From traditionalism to postmodernism, physical stage theatre has predominated in Ghana and is widely acknowledged in literature. However, virtual theatre appears to have often been invisible in the eyes of academic literature of Ghanaian theatre scholarship. As soon as the COVID-19 pandemic broke out in Ghana, some theatre creators shifted from promotion of stage to virtual theatre productions. Drawing on theories of performance and media system dependency, I explored this predominance of stage to a promotion of virtual platforms to offer insight into the narratives of theatre creators in Ghana, about some of their works that are currently going on in the context of COVID-19. Using the qualitative case study, purposive sampling, key informant interview, observations and online archives, I investigated selected theatre organisations across the country, particularly in the Accra metropolis of Ghana. The results highlight common issues concerning the global effects of the pandemic on creative works and the need to adapt. It also reveals that prior to COVID-19, some theatre creators in the country used to resort to digital platforms, a situation consistent with experiences of many creators of culture in many parts of the world. It also demonstrates the reality of a shift from the predominance of stage to a promotion of virtual platforms in a time of global crisis. Thus, I suggest theatre creators in Ghana adopt proactive media to staying relevant and resilient to reenergise and sustain the theatre industry in Ghana.
Mugo et al. (Wed,) studied this question.