 concentrate on appreciating these dresses only few will hem }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid13248758 the song. In the same way, an improper dress will have the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid13248758 same effect. Costumes are used to enhance the production in }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid13248758 the theatre, and proper use of it, tells one at a glance, the  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid13248758 period, time, setting, culture and genre of a production.}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid13248758 
\par }\pard \ltrpar\qj \fi773\li0\ri139\sb24\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin139\lin0\itap0\pararsid13248758 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 
The choristers may also emulate the use of sound/visual effects in the theatre especially during concert/cantata/carols or }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid13248758 any other performance organized specially as choir activity or }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid13248758 outdoor events. It will not be too much if when singing about }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid13248758 the police pursuing a robber the sound effect of police siren is }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw1\cf1\insrsid13248758 mixed with the music at that point. Other sound effects like }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid13248758 
thunder, rain etc. will also be of great advantage if used at}{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd4\expndtw23\cf1\insrsid13248758  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid13248758 appropriate time. When singing of hell the use of fire/smoke }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid13248758 effects to represent hell will be helpful. Going all out to build a }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid13248758 
set for particular occasion of the choir like the Christmas }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw3\cf1\insrsid13248758 cantata, choir annual anniversaries etc., will definitely not be}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 
\par }\pard \ltrpar\qj \li5\ri0\sb96\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin5\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid13248758 \column }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw4\cf1\insrsid9455650 out of place. The set may then depict the sky; the throne of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid9455650 God, the manger of any other place the music is set.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\qj \fi720\li0\ri19\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin19\lin0\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 
One other thing that is often removed from most choir }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw4\cf1\insrsid9455650 performances is the use of lights. Apart from illuminating, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid9455650 
lights produce so many effects in the theatre, ranging from }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid9455650 creation of atmosphere, mood, and time to adding more to the }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw1\cf1\insrsid9455650 beauty of the performance through the use of relevant colours. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 It is not always good for the intensity of the lights to remain the }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid9455650 same throughout the performance of a choir. Different lighting will complement when singing of praise, worship, hope, joy, warning etc. The fact that the auditorium lights are off and the }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 auditorium is in darkness while, lights are only on the choristers }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid9455650 help to emphasize them, focus all attention and concentration }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid9455650 on them throughout the performance. Lighting is said to be:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\qj \li1445\ri1435\sb269\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin1435\lin1445\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid9455650 as m
uch a part of the artistic process as any other aspect of }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 work in the theatre. The lighting designer helps to tell the story by }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\expnd0\expndtw-1\cf1\insrsid9455650 illuminating the text and creating }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid9455650 the emotional world of colour }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd3\expndtw17\cf1\insrsid9455650 
and light that brings the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 production to the light. (Cited in Oni 1999: 39).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\qj \li14\ri14\sb264\sl-278\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin14\lin14\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw7\cf1\insrsid9455650 
Engaging the services of experts in these areas may be }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw2\cf1\insrsid9455650 necessary. As long as they strife to get good hands for the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 
keyboard and other instruments the technical design must be }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-4\cf1\insrsid9455650 included.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\ql \li14\ri0\sb394\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin14\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid9455650 (0   }{\rtlch\fcs1 \ab\af0\afs25 \ltrch\fcs0 
\b\fs25\expnd0\expndtw-2\cf1\insrsid9455650 General}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\qj \fi725\li14\ri10\sb120\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin10\lin14\itap0\pararsid9455650 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd1\expndtw5\cf1\insrsid9455650 
Since the choir falls within the music arm of the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-2\cf1\insrsid9455650 performing arts, it is also good if elements of the other arms are }{\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd0\expndtw-1\cf1\insrsid9455650 
brought in to enhance the performance. The various arms of the}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9455650 
\par }\pard \ltrpar\qj \li72\ri0\sb101\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin72\itap0\pararsid467100 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid9455650 \page }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-5\cf1\insrsid467100 performing arts have been used so much to complement one }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw1\cf1\insrsid467100 another successfully in theatre. So, an introduction of }{\rtlch\fcs1 
\af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-6\cf1\insrsid467100 choreographed dance, (especially when the music calls for }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd3\expndtw19\cf1\insrsid467100 it), }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-5\cf1\insrsid467100 handled by an expert, will not in any way disrupt but in many }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid467100 ways enhance the output of the choir performance. The expert }{
\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid467100 choreographer will know the type of steps to give them and }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid467100 when. Simil
arly, little gestures and acting here and there may }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid467100 also to a very large extent boost the choir's performance.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid467100 
\par }\pard \ltrpar\qj \fi754\li38\ri19\sb283\sl-269\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin19\lin38\itap0\pararsid467100 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid467100 
Lastly, the chorister cannot afford to be shy. The artist }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\cf1\insrsid467100 is the focus of the audience. He is the one they are there to }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd-1\expndtw-5\cf1\insrsid467100 watch and so he cannot recoil or hide. He should be aware that }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw2\cf1\insrsid467100 the audience is there to enjoy themselves and his own }{\rtlch\fcs1 
\af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-6\cf1\insrsid467100 performance. The audience is most often filled with people that will give credits to the artists than those that will condemn him. }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-3\cf1\insrsid467100 While 'stage fright' is normal to anybody facing the crowd for }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid467100 the first time, it will naturally wear away with consequent and }{
\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw2\cf1\insrsid467100 continuous performance. And for the fist timer a total }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid467100 
concentration on what he had rehearsed and perfected will take his mind away from the crowd.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid467100 
\par }\pard \ltrpar\ql \li34\ri0\sb389\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin34\itap0\pararsid467100 \cbpat8 {\rtlch\fcs1 \ab\af0\afs25 \ltrch\fcs0 \b\fs25\expnd-1\expndtw-7\cf1\insrsid467100 Conclusion}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid467100 
\par }\pard \ltrpar\qj \fi720\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid467100 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid467100 
So far, this paper has tried to examine the relationship and draw analogies between the chorister and a theatre artist. }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid467100 
The various attributes that make the chorister qualify as a }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid467100 performer are highlighted. It has been established that in terns }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-1\cf1\insrsid467100 of purpose, functions and operational method the chorister }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid467100 shares a lot of common grounds with the theatre artist. It am }{\rtlch\fcs1 
\af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw3\cf1\insrsid467100 therefore be concluded that until choristers learn certain }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-3\cf1\insrsid467100 
specific techniques and skills of theatre artists and apply them }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd1\expndtw6\cf1\insrsid467100 to their performances in the church, even their best }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-1\cf1\insrsid467100 performances cannot be excellent. They will always remain }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid467100 
near perfection thus they cannot reach the peak of their desired impact on their congregation.}{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid12593769 
\par }\pard \ltrpar\ql \li0\ri0\sb706\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \ab\af0\afs30 \ltrch\fcs0 \b\fs30\insrsid8735835 \page }{\rtlch\fcs1 \ab\af0\afs25 \ltrch\fcs0 
\b\fs25\expnd-1\expndtw-7\cf1\insrsid8735835 References}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-715\li720\ri154\sb226\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin154\lin720\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
Akinwale, A., 1993, Theatrical tradition and political culture in post-independence Nigeria, in }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd-1\expndtw-5\cf1\insrsid8735835 Theatre and Politics in }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\cf1\insrsid8735835 Nigeria, J. Malomo and S. Gbilekaa (eds.), Ibadan: }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid8735835 Caltop Publications Limited, pp. 12-36.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-720\li744\ri130\sb269\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin130\lin744\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd1\expndtw6\cf1\insrsid8735835 Albright, }{
\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd1\expndtw6\cf1\insrsid8735835 et. al, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd1\expndtw6\cf1\insrsid8735835 1968, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 
\i\fs25\expnd1\expndtw6\cf1\insrsid8735835 Principles of Theatre Art, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd1\expndtw6\cf1\insrsid8735835 (2nd }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
Edition.), Boston: Houghton Mifflin Company.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-720\li758\ri130\sb259\sl-288\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin130\lin758\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid8735835 
Barranger, M., 1991, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw-4\cf1\insrsid8735835 Theatre: A Way of Seeing, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid8735835 California: }{\rtlch\fcs1 \af0\afs25 
\ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 Wadsworth Publishing Company.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-734\li797\ri106\sb250\sl-283\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin106\lin797\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
Edwards, B., 1984, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd-1\expndtw-5\cf1\insrsid8735835 Shall we Dance? - Dance and Drama in Worship, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
England: Evangelical Press.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-706\li778\ri77\sb254\sl-278\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin77\lin778\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw4\cf1\insrsid8735835 Ekwueme, L., 1972, }
{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw4\cf1\insrsid8735835 Ibo Choral Music: Its Theory and }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw-4\cf1\insrsid8735835 Practice, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-4\cf1\insrsid8735835 Michigan: University Microfilms Int.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-715\li797\ri77\sb259\sl-283\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin77\lin797\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 \emdash  1993, }{
\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd-1\expndtw-5\cf1\insrsid8735835 Choir Training and Choral Conducting for Africans, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-4\cf1\insrsid8735835 
Lagos: Lenans Advertising and Publication Ltd.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-715\li816\ri48\sb269\sl-274\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin48\lin816\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
Hodgson, J., ed., 1972, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd-1\expndtw-5\cf1\insrsid8735835 The Uses of Drama-Acting as a Social and Educational Force, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 
London: Eyre Methuen.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-715\li830\ri48\sb245\sl-298\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin48\lin830\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid8735835 
Mairi, R., ed., 1996, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw-2\cf1\insrsid8735835 Chambers 21}{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw-2\cf1\super\insrsid8735835 st}{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 
\i\fs25\expnd0\expndtw-2\cf1\insrsid8735835  Century Dictionary, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-5\cf1\insrsid8735835 Edinburgh: Larouse Pic.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8735835 
\par }\pard \ltrpar\qj \fi-720\li840\ri0\sb250\sl-283\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin840\itap0\pararsid8735835 \cbpat8 {\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw-2\cf1\insrsid8735835 
Oni, Duro. 1999 'Lighting design and The Development of }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd0\expndtw2\cf1\insrsid8735835 Modern Stage Lighting Practice in Nigeria' }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 
\i\fs25\expnd0\expndtw2\cf1\insrsid8735835 The }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd0\expndtw-4\cf1\insrsid8735835 Performer: Ilorin Journal of the Performing Arts, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 
\fs25\expnd0\expndtw-4\cf1\insrsid8735835 1(1), }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-6\cf1\insrsid8735835 pp. 39-51.
\par Sofola, S. 1994, }{\rtlch\fcs1 \ai\af0\afs25 \ltrch\fcs0 \i\fs25\expnd-1\expndtw-6\cf1\insrsid8735835 The Artist and the Tragedy of a Nation, }{\rtlch\fcs1 \af0\afs25 \ltrch\fcs0 \fs25\expnd-1\expndtw-6\cf1\insrsid8735835 
Ibadan: Caltop Publications Limited.
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