Abstract
This research article was conducted to explore integrity and measure the level of ethical behavior among theater professionals in Ethiopian Theater, with a particular emphasis on the Ethiopian National Theater and Hager Fkir (Country Loves) Theater Playhouses. To end this study attempted to measure performance show ethics (pre-performance show ethics (rehearsal ethics), backstage ethics, during performance show ethics, post-performance show ethics and the perception of theater professionals toward professional ethics. To identify the respondents ' expectations of theater professional ethics at playhouses. According to methodologically employed mixed methods are quantitative and qualitative approaches, the study is more quantitative than a qualitative approach. Convenience sampling and Purposive sampling techniques were used during questionnaires and in-depth interviews, respectively. The sample sizes were 59 respondents among theater professionals, and the sources of data were primary and secondary. The data collection tools were questionnaires, interviews, observation, and document analysis. Methods of data analysis used during quantitative data analysis were SPSS version 20 for questionnaires based on simple table frequencies, percentages, averages, and to analyze Qualitative data, thematic analysis through narratives, and merged the data. The findings of this study showed that shown data showed the level of professional ethics at performance, with a total mean average below three, which is 2.7. The perception of respondents of theater professional ethics is weak. The playhouses are a commitment to theater professional ethics in poor practice. In addition, data revealed the weak practice of theater professional ethics at playhouses as the respondents responded to it. Its implications playhouses were a lack of standard in the theater professional code of ethics and pieces of training. Finally, based on the findings of the study, relevant recommendations were forwarded. The researcher suggested that guideline documents on theater professional ethics and code of ethics should be formulated by the Ethiopian playhouses and the Federal Ministry of Culture and Tourism, and the Culture and Tourism Bureaus of Addis Ababa. The researcher also recommended that training should be given to the theater professionals by concerned scholars or theater house organizations.
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Published in
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American Journal of Art and Design (Volume 10, Issue 3)
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DOI
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10.11648/j.ajad.20251003.12
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Page(s)
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96-119 |
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Creative Commons
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This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
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Copyright
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Copyright © The Author(s), 2025. Published by Science Publishing Group
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Keywords
Integrity, Professional Ethics, Ethiopian Theatre, Addis Ababa, Theatre Houses, Cultural Representation
1. Introduction
Playhouse is a place where people have gathered to experience bold and important stories and histories. It is one of the most prolific theaters in theater history with a legacy of profound theater impact and courageous. Playhouse was officially recognized as the center of theater teaching for its contribution and commitment to the theater arts. Today it continues that tradition of excellence under the helm of producing artistic director. Dedicated to enriching lives through theater, community programs, and learning initiatives and Playhouse is a living force in the community
| [1] | Pasadena Playhouse. (2019). State Theatre of California continues, their exciting partnerships with Caltech Theatre and the USC School of Dramatic Arts. |
[1]
.
The modern playhouses are consists that theater professionals such as performers (actors, actresses, ghosts, animals, and objects were used as characters) and it consist of various professionals as cooperative that are the theater theoreticians, playwrights’, directors, technical directors, practitioners, production managers, critics, and crew workers. Theater technical designers are also costume designer, light designer, sound designer, scenery designer, makeup designer, and prop designer. Also, theatre is one of the research areas in modern theater arts. The theater industries are familiar with technological theater such as digital theater, multimedia theater, virtual theater, and Robot Theater. Also, Playhouses are included all the components, like sound, sight, makeup, scenery, costume, prop, research and training center, audience analysis and marketing analysis
| [2] | Cohen, R. (2000). Theatre: Brief Version (5th ed.). California: Mayfield Publishing Company. |
[2]
.
The Ethiopian National Theater playhouse is before 1967 E.c the playhouse was known as the
Haile Selassie I Theater; the hall had begun to be built during the Italian occupation as the Cinema
Marconi with some 350 seats. The building was later completed in 1955 for the celebrations of the Silver Jubilee and expanded to seat 1260 people. The theatre group was founded by the government in the late 1940s, with the main objective of playing Ethiopian songs by soloists accompanied by a modern orchestra. The Austrian composer
Franz Zelwecker became the first director of the National Theater playhouse
| [3] | Wilson, E. (2001). The theater experience (8th Ed.). New York: McGraw-Hill. |
[3]
.
The
Hager Fikir Theatre is the greatest tradition in Ethiopia but also the oldest indigenous theatre in Africa. It is a playhouse where modern Ethiopian dramas were born and nurtured.
Hager Fikir Theatre was founded in 1935. When people of
Addis Ababa founded
“Hager Fikir Maheber” (Association for the love of the Motherland) to stand against the upcoming Italian invasion. The founder, Makonnen Habte-Wold, wanted to encourage the patriotic mettle of the Ethiopian people. The first open-air productions took place at Menelik Square, the city center of Addis Ababa. At the 25th anniversary of Haile Selassie’s reign in 1955 the main entrance of the hall was enlarged and an imperial balcony and lounge were built. Where the local language
Amharic was produced, Written by
Fitawrari Tekle Hawariat, the play was entitled “
Yawrewoch Comedian Mesalekia” and it was staged in 1913 E.c
| [4] | SIDA,(2003-7). Survey of Culture and Media. SIDA. |
[4]
. Therefore, the researcher needs to assess in Ethiopian playhouses the professional ethics in the theater professionals. As Ethiopia is the home of nations, nationalities, and peoples, the National Theater playhouse needs to be a source of an institution that has a modern system of playhouse professional ethics
| [5] | Hager Fikir Theatre.(no date). Magazine. |
[5]
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A History of Ethiopian Theater arts, technology materials, and playhouses have been long-time experiences, but still not well established in terms of theater professionals and modern playhouses standard of professional ethics in Ethiopia theater arts. There is no specialization in theater arts in the curriculum like playwriting, acting, directing and criticism. So, studying as specific playwrights’, performers, directors, and critics somewhat are difficult, but the researcher was interested in studying professional ethics in Ethiopian theater playhouse as a professionals team
| [6] | Brockett, Oscar G., and Robert J. Ball (2003). The Essential Theatre. Atlanta: Wadsworth Publishing. |
[6]
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Professional ethics is accepted standards of personal and business behavior, values and guiding principles. Codes of professional ethics are often established by professional organizations to help guide members in performing their job functions according to sound and consistent ethical principles. Ethics are guiding principles encompassing the standards of behavior expected by a person or group. Professional ethics are those that apply to a specific profession and will vary based on the specific knowledge, skills and duties of those in the role. One of the best-known examples of professional ethics is the Hippocratic oath sworn by doctors to do no harm to those they are treating. While this is a good ethical standard for most people, it applies more directly to those in the medical profession than those working as a lawyer. That is why there are many types of ethics for many different professions.
Each profession will have its own different codes of ethics, but some universal ethical principles may apply to people across all professions. Generally, people in all lines of work should adhere to a basic list of professional ethics that include the concepts of honesty, trustworthiness, loyalty, respect for others, adherence to the law, accountability and avoiding harming others whenever possible
| [7] | Jill. H, (2018). Types of Professional Ethics. Journal of Ethical Behavior. |
[7]
. Hence, this study was tried to investigate the Professional Ethics of Ethiopian Theater Playhouses: The case of two Playhouses in
Addis Ababa on the theater professional’s on performer’s team, production team and evaluation team to examine the playhouses, identify the perception of theater professionals’ ethics, measure the level of theater professionals’ ethics and, assess performance show ethics.
1.1. Statement of the Problem
Nowadays, there are various complains indicating in Ethiopian theater about a lack of professional ethics in theater arts at theater houses. Theater professionals are showing absence at pre-performance show ethics, rehearsals, back-stages, and performance show ethics. There is an indicating on theater professionals give priority for private work in making films on office hours or leave playhouses and addiction is a tool for artists to stimulate, but later it blurs their mind. For example, play producer faced the problem that the entire artists in production during the afternoon time miss go to work because they have a chat chewing program. In the theater houses, theater professionals began rehearsing some script to be produced but stopped the production.
This study focused on the Ethiopian National Theater and
Hager Fkir Theater Playhouses in
Addis Ababa. These playhouses have produced more than five performance shows in a week as well as presented different events and allocated budgets better than the rest. The remained playhouses are Ras Theater is in the process of renovation; Municipality and Cultural Hall and Theater and Children and Youth Theater have decreased produced plays in a week as well as decreased the audiences
| [8] | Banham, M. (Ed.). (2004). A History of Theatre in Africa. Cambridge: Cambridge University Press. |
[8]
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Theater ethics is gaining prominence in the discourse about theater today. There is an apperception that standard in audience lives are in decline. This raises questions about the costs of misconduct theater professionals on the part of those who have been thrust with guarding theater professionals' interest and resources. These costs are lost in precious resources that were meant to support the economic, political, social and human development index of nations
| [9] | United Nations. (2000). Promoting Ethics in Public Service. Department of Economic and Social Affairs Division for Public Economics and Public Administration, New York. |
[9]
. In other words, theatre ethical problems for theater professionals can rise in theater houses in situations such as when decisions are to be made on life-sustaining of theater ethics, but also in other situations when there is a question of what is in the theater professional interest.
Ethiopia Theater is itself lacking the capacity that should go with its independent country. It is unable to meet the expectations to portray the genuine and unadulterated artistic life of the various nations and nationalities of the country and to create a forum whereby nationalities could learn, appreciate and respect each other’s arts. In relation to the multifaceted commitment made to strengthen the activities of the Regional States, the fact that this theater is not organized with the capacity necessary to provide professional ethics for artists
| [10] | Temesgen Shtaye .(2012). “Professional Ethics in Ethiopian Theatre. Senior essay, unpublished, Addis Ababa University; Adfis Ababa. |
[10]
. The role of ethics in professionals in general and its role in theater in particular, as the researcher, reviewed various studies were research conducted on theatre ethics. However, there were no researches conducted on professional ethics in theater at Ethiopian Theater Houses at masters’ degree level, except two studies conducted at degree level in theater arts which were conducted by
Temesgen Shitaye | [11] | Daniel Bukre . (2011). “ Professional Ethics Issues in Kermo sew play. Senior essay, unpublished, Addis Ababa University, Addis Ababa. |
[11]
;
(professional Ethics in Ethipia Theatre” and Daniel Bekure,
| [12] | Centreville Presbyterian Church (2010). An Actor’s Code of Ethics and Theatre Etiquette. |
[12]
;
“Ethics issues in ancient man play”. The researcher then attempted to fill the gap of professional ethics in theater arts. Therefore, this study was conducted to examine professional ethics in Ethiopian Theater at the Ethiopian National and
Hager Fkir Theater Playhouses in
Addis Ababa.
1.2. Objectives of the Study
1.2.1. General Objective
The overall objective of this study is to investigate professional ethics in Ethiopian National Theater and Hager Fkir Playhouses in Addis Ababa, Ethiopia.
1.2.2. Specific Objectives
1) To measure the level of theater professional ethics on performance show.
2) To identify the perception of theater professionals’ ethics.
3) To examine the expectations of theater professional ethics from playhouses.
4) To assess the theater professional ethics on performance show ethics.
1.3. Research Questions
1) What is the level of theater professional ethics on performance show?
2) What is the perception of theater professional ethics?
3) What is the expectation of theater professional ethics from playhouses?
4) What does theater professional ethics look like performance show?
2. Review of Related Literature
This review tries to discuss relevant documents about professional ethics. It encompasses the theoretical and conceptual framework, the definition of ethics, ethical behavior, and code of ethics, Profession, professional standards, and professional ethics. The inter-professional teamwork. The analytical model framework, theater ethics conceptual framework that contains 1. Performance show ethics 1. Pre-performance Show Ethics (rehearsal ethics) 2. During Performance (backstage ethics) 3. Post-performance Show Ethics as well as a review of empirical related literature on professional ethics in the theater.
2.1. Analytical Model of Framework
The analytical model framework is a model that is used as criteria to measure the theater professionals’ ethical and unethical behavior at Ethiopian National Theater and Hager Fikir playhouses. As Personality characteristics of Professional ethics, the character influences his/her ethical performance, but the solely poor character does not fully explain ethical issues in the playhouse. Theater ethics is related to professional ethics in theater professional ethics more generally, but playhouses focus on rules or regulations, manuals, principles and guidelines governing playhouses acceptable professional ethical behavior that among groups as we know playhouse is naturally collaborative arts. So, the researcher developed the conceptual framework of performance to show ethics.
2.2. Conceptual Frameworks of Performance Show Ethics
The conceptual framework is a model that is used as criteria to measure the theater professionals’ behavior at Ethiopian National Theater and Hager Fkir Playhouses. As Personality characteristics of Professional ethics, the character influences his/her ethical performance, but the solely poor character does not fully explain ethical issues in the playhouse. Playhouse is related to professional ethics in theater and professional ethics more generally, but playhouse focuses on rules governing socially acceptable behavior that among groups as we know theater arts are natural collaborative arts. The researcher’ developed a conceptual framework.
Playhouse is about how one acts in the different roles at playhouses by communicating as directors, participating as the performers, working as technicians, managing as managers and participating as an audience member. The performers are working as an ensemble and taking direction while embodying the roles of your character. The technicians are working by creating the vision of the director and following the shop rules. The proper audience behavior listens, watch and enjoy. Clap at the appropriate times. All electronics should be silenced and never touched during a performance. Wait until the intermission or the end of a show to leave or eat. Attention should not be drawn to you for any reason. So, the concept of performance is performance show ethics, using the performers’ instrument and technical playhouse. This is performance show ethics as conceptual frameworks.
Figure 1. Conceptual Frameworks of Performance show Ethics.
2.3. Performance Ethics
Performance show is a live performance on stage. This has three steps pre-performance show, during performance show, and post-performance show. The Pre-performance show ethics technicians and performers’ practices for building onstage and technical elements/materials backstage. Then, the show presented in front of the audience. The performance shows the front stage managers farewell to the audiences. Theater professionals are collecting materials and return to their place and audience analysis. Always arrive on time. It is annoying to the other members of the audience when they are distracted from the performance because of late-comers. People arriving late also make noise as they are being seated, which prevents audience members who arrived on time from hearing the dialogue. Gum, food, and drinks have no place in the theater! Chewing, eating, and drinking are all noisy activities that can distract the performers and the audiences. To be a good citizen and theater patron, remember to use the trash receptacles in the lobby of the theatre before you enter the seating area. Remember also to take care of restroom business and drinks of water before being seated. If you have to leave in the middle of the show, you will miss some of the performance as well as distract the audiences seated near you. Once you are seated, be considerate of those who are seated around you. Keep your hands, arms, feet, and personal belongings to yourself. Be especially careful not to put your feet on the chair in front of you. If you want to visit with friends, do so quietly before the performance begins. As a safety precaution, always take note of the exit nearest your seat. Law requires exit signs to be lighted and visible. If an emergency should arise and the exit needed, you would know where to go
| [13] | Shuswap Theatre Society Policy Manual. (2018). Actor’s Rules and Etiquette. Unpublished. |
[13]
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2.3.1. Pre-performance Show Ethics
Turn off your phone! No face booking! No twittering! No answering phone calls! And most importantly, no texting! Be considerate of those seated near you. Do not distract anyone’s attention from the performance by talking or making noises. Even if you know all the lines to the show or all the words to the songs, others in the audience did not come to hear or see you perform. Speaking aloud or singing along from the audience is considered to be in extremely poor taste.
Everyone should arrive at the playhouses early your director will tell you how early. Be sure you have made arrangements for transportation so that you won’t be late. Once you arrive, you will need to report to your assigned place for makeup and dressing. Always check your own props to be sure that they are in place and ready to go. Once you are in makeup, you should begin relaxation exercises and vocal warm-ups. These can be done individually or as a group. Some directors ask the assistant director to plan and lead these activities. Thirty minutes before “curtain,” the stage manager will call “a half-hour,” announcing 30 minutes remaining before the show begins. Five minutes before the curtain opens, the stage manager will call “places,” and all cast members should report to the areas designated by the director. This is the most exciting time in an actor’s life. The hours of training and rehearsal will now pay off in the performance. It is time to take a deep breath, swallow, and think about your character. As you go on stage, you must become your character rather than being just an actor playing a part. Beginning with the stage manager’s signal, the performance should go as rehearsed. This is not the time to try something new. If a problem should arise or a line is missed, follow the guidelines that your director has instilled in you to keep the show moving.
1). Rehearsal Ethics
Rehearse is a practice or an exercise of a script on a formal scheduled program. The professionals must be committed and on time. There are five rehearsing steps first reading, second reading, third reading, blocking and dressing rehearse. These three are script rehearse reading and editing. Blocking is an ever onstage direction movement and activities of performers. Dressing rehearse is performing with technical elements and the final decision of a director to presented or not in front of the audience. Theater ethics is the basic tool for theater professionals as a discipline at theatre houses. So, rehearsals are a production session in which the performers and technicians prepare by repetition. Before rehearsals begin, everyone involved in the production should take time to review rehearsal ethics guidelines. Rehearsal ethics guidelines are helpful reminders of appropriate actor and technician behavior, which involves appropriate behavior and common courtesy. Abide by all school and classroom rules. Be on time! Be ready for rehearsal: dance shoes on, script out, etc. leave only when dismissed. Attend every rehearsal, unless you have special permission to be absent. Immediately contact the director in case of an emergency. Come to rehearsal willing and prepared to work- bring a pencil, your script, and any other items the director has required. Learn your lines as soon as possible. Turn your phone off and put it away! No texting! No Face booking! No twittering! No answering phone calls! And most importantly, no texting!
| [14] | Gillette, j. Michael (2004). (5ed). Theatrical Design and production: An introduction to scenic Design and construction, lighting, sound, costume, and makeup. University of Arizona, McGraw Hill. |
[14]
.
2). Backstage Ethics
Backstage is a place that part of the stage. It got at on stage behind. It consists of different rooms. It is an entrance of performers to onstage and an exit from onstage to backstage. Backstage any part of the area just off the perimeter of the stage, including the stage left and stage right wings, the upstage crossover space, dressing rooms, and immediate hallway. Backstage ethics is necessary during all rehearsals and performances. Many of these guidelines are similar to those of rehearsal ethics but are specific to the backstage area. Do whatever the stage manager (SM) informs you without arguing, especially in performance. When an assistant stage manager (ASM) informs you something, assume it’s a directive from the stage manager. The SM (and ASMs backstage during a show) are responsible for running the show, and represent the voice of the director or faculty mentor. Discuss any issues with the stage manager after that night’s production, not during set up or the show itself. Don’t hang out in the wings watching the show. Backstage space is usually limited and the last thing needed is to have to work around an extra body. Things can happen pretty quickly backstage, and you could find yourself causing a disaster by blocking the view of a visual cue or being in the way of a quick entrance or exit. Stay at your post if you are backstage crew. Don’t talk with anyone backstage unless it is essential to the show. Whispered conversations are distracting to the crew waiting for cues, the actors on stage, and can even be heard in the house. If you have something you must communicate with a crew member because it affects the show, then do so, but make sure you are not interrupting something else going on. If they are on the headset, assume they’re listening to the stage manager as you approach them. Stay out until you are called for your cue. The crew can’t call you if they can’t find you. Find someplace where you’re comfortable and out of the way and make that’s your spot for the run of the show. If you must use the restroom or run back to the dressing room, inform someone where you are going and let them know immediately that you are back.
Don’t play with or move the props, and don’t sit on the furniture backstage. Never move a prop they have specific places so they can be located in the dim backstage lighting. If you are using a shared prop, make sure who is responsible for putting it back in its place for the next actor. If that’s you, put it back as soon as possible. If it is a crew member, hand it to him as soon as you come off stage. Check your props before each performance, including any that are set for you to use onstage. Even if it is someone else’s job to set that prop, you’re the one who will look foolish onstage if it’s not there. Don’t sleep backstage. It means you’re not doing your job or that you may potentially miss a cue. In the real world, this will get you fired. Bathe. Applies to both cast and crew. Close quarters simply require it. No PDA (public displays of affection). I mean, do we need to discuss this? Although every Production Company has rules specific that related to its production circumstances, some general rules of backstage ethics are universal. If it is yours, do not touch it. Always listen to your cue. No cell phones, ever. Do not distract the performers onstage. Stay hidden from the audience. Keep your hands to yourself. No food or drink unless it is a prop.
“Don’t talk to other crew members backstage during rehearsals or performances unless it is about the business of the production. Then talk only in a low whisper. Don’t talk to performers backstage during rehearsals or performance unless it is about the business of the production their job acting takes a great deal of concentration, and they shouldn’t be distracted. Weak study rubber-soled shoes (no tennis shoes, cowboy boots, sandals or flip-flops) study shoes will protect your feet, and the rubber soles minimize noise. Be sure to show up on time for your crew call (the time you are scheduled to arrive at the theater ready for work). Sign the sign-in sheet, and check-in with your crew head for work. Don’t smoke, eat, or drink backstage. Do not touch props, costume, or stage equipment that is not your responsibility” | [15] | Dalmasso, F., 2017. Ethics of play in earpiece performances by Nature Theater of Oklahoma and Gob Squad. Performance Philosophy, 3(1), pp. 233-245. |
2.3.2. During the Performance Show Ethics
As a member of the audience, you can best show your respect for the actors by giving them your full attention. Shouting out comments or whistling is not considered appropriate theatre behavior Responses such as laughter, tears, or even gasps of surprise are expected from the audience. Performers enjoy such reactions and hope that they will come from the audience at the appropriate times. These types of reactions give the audience feedback, letting them know how their performance is affecting the audience. Avoid leaving your seat once the performance begins unless you have an emergency. If you must leave, do so as quietly and inconspicuously as possible. Recording a show, videotaping performances, and taking photographs are all prohibited during a theater event. Recording any show during a performance without written permission of performers is a serious violation of the copyright law. Cameras are distracting to other audience members as well as to the performers. Flashes on cameras can momentarily blind a performer or cause a break in character or dialogue
| [16] | Jeanie, J. & Nancy, P. (2005). Exploring Theatre. New York: The McGraw-Hill Company, Inc. |
[16]
.
2.3.3. Post-Performance Ethics
When the performance show is over, wait until the house lights are turned up so that you can see the aisles and exits. As you wait patiently for your turn to exit, it is appropriate to quietly discuss the performance with your friends. Check under and around your seat for any personal belongings that you might have left. As you exit the theater or auditorium, avoid pushing against those in front of you. Climbing under or hopping over seats only demonstrates to others that you lack good judgment. This type of behavior is rude and extremely irritating to those who enjoy the theater experience
| [17] | Teklay, Tesfay. (2016). “An Exploration of Work Ethics in the Ethiopian Civil Service: The Case of selected Federal Institutions”. Dissertations. UNISA. Unpublished. |
[17]
. The post-performance, you will be exhilarated. But you must remember to put away your personal props, hang up your costume, and take off your makeup. Although you may be tempted, don’t ever go out into the audience or crowd dressed in your costume and makeup unless your director has planned a “meet the cast” time. Your parents and very closest friends will probably come backstage to congratulate you. Crews will carefully check for any repairs or replacements that need to be made before the next performance. Everyone should help clean up to make sure that everything is ready for the next show.
It is sad, but every show has to end and be “put away.” In theatre, putting away everything that was used in the performance is called the strike. This part of the production process is also a team effort. Your director will plan the best time for the strike. To strike the set means to disassemble the scenery. The stage crew will be responsible for the majority of the tasks, but the cast must also help. Besides striking the set, there are many things that need to be done. Costumes must be cleaned and returned to the wardrobe closets. Props must be put in their proper places. Letters of appreciation must be written to anyone who was not part of the company but extended their help. All persons or companies who loaned props or furniture for the show should also receive thank-you letters. All of the posters or advertising should be taken down, and the theatre area must be cleaned. Every director has a special plan for what needs to be done and when it needs to be completed, so be prepared to do your share
| [18] | Amsale, Bekele, and Tafese. (2016. The Ethical Behaviors Of Educational Leaders In Ethiopian Public Universities: The Case Of The Western Cluster Universities. Jimma University, College of Education and Behavioral Sciences, Ethiopia. |
[18]
.
2.4. Review of Empirical Related Literature
Review of empirical related literature helps us to investigate the real experiences of professional ethics in order to provide a deeper understanding of theater professionals ethical and unethical behavior, playwrights’ portray or depict characters in script, performers in characterization of characters discipline, guidelines, rules, regulations, backstage and performance show ethics in the interactive performance in playhouses, theater companies, theater projects and we have drawn on a framework enabling us to measure the level of theater professional ethics on show, assess and synthesize professional ethics in Ethiopian Theater as a general and a specially on Ethiopian national Theater and Hager fkir Playhouses. As we know Master of Arts in Theater and development and multimedia Theater only given in Addis Ababa University College of performing and visual arts in the Department of Theater Arts.
The role of ethics in professionals in general and its role in theater in particular, as the researcher reviewed various studies, there was research conducted on professional ethics of Civil servants Teklay
| [19] | Elias A. Hadzilias. (2011). Qualitative and Mixed Research Methods, RTU Doctoral School. |
[19]
; conducted on “An Exploration of Work Ethics in the Ethiopian Civil Service: The Case of selected Federal Institutions”. And research on teacher professionals by Amsale, Bekele, and Tafese,
| [20] | Tashakkori A, Teddlie C, eds. (2003). Handbook on Mixed Methods in the Behavioral and Social Sciences. Thousand Oaks, Calif: Sage Publications; |
[20]
; studied on “The Ethical Behaviors of Educational Leaders in Ethiopian Public Universities: The Case of the Western Cluster Universities”. There were also guidelines prepared on health workers, accountants, and engineers which were approved by the federal government in the forms of Negarit Magazine, but there are no guidelines in general in theater arts. However, there were no researches conducted on professional ethics in theater at Ethiopian Playhouses at masters’ degree level, except two studies conducted at B.A degree level in theater arts which were conducted by Temesgen Shitaye,
| [21] | Ivankova, N. V., J. W. Creswell, and S. L. Stick. 2006. Using mixed-methods sequential explanatory design: From theory to practice. Field Methods 18(1): 3–20. |
[21]
;
“Professional Ethics in Ethiopian Theatre” and Daniel Bekure,
| [22] | Creswell, J. (2003). Research design: qualitative, quantitative, and mixed methods approach (2nd Ed.). Thousand Oaks, CA: Sage. |
[22]
;
“Professional Ethics issues in “kermo sew” play
”. The researcher attempted to fill the gap in professional ethics in theater arts. This study, therefore, specifically was conducted to examine professional ethics in Ethiopian Theater at Ethiopian National and
Hager Fkir Playhouses.
According to Daniel bekure, did his B.A Thesis in 2003 E.C (AAU) on the Title: “Professional Ethics issues in kermo sew play” in this study the researcher used a method of analysis the characters in the script. The characters in script characterized ethically or unethically if they are ethically or unethically the audiences learned right or wrong and good or bad behavior as portrayed the characters in the script and play. So that the researcher recommended playwrights’ if we portray characters in the script as of right or good ethical behavior the audience's ethical behavior. The researcher advises to playwrights’ or dramatists when portrayed characters in script carefully treated and systematically. This study was similar to my thesis ethics, but my thesis is on professional ethics in Ethiopian Theater (PEET). In fact, the researcher did not get related empirical review work on professional ethics in Ethiopia Theater playhouses. Temesgen Shitaye, conducted B.A Thesis in 2004 E.c on the title “ Professional Ethics in Ethiopian Theatre” his senior essay focused on Municipality Cultural and Theater Hall and the research methods used qualitative approach through an interview as thematic narratives. My MA thesis conducted on the Ethiopian National Theater and Hager Fkir Theater playhouses. So, there are areas, times, methods, and data collection tools differences and similarities only by the title.
3. Research Methodology
The methodology is the systematic, theoretical analysis of the methods applied to a field of study. It comprises the theoretical analysis of the body of methods and principles associated with a branch of knowledge. Typically, it encompasses concepts such as paradigm, theoretical model, phases and quantitative and qualitative techniques. So, this study was aimed at examining the professional ethics on the professional theater in Ethiopian Theater that focused on Ethiopian National Theater and Hager Fkir playhouses in Addis Ababa. To achieve its objectives, the study has used the description of the study area and structure, research design, research approach mixed as sequential design with quantitative and qualitative, conceptual method design framework, triangulation, target population, sampling techniques, sample size, sources of data, methods of data collection tools and data analysis. Therefore, in this chapter, the researcher was made attempts to discuss the research methods and procedures used to meet the objectives of this study.
3.1. Research Design
The study has used a descriptive survey research design. Best and Kahn
| [23] | Bernard, H. Russell. 1994. Research methods in anthropology: Qualitative and Quantitative Approaches. Second Edition, SAGE Publications, London. (Selected Sections). |
[23]
; have noted that a descriptive survey research design involves the description of the state of affairs as it exists at present a clearly defining the problem and objectives. A mixed-method is a procedure for collecting, analyzing and combining both quantitative and qualitative research within a study to gain a better understanding of the problem
| [24] | Phillip G. Clark et al. (2007). Theory and practice in Interprofessional Ethics: A framework for understanding ethical issues in health care teams. |
[24]
. Mixed methods approaches have many benefits rather than a study with conducted solely qualitative or quantitative research as neither method is sufficient by themselves in capturing the details and trends of a situation
| [25] | Robert A. Peterson.(1994). A meta-Analysis of Cronbach’s Coeffient Alpha. Journal of Consumer research 21(20); 381-91. |
[25]
. It also enables employ a wider variety of tools for collecting data and to answer questions that cannot be answered by a single method
| [26] | Ethiopian Theatre Professionals Association, et al (2015). Crossing Boundaries Performing Arts Festival and Conference. Addis Ababa, Ethiopia. |
[26]
. It was used to obtain information concerning the professional ethics of theater arts in the selected two theater houses in Addis Ababa. According to
| [27] | Addis Ababa City Administration Cultural Tourism Bureau. |
[27]
, the descriptive survey method is used to generate views and opinions of a relatively large number of respondents and to indicate a clear picture of the situation. It is also a method that enables us to obtain pertinent and precise information about the issues. A mixed-method approach was employed in the study because of the advantages it offers to collect both quantitative and qualitative data and analyze them using both quantitative techniques and qualitatively triangulate the data obtained.
3.2. Description of the Study Area
This study was conducted in the National Theater and Hager Fkir Theater which is found in Addis Ababa city Administration, Ethiopia. Addis Ababa is the capital city of Ethiopia which comprises 10 sub-cities or (kefele ketemas). As shown below on the map this study focused on Arada and Kierkos sub-cities. According to the CSA, the total population of Addis Ababa is 3.156,057 surveys in 2013.
Figure 2. Map of the study area (playhouses) in Addis Ababa.
3.3. Description of the Study Structure
Figure 3. Description of the study Structure.
3.4. Conceptual Framework of the Research Approach
The following is a conceptual framework research approach as well as data collections with data interpretation process for this study. This conceptual framework research method is adapted from
| [28] | Creswell, .W. & Plano Clark, V.L. (2007).Designing and conducting mixed methods research. Thousand Oaks, CA: Sage. |
[28]
.
Figure 4. Conceptual Framework of the Research Approaches.
On the above conceptual framework, approaches show, this study the researcher incorporated the data collection tools in data analysis and merging the data through categories as well as synthesized.
3.5. Triangulation of the Study
Triangulation is the use of multiple methods to study a situation or phenomenon. The intention is to decrease the deficiencies and biases that come from any single method. In other words, the strengths of one method may compensate for the weaknesses of another. This type of triangulation is very similar to the mixed-method approach used in social science research, where the results from one method are used to enhance, augment and clarify the results of another method. It is also a variation on data triangulation with an emphasis on using data collected by different methods as opposed to data collected for different programs, locations, populations. Triangulation minimizes the inadequacies of single-source research. The three sources of data complement verify one another. Triangulation also reduces the impact of bias and provides richer and more comprehensive information because humans share more candidly with an independent third party than they do with someone they know or think they know. Because of the above reasons, the fruits of triangulation have vastly improved. The researcher used three of them, but the second one remains because this study has been conducted only by one researcher to triangulate the data sources respondents and data gathering tools. The respondents are triangulated according to their theater professions.
Figure 5. Triangulation of the Theories.
Figure 6. Triangulation of Theater professionals.
Figure 7. Triangulation of Data Collection Tools.
3.6. Target Populations and Participants of the Study
3.6.1. Target Populations
The target population for this research is theatre professionals and theater educators in Ethiopia, while the accessible populations were the theater professional artists, theater educators and audiences from theater professionals’ perspective in Addis Ababa City Administration. Since, these target populations were the theater professional artists, theater educators and audiences from the theater professionals’ perspective within the researcher was reached. In this study, the accessible population was comprised of all the theater professionals, theater educators and audiences from theater professionals’ perspectives in the two selected theater houses: Ethiopian National Theater and Hager fkir Theater zones (Kierkos and Arada) of Addis Ababa City Administration, Ethiopia.
3.6.2. Participants of the Study
The participants of the study have the theatre professional that includes playhouses, performers, directors, assistant director, technical directors, stage managers, dramaturges, literary managers, critics, production managers, costume designers, light designers, sound designers, scenery designers, makeup designers, prop designers, researchers and discipline committees. These theater professionals were worked at Ethiopian National Theater and Hager Theatre playhouses.
3.7. Sample Size and Sampling Technique
3.7.1. Sample Size
There are 426 populations in the study area. The researcher has selected 59 numbers of respondents from the total 426 population of the study area using simple random sampling techniques the raosoftware a scientific calculator to determine the sample sizes and from 100% take 10% error. Then, the researcher has selected 90% and (59) respondents because in both theater houses, 50 directly theater professionals and related to theatre technical totally about 112 participants in theatre production. This used mainly by the Raosoftware calculator of sample size.
The margin of error that accepts 5% was a common choice. 10%, the margin of error was the amount of error that you can tolerate. If 90% of respondents answer yes, while 10% answer no, you may be able to tolerate a larger amount of error than if the respondents were split 50-50 or 45-55. A lower margin of error requires a larger sample size if you didn’t know the population size. People were there for a chosen random sample. The sample size did not change much for populations greater than 426. Therefore, the researcher has selected 59 numbers of respondents from the total 426 total population for this study (see online).
Table 1. Summary Sample of the respondents and sampling techniques.
Study Site | Departments | Sub-departments | Population sizes |
Ethiopian National Theater | Music | Modern | 68 |
Traditional | 24 |
Theater | Performers | 25 |
TP | 52 |
PPPCS | | 4 |
Researchers | | 5 |
GG | | 4 |
Auditors | | 6 |
PR | | 4 |
Female Affairs | | 2 |
Finance | | 66 |
HRM | | 5 |
ICT | | 7 |
Guards | | 20 |
Hager Fkir Theater | Music | Modern | 61 |
Tradition |
Theater | Performers | 25 |
TP | 10 |
Researchers | 4 |
Guard | 9 |
Administration staffs | 25 |
Total population | | 426 |
3.7.2. Sampling Techniques
This study has employed Non-probability sampling, convenience sampling for questionnaires and open-ended questions and Purposive Sampling was employed in-depth interviews. This technique can be used only for some specific purposes. Interviews were also conducted with participants who were purposely selected from the respondents of the quantitative questionnaire. For the in-depth interview, the study purposive sampling determines. The researcher has asked the respondents for an appointment and conducted the semi-structured interviews with them. Then, the recorded data were transcribed. Interviews were also conducted with 9 key informants. Finally, the researcher has analyzed qualitatively thematically.
3.8. Sources of Data
In this study, both Primary and secondary sources of data were used to get information in terms of figures or just statements of facts.
3.8.1. Primary Data Source
Primary sources of data were obtained from the questionnaire, interview, observation, and document analysis.
3.8.2. Secondary Sources of Data
Secondary sources of data were gained from published and no- published materials like books, articles, journals, cases, suggestion box, notebook or comment books, minutes of meetings, and written documents of professional ethics in theater, discipline committee files and a quarter and annual report of professional ethics, etc.
3.9. Data Collection Tools
Qquestionnaires, observation, in-depth interview and document analysis of guidelines, rules, regulations, directive, and code of ethics in theater professionals were the data collection tools of this study. Therefore, employing multiple data collection instrument was helpfull to the researcher to combine, strengthen and amend some of the inadequacies of the data and for triangulating it
. These data collection tools are developed by the researcher.
3.9.1. Questionnaire
Questionnaire data collection tools were including both closed-ended and open-ended. The Questionnaire was administered to performers, directors, literary managers, dramaturgy, stage managers, technical directors, technical stage managers, play writers, program coordinators, production managers, researchers and crews in different productions because the researcher believes that the direct sources of this study were these themselves. The reason for the use of this data collection tool was helpful to make precise generalization of a large number of respondents’ responses when compared to the interview. For closed-ended questionnaires, the researcher has used a five-point Likert type scale on the basis of literature and related studies. Based on the questionnaire by use of preferred scale the strong agreement, agreement, neutral, disagreement and strong disagreement of the respondents will be identified. Open-ended items were intended to invite any other comments regarding the professional ethics of Ethiopian theater. In order to establish content validity, the questionnaire was examined by the advisor and a panel of experts.
3.9.2. In-depth Interview
The interview permits a greater depth of response which is not possible through any other means. Thus, the purpose of the interview was to collect more supplementary data, to substantiate or triangulate the questionnaire response. With this regard, the interview guide questions were translated into the Amharic language to make communication easier with the key informants such as performers, directors, literary managers, dramaturgy, stage managers, technical directors, technical stage managers, playwrights, program coordinators, production managers, researchers and crews in different productions. Semi-structured items were prepared for the above respondents; because semi-structured interview has the advantage of flexibility in which new questions could be forwarded during the interview based on the responses of the interviewee. Interview guide questions were prepared to nine key informants who are theater professionals (four directors, two performers, one technical stage manager, and two Stage managers).
3.9.3. Observations
Observation on Fieldwork or field research area is quite often used to refer to any data collection activity that takes the researcher out of the field bringing her/him face-to-face with the subjects of the research
| [30] | Nunnally, J.C. (1978) Psychometric Theory. 2nd Edition, McGraw-Hill, New York. |
[30]
. The researcher was selected observer as a participant for this study. As it was documented, the problems related to professional ethics in theater houses on performances show researcher-made insider and outsider observations. In particular, this allowed the researcher to get a document on the interactions among the different crews working on the production of a show, such as the design, artistic, technical and touring crews, and the effects of work organization and planning on work activities.
3.9.4. Document Analysis
In addition to primary sources, relevant information was included from secondary sources. This technique was helpful in cross-check the data that was obtained through primary sources (i.e. questionnaire and interview). To complement data collected all available relevant documents were consulted. These documents were included cases (accuses), suggestion box and notebook comments, minutes of meetings, and written documents of professional ethics in theater, discipline committee files and a quarter and annual report of professional ethics. In addition to this, the researcher was also made the analysis of documents of professional ethics for theater arts which is prepared by the Ethiopian National Theater in 2015. Another document of Art for Basic Change Training document which was prepared by Addis Ababa City Administration Culture and Tourism Bureau to all under (AACACTB) Theater Arts, Arts related field documents were reviewed.
3.10. Procedures of Data Collection
Questionnaires were distributed for the participants of the study by the researcher. The respondents were asked to gather at convenient places and made to fill out the questionnaires. An interview was made after obtaining the consent of the participants. The interview was taken about one hour at an average. As regards documents, the researcher was made rapport with school authorities to get access to the documents and review them in light of the objectives of the study. The pilot test was employed in the sampled theater houses. The questionnaire was administered for sampled respondents of the two theater houses in which it was not be selected for the main study. The internal consistency of the instrument was calculated using Cronbach alpha as it was appropriate to test the reliability of Likert scale items. The data from the pilot study were analyzed using the SPSS program.
According to Cronbach alpha ranked 0.7 or above is reliable. The respondents from the pilot study group were consulted about how best to revise these questions. And all respondents’ correction was made and the questionnaire was distributed to the main study for fifty-nine respondents directly by the researcher in the two sampled theater houses. The researcher was briefed about the research objective and its significance while distributing a questionnaire for respondents.
3.11. Methods of Data Analysis
The researcher has used both qualitative and quantitative data analysis. Data was grouped, tabulated, and subjected to statistical analysis. Quantitative data that was obtained through questionnaires and a semi-structured interview were tabulated and presented using frequency, percentages, and mean. The items were first to be classified into different tables according to the nature of the issues raises in the questionnaire. On the basis of data obtained from the questionnaire, the response was categorized under Likert scales: strongly agree, agree, neutral, disagree and strongly disagree with the items and each of them was then is analyzed and interpreted. According to Trivedi (n. d), the study that falls under the survey was used descriptive statistics. So, in analyzing the quantitative data, after it was tabulated, descriptive statistical measures such as frequency, percentage and mean were used. That is, to test whether there were differences or similarities of attitudes amongst the respondents of sampled theatre houses. Kruskal-Wallis test was also be used to compare the mean of the study population to see differences of views of respondents on items amongst the sampled theatre houses. χ2 (Chi-square) test was used to examine the association between professional ethics of theater art amongst the sampled two theater houses while t-test was employed to examine the perception of professionals of theater arts with respect to code of ethics in theatre arts.
As standards were set for the interpretation of the results of the Likert scale. Hence, if the mean indicates above 3.0 a positive correlation was assumed, such respondents tend to agree with the given statements while the mean value less than 3.0 indicates negative correlation and it is assumed, such respondents oppose the idea of the given statements. On the other hand, qualitative data obtained through open-ended questionnaires, interviews, observation, and document analysis were analyzed using narration and interpreted in the light of literature. Finally, summary and conclusion were drawn from the major findings and based on the interpretation of those possible solutions and recommendations to the identified problem were formulated.
3.12. Ethical Issues
The main ethical considerations related to all data collection protocols are:
1) Informed voluntary participation: Informed written or oral consent must be obtained from participants before data collection was conducted. Team members and participants were to be informed about the purpose, methods, risks, benefits and intended possible uses of the results of the study.
2) Right to refuse or withdraw: The participants must be informed that they are free to withdraw from the study at any point, or may refuse to answer any questions. They also had the right to ask questions at any point before, during or after the study is completed.
3) Confidentiality and privacy: No personal identifiers should be used in any form of reporting or dissemination. Personal identifications were linked with a unique identifier (e.g. id code) and kept securely. No information should be published that could identify the respondents. While confidentiality cannot always be guaranteed (especially where data was collected in a group, or public setting), participants are requested not to disclose details of what was discussed.
4) Risks and benefits: The risk of participation is considered minimal as there was no collecting of sensitive information or biological samples. The respondents were not directly benefited by participating, however, the information that they were provided inform policymakers to improve the artists' theatre ethics, audience ethics, and condition of the Ethiopian Theater and they may eventually have an indirect benefit from it.
5) Payment: There should be no compensation paid to the participants and they do not have a pay to the participants in the study. Interviews and questionnaires should be held close to the homes or offices of the participants to avoid any transport costs.
4. Data Presentation, Interpretation and Analysis
This chapter was focused on the description, presentation, analysis, and interpretation of the data obtained through questionnaires, interviews, observation and document analysis. This study was aimed at examining the professional ethics of Ethiopian Theater in the case of two Ethiopian Theater National and Hager Fkir Theater Playhouses in Addis Ababa. It consists of eight tables of data analysis. According to the data drawn from the self-administered questionnaires, respondents of this study were responded. In this study, the data has been collected by using both quantitative and qualitative methods of data collection. A total of 59 questionnaire copies were prepared for the respondents and a hundred percent of them were responded and returned back the questionnaire papers. The focuses of the data analysis were presented and analyzed the information according to the emerged themes from the data collected. Finally, the collected data for this research was presented, interpreted and analyzed using tables frequency, percentage and mean, etc.
4.1. The Respondents’ Position and Background Information
The socio-demographic characteristics of respondents based on their age, sex, educational qualification, and marital status were presented and analyzed in the table below.
Table 2. The Respondents’ Position and Background Information.
Demographic Features | Demographic variables | Frequency | Percent |
Age | 18 to 25 years old | 9 | 15.3 |
26- 32 years old | 18 | 30.5 |
33-40 years old | 11 | 18.6 |
41-44 years old | 10 | 16.9 |
48-55 years old | 5 | 8.5 |
56 and above years old | 6 | 10.2 |
Sex | Female | 20 | 33.9 |
Male | 39 | 66.1 |
Educational Background | Grade 10 | 3 | 5.1 |
Grade 12 | 1 | 1.7 |
Vocational training | 6 | 10.2 |
Diploma | 15 | 25.4 |
Degree | 29 | 49.2 |
Masters | 5 | 8.5 |
Marital Status | Single | 26 | 44.1 |
Married | 28 | 47.5 |
Divorce | 4 | 6.8 |
Other | 1 | 1.7 |
Total | | 59 | 100 |
As shown in the above table, 30.5% of the respondents were between the ages of 26 and 32 years. This is the highest number when compared with the rest age categories. While 18.6% of the respondents ranged their age between 33 and 40 years. 16.9%, 15.9%, 10.2%, 8.5% are between 41 and 44, 18 and 25, 56 and above, and 48 and 55 respectively. In terms of sex, about 66.1% of the respondents were male, while the remaining 33.9% were female and this implies less involvement of females at the playhouse. Regarding the educational status of respondents, 49% of them have first-degree. While, 8.5% of the respondents were second-degree graduates, 25.4%, 12.2%, 1.7%, 5.1% are diploma holders, certified in vocational pieces of training, grade 12, and grade 10 respectively. Therefore, the majority of the respondents were graduates of the first degree and above. Almost all of the respondents have had 1st degrees and diplomas respectively. Regarding the marital status of respondents, while 47.5% of them were married, 44.1% of them were single; 6.8% were divorced, while the remaining 1.7% were others.
4.2. The Respondents’ Section and Work Experience
This section shows the respondent’s occupation section, work experience, their free time and the numbers of produced plays in a year presented in the below table.
Table 3. The Respondents' Section and Work Experience.
Variables | Profiles of Respondents | Frequency | Percent |
Occupation | Performers team | 39 | 66.1 |
Production Team | 15 | 25.4 |
Assessor play team | 4 | 6.8 |
Other | 1 | 1.7 |
year of Experiences | 1-2 years | 9 | 15.3 |
3-5 years | 18 | 30.5 |
Over 5 year | 32 | 54.2 |
What do you do during free time? | Writing theater script for playhouses | 13 | 22.0 |
Writing script film personal | 8 | 13.6 |
Making personal business trade activities | 18 | 30.5 |
Promotion jobs | 16 | 27.1 |
Other | 4 | 6.8 |
Plays Produced in a year | 1 in a year | 16 | 27.1 |
2 in a year | 9 | 15.3 |
3 to 5 in a year | 22 | 37.3 |
6 and above in a year | 12 | 20.3 |
Total | | 59 | 100 |
As the above table showed that 66.1% of the respondents were working as performer teams, while 25.4%, 6.8% and 1.7% of them were working at the production team, literary managers and current production as a duty respectively. Regarding the work experience of respondents, while 54.2% of them have relatively rich work experience of more than five years, 30.5% and 15.3% of them have three up to five and one up to two years of work experience respectively. 27.1% of the respondents explained that they invest most of their leisure time in doing their own personal promotion activities, while 22%, 13.6%, and 6.8% of them replied that they invest most of their free time at theater houses, for writing scripts of personal purposes, and other unspecified activities respectively. The participants were often blamed for missing from the stage performance show in favor of pursuing their own personal businesses. 30.5% of the respondents explained that they invest their free (rest) time in doing their own personal businesses other than their professional activities as the respondents replied. Regarding their annual production and performance activities, 37.3% of the respondents replied that they produced three up to five plays a year. 27.1% of them also replied that they produce one play in a year. The remaining 20.3% and 15.3% explained that they produce more than six and two plays a year.
4.3. Measuring the Respondents’ Rehearsal Ethics
As can be seen below table, measured rehearsal ethics of the respondents in the Likert scale an agreement levels ten items with each question mean as well as the total average mean ten items.
Table 4. Measuring the Respondents’ Rehearsal Ethics.
S/N | Items | Response |
SDA | SD | N | A | SA | Sum | Mean |
1 | Theater professionals always reach before schedule and make ready, when they have a rehearsal to be practiced | 16 | 31 | 9 | 2 | 1 | 59 | 2 |
2 | Theater professionals always try to create cooperation with all the performing teams when they have a rehearsal to be practiced | 21 | 14 | 19 | 2 | 3 | 59 | 2.1 |
3 | Theater professionals always make physical relaxation before performing a rehearsal time | 15 | 33 | 4 | 3 | 4 | 59 | 1.9 |
4 | Theater professionals always make whether or not all performing individuals are present at the rehearsal | 13 | 21 | 19 | 3 | 3 | 59 | 2.35 |
5 | Theater professionals always noted on exercise book during reading rehearsal to create critical comments for performers and directors | 9 | 21 | 18 | 5 | 6 | 59 | 2.6 |
6 | Theater professionals cooperate and respect their colleagues | 9 | 21 | 18 | 5 | 6 | 59 | 2.6 |
7 | Theater professionals switch off cell phones at rehearsal time | 12 | 24 | 12 | 7 | 4 | 59 | 2.44 |
8 | Theater professionals don’t use alcohol or drug | 12 | 17 | 19 | 5 | 6 | 59 | 2.59 |
9 | The directors are free from bias during casting | 15 | 23 | 11 | 5 | 5 | 59 | 2.36 |
10 | The performers act as professional | 16 | 20 | 11 | 8 | 4 | 59 | 2.38 |
| Average mean | | | | | | | 2.33 |
Key: SDA= Strongly Disagree (1) DA= Disagree (2) N= Neutral (3) A= Agree (4) SA =Strongly Agree (5)
As shown in the above table, rehearsal ethics of the theater professionals as the respondents replied the average mean was 2.33. This average mean was below three. The team spirit, readiness, physical relaxation and characterized by real characters. The majority of respondents were responded to a poor or a low practiced in rehearsal ethics. This implied that loosed theater ethics in theater houses. The interviewee was asked about professional ethics. In response to the questions, he/she had responded.
Playhouses artists were involved as private filmmakers and promoters because of today's economy inflation and monthly payment were not enough to be living. I have been one coincidence, one performer said to me please not cast me. I have a film casting. So I have not enough time because I have financial problems. The performers have known me well I am serious and announced before I casting all the production teams. Most of the time I am a director of plays, but I also a Playwrights or dramatist, Translator, literary manager, dramaturgy, program coordinator, a discipline committee and researcher of performing arts. In my experienced taught more I inform them before the casting in first reading rehearsal, but the problem was critical. So, I advised to concerned body seriously approved the code of professional ethics in Ethiopian theater particularly to playhouses. Lastly, some committed theater professionals actively participated in plays in our playhouse at the same time have good behavior, punctuality, discipline, self-restraint and ethical inherited keep up it.
4.4. Measuring the Respondents’ Backstage Ethics
As the result seen in the table below, measures backstage ethics of the respondents in the Likert scale agreement levels four items with each question mean as well as the total average mean four items.
Table 5. Measuring the Respondents Backstage Ethics.
S/N | Items | Response |
SA | A | N | DA | SDA | Sum | Mean |
1 | Theater professionals aren't usually eating food and chew chat or gum at the backstage | 13 | 22 | 15 | 6 | 3 | 59 | 2.39 |
2 | Theater Professionals aren't usually shouted or talk with the audiences during the show at the backstage | 9 | 19 | 13 | 10 | 8 | 59 | 3.6 |
3 | Theater Professionals usually come to the show wearing shoelaces that cannot disturb the show at the backstage | 10 | 17 | 17 | 7 | 8 | 59 | 2.76 |
4 | Theater technicians always properly place costumes, makeup’s, lights, scenery and, sound at the backstage | 15 | 16 | 12 | 10 | 6 | 59 | 2.9 |
| Average mean | | | | | | | 2.9 |
The above table revealed that the average mean of four items was 2.9. This implied as the respondents replied about ethics at backstage show disorganized of technical materials, eat food, shout, and cigarette and chew chat or gum use at back-stages. As the researcher observed at Hager fkir Theater playhouse at backstage in the makeup room the handwashing dish was closed by wastage of cigarettes, chewing gum and eats food. As the respondents were responded backstage on live performance there is a disturbance. As the researcher was observed and the respondents were responded in the compound of playhouses there was the Bar as well as the DSTV channel for watching football. So, the Bar highly sound, and sound pollutions from drinkers’ and the DSTV would be raised.
As the researcher observed during stage live show while the performers' exit and those who are at the backstage mainly uses “Facebook”, as well as the audience, uses “Facebook” at a front stage in front of the performers. So, “Facebook” by Tewodros Legesse with Diaspora Theater Group/ Ethiopia/USA/. “Facebook” “is a satirical play on the social media culture of our generation. The characters jump into relationships and marriage with people they know only in the cyber world and face life challenges such as deception, emotional breakdowns and economic crisis”.
4.5. Measuring the Respondents’ During Performance Show Ethics
As the data were shown below table, measured performance show ethics of the respondents in the Likert scale an agreement levels four items with each question mean as well as the total average mean four items in oneness.
Based on the data obtained from the above table respondents were asked to give their answer regarding the four items to measure the preparation of performance shows ethics on theater professionals’ duty or obligation. The average mean of four items is 2.95. This obtained data shows that as it is less than the neutral (three) averages mean. If the average mean is less than three that indicted some less ethical behavior of theater professionals. As the respondents responded when artists have happened sickness and sorrow, it is impossible to be absent without permission shows. If the artists become unpunctual and absent, they did not consider it as it is a fault during the performance show. Some performers were not prepared at the show because he/she occasionally forgot the dialogues. The researcher observed that when the performers were directed by the backstage while he/she forget the dialogues. The audiences have recorded the show on their mobile. In addition to this, the researcher has observed that as the performers were shown carelessness. The results of the study indicated that poor ethical behavior in performing. Moreover, the interviewee was responded as follows:
I am working at Ethiopian National playhouse more than ten years, I heard a gossip, they were addicted I didn’t see in the playhouse during rehearsal, at backstage and performance show as well as audience coming with hangover, taken chat and Ganga, but sometimes the performers forget cue and told for them from backstage other performers else during performance show eating heavy food that was not allowed and there is no guideline manual for theater professional as job description standard, somewhat they had to know their duties and responsibilities during rehearsal, at backstage, and on stage at the same time guided the audience, but it did not have rules that they had to minimize unethical behavior artists without punishment. Human beings in nature need freedom and rules as different our behavior and our need also different. So that at our playhouse a critical problem is about professional ethics.
Also, another the interviewee was noted as follow:
I am a staff of Hager fkir playhouse in my observation: Now, ethics is decreasing from time to time in playhouses on theater professionals that remained during Wegayehu Negatu because as we are known theater arts not only performing to teach our society but ethics was abasement to produce and effectively a play. So that our model was Wegayehu Negatu professional and ethical still not broken the record as well as not broken for the future.
According to the data obtained from the documents on theater professionals' ethics in theater houses. The cases were with different forms and many in numbers, but the researcher selected that related to theater professionals’ accuse minutes and final decision letters were written by the discipline committee that was as follows.
As the documents were shown theater house accused of the production crews and who was involved in a production entitled “Man ale?” all absent from the production show. Also, else case in group absent during performance show. As the written documents show and the crews wrote accuse letters to the theater director of directorate it “we went far away to Awasa to capture a film, but we think to come back to Addis Ababa and involved at the performance show. So we couldn’t reach on time and miss it. That our fault, we were regretted and sorry! Or accuse us! That was our fault and the discipline committee leaves the issue. Some performers were absent without permission the concerned body (Discipline committee’s document).
Artist accused, they were talking about playhouse maladministration and corruption by (media). About maladministration theater house and dissemination information by f.m, Refused the character in the production and absent and closed the performance show and switch off their mobile, Conference).
Artists accused usually absent from the production show. Artists were during performance show because of a shortage of transport over our problem. We had an agreement with the playhouse, but we had violated the law of the playhouse, however, we were regretted our fault, so that accuse us or sorry. Herewith this letter, but the discipline committee checked the issue not a transport problem on that day they had a film capturing. So the decision of the discipline committee punished one monthly salary. The artists accused cases were reported by Artists and program coordinators. Else case the performers were absent during rehearsal time, (Discipline committee document).
4.6. Measuring the Respondents’ of Ethical Perceptions
This section provides and measures the respondents’ ethical perceptions among them with their work environment by dichotomies.
Table 6. Measuring the Respondents’ of Ethical Perceptions.
S/N | Items | Response |
Yes | No |
Freq | % | Freq | % |
1 | Do theater professionals punctual during performing? | 6 | 10.2 | 53 | 89.8 |
2 | Do theater professionals have any addiction? | 32 | 54.2 | 27 | 45.8 |
3 | Do theater professionals come with a hangover? | 22 | 37.3 | 37 | 62.7 |
4 | Do theater professionals ask permission at duty? | 22 | 20.3 | 37 | 79.7 |
5 | Do theater professionals realize the characters? | 14 | 23.7 | 45 | 76.3 |
6 | Do theater professionals well-disciplined? | 13 | 22 | 46 | 78 |
7 | Do theater professionals concentrated? | 15 | 25.4 | 44 | 74.6 |
8 | Do theater professionals commit? | 29 | 49.2 | 30 | 50.8 |
9 | Do theater professionals respect each other? | 17 | 28.8 | 42 | 71.2 |
10 | Do theater professionals always warm-up to performing? | 22 | 37.3 | 37 | 62.7 |
11 | Do theater professionals entertain among the team? | 25 | 42.4 | 34 | 57.6 |
12 | Do theater professionals sharing experience from colleagues? | 29 | 49.2 | 30 | 58.8 |
Average | 59 | 36.4 | 59 | 63.6 |
As a result of the data presented in the table above the respondents were asked about their punctuality and 89.8% of them replied no and the remaining 10.2% replied yes. As the respondents were responded that is low work ethics. According to Stspm Theater Company, defined as follows:
Punctuality is on time means you are warmed up and ready to go at the designated time. If you are going to be late, let the stage manager know right away. There is a saying in the theater. "If you are not ten minutes early, you are ten minutes late." Punctuality is respecting the time of others. My five-minute delay means that each one waiting for me loses five minutes of irreplaceable time. Punctuality is demonstrating the worth of people and time by arriving for appointments before they begin.
The interviewee was asked to give his/her answer on Theater ethics, one respondent was replied as follows:
I have been working in government and private organizations as a theater practitioner for ten years. My general observation is that theater practitioners often late and sometimes absent from a performance show. There is no ethical standard or code of theater ethics and it leads to conflict among theater professionals during shows. This is a shame for theater professionals.
As the researcher was observed during the show some of the performers and technicians were totally absent from the show.
Some performers were used to smoking around theater houses compounds and miss cues and recording the dialogue and show drinking and eat food at forbidden places and time. Switch on mobile used Facebook and during the show at that time the researcher came before began the schedule to observe when they were prepared the scenery and technical ready and taken the rest, concentrated, keep hygiene, there was lack of preparation. Some performers were late if their character becomes late to enter. However, it happened rarely as the researcher was observed for a year.
As the respondents were 54.2% said yes, they are addicted and 45.8% said no, they are free from addiction. In response to the come in with a hangover, 62.7% said no, but 37.3% said yes. The obtained result implies that it is with a similar range to the addiction items. With response to an item on the performers are ask permission at duty, 79.7% said no and 19.3% said yes. In response to item well-realize the characters, 76.3% said no and 23.7% no. The respondents were asked to answer on discipline backstage, 78% said no and this implied to disturbing their colleagues and 22% said yes. Regarding the item on concentrated at the show, 74.6% said no and 25.4% said yes. The respondents’ response on a committed at the show, 50.8% said no and 49.2% said yes. Regarding the item on the respecting with colleagues at work, 71.2% said no and 28.8% of them said yes. In response to an item on warm-up to performing with colleagues, 62.7% of the respondents said no and 36.3% said yes. The respondents were asked to respond on regarding the recreation with colleagues, 57.6% of them said no and 42.4% said yes. In response to an item on Experience sharing from colleagues, 58.6% of them said no and 42.4% of the respondents said yes. As the respondents responded on issues some implications of weak ethical behavior.
4.7. Measuring the Playhouses’ Expectations of Ethics
This part measures playhouses' conditions and level toward theater ethics from the view of respondents as well as expectations of two playhouses through dichotomous and frequencies and percentages.
Table 7. Measuring the Playhouses’ Expectations of Ethics.
S/N | Items | Response |
SA | A | N | DA | SDA | Sum | Mean |
1 | Theater professionals always reach at the theater house before a show to be performed | 10 | 15 | 7 | 15 | 12 | 59 | 3 |
2 | Theater professionals always try to create a common spirit a show to be performed a show | 6 | 16 | 12 | 15 | 10 | 59 | 3.11 |
3 | Theater professionals always make physical relaxation before performing a show | 11 | 19 | 10 | 10 | 9 | 59 | 2.9 |
4 | Theater professionals always present at the productions | 14 | 13 | 11 | 12 | 9 | 59 | 2.8 |
| Average Mean | | | | | | | 2.95 |
As implied in the above table data in response to the item on having principles of ethics in theater, 76.3% of the respondents said no and 23.7% of them said yes. This indicated was not formulated code of ethics document. In response to the item on the playhouses meet its goal in playhouse ethics, 88.7% of the respondents said no and 11.3% of them replied as yes as well as the same with respect playhouses ethics. With items on the training of playhouses ethics, 50.8% of the respondents said no and 49.2% of them were responded as yes. The obtained result shows more than half percent of the respondents were said no given training about ethics at playhouses.
I am work along period of time at Ethiopian national playhouse there is a lack of professional ethics in the playhouse. In 2014 the code of ethics is document complied by professionals send to federal ministry culture and Tourism for approval, but still not approved the code of ethics. In Hager Fkir playhouse there is no code of ethics developed except the one-page guideline posted on the wall. As my understanding code of ethics need the standard, discussion and an agreement with the professional as well as training for any playhouses professionals but there is no training given playhouse formally.
4.8. Post-performance Show Ethics
This section focused on qualitative data at post-performance show ethics in general as interviews the respondents’ replied in post-performance show ethics were practiced in playhouses. So, the interviewees are forwarded as follows:
I am technical managers as a manager in Ethiopian national playhouse In post-performance show ethics as far as know it all technical elements return to its place and the ownership of properties as soon as possible. In Ethiopian national playhouse sometimes happened, but it rarely happens. In Hager Fkir playhouse I am working as a technical manager for a long time in my observation low post-performance show ethics at playhouse repeated leave the materials on stage and backstage.
As the above data revealed the post-performance show ethics in the two playhouses a good practiced of theater professional ethics on post-performance show ethics.
4.9. Summary of the Results
It is important to summarize the overall results of the percentages, frequencies, Likert scale mean average, interviews, observations, and document analysis implied that the respondents on professional ethics at the Ethiopian National Theater and Hager Fkir Theater playhouse. It would be useful for readers of this study to access all results in one paragraph and table. The findings of the study show that poor ethical theater professionals’ behavior on performance shoe ethics at rehearsal ethics, backstage ethics, during the performance show ethics and performance shows ethics.
Table 8. Total Mean Average the Respondents’ with their Corresponding Items.
Variables of Measuring Performance Show Ethics | Total number of items | N | Mean |
Rehearsal Ethics | 10 | 59 | 2.33 |
Backstage Ethics | 4 | 59 | 2.9 |
During performance show ethics | 4 | 59 | 2.95 |
Average Mean | 14 | 59 | 2.7 |
Based on the data obtained from the above table regarding the measured theater ethics the total average mean is 2.7. This implies that the results were below three because the Likert scale statement is positive. As the total mean average implied that theater ethics of theater professionals’ were poor. The respondents are responded about perception toward theater professional ethics is 63.6% replied no and 36.4% replied yes. All the playhouses theater professionals have a lack of awareness about ethics issues. They however regrettably noted that despite their awareness, no significant change is observed in the ethical behavior of most respondents. Some reasons given by the participants include professionals’ lack of interest and willingness to internalize ethics issues and implement them as desired. As the findings show about playhouses toward professional ethics is 76.1% replied no and 23.9% replied yes. According to Addis Ababa Culture and Tourism Bureau, conducted research on artists that research findings and results show as follows:
The study was conducted on musicians, visual artist and theater artists in three fields the data show weak practiced ethics. Closing shows for off-peer performance due to non-honoring or unprofessional public spending. Self-exaltation by hurting others' morals cannot be an example of a substitute for substitutes. Possession, dissatisfaction, intolerance, neglect, and gossip cannot decipher or solve problems.
All interviewed, but except the post-performance show ethics similar to the above result which is discussed in previous topic performance show ethics like pre-performance show ethics (rehearsal ethics), backstage ethics and performance show ethics. Post-performance show ethics as the respondents are replied well-practiced. When compared to the two playhouses theater professional ethics Ethiopian National Theater playhouse is a good practiced rather than Hager Fkir Theater playhouse as the researcher is concluded both below the standard and weak practice of theater professional ethics at playhouses.
5. Discussion of the Results
This section discusses the results of the findings as respondents replied data on performance show ethics like the pre-performance show ethics (rehearsal ethics), backstage ethics, during performance show ethics and post-performance show ethics. The Code of Ethics at playhouses it is found out that there is no comprehensive, nationwide code of ethics for the Ethiopian theater professionals. In the absence of such code, playhouses were left to navigate and adopt their own. As shown in the findings, all the playhouses have adopted theater professional ethics. Moreover, the absence of a formally adopted code by the federal government may undermine its immediate obedience by the theater professionals. The lack of effective communication of the code of ethics to the theater professionals has also hampered its sound implementation. Many of the participants agreed that several efforts have been undertaken by the playhouses and other concerned bodies to raise the ethical awareness of theater professionals. All research participants believed that the ethics awareness of theater professionals is relatively low. The respondents pointed out that to measure the level of performance show ethics it consists of pre-performance show ethics (rehearsal ethics), backstage ethics and performance show ethics average mean is 2.7. This finding is revealed poor theater professional ethics at playhouses. The respondents are responded about perception toward theater professional ethics is 63.6% replied no and 36.4.% replied yes. All the playhouses theater professionals have a lack of awareness about ethics issues. They however regrettably noted that despite their awareness, no significant change is observed in the ethical behavior of most respondents. Some reasons given by the participants include professionals’ lack of interest and willingness to internalize ethics issues and implement them as desired. As the findings show about playhouses toward professional ethics is 76.1% replied no and 23.9% replied yes. Many of the interviewed theater professionals, however, indicated that several pieces of training are not given to theater professionals either by the playhouses themselves or in collaboration with the Federal Ministry of culture and Tourism and Addis Ababa City Administration Culture and Tourism. They indicated that the code of ethics is one of the major issues addressed in the training programs. Furthermore, they are designed in such a way that they bring about attitudinal or behavioral change on the part of the trainees. So, they suggested that training interventions should be made in such a way that they bring about attitudinal and skill change so that the theater professionals will internalize them and take them as guides in their day-to-day activities.
The research participants also stressed the need for the periodic evaluation of the on-going ethics training to gauge the impact of such interventions on the theater professionals, the playhouse managers, and playhouses. The researcher recommended that all government playhouses in Ethiopia should be encouraged to adopt a code of ethics that will define the relationship between these government playhouses and the professionals. Based on this recommendation, though the process took a long time, the playhouses have formulated their own code of ethics. It seems that its administration is loosely managed. It is not centrally coordinated, there is no legal framework guiding the efforts, and so on. As the interview result showed, many of the ethics theater professionals consider themselves as faultfinders. There is a general misconception that the overriding role of ethics is to address ethical misconduct, though this is decreasing from time to time. Furthermore, the respondents to the interview felt that most of the ethics theater professionals do not have the necessary capacity, and more importantly they lack the personal commitment to their cause, and as a result, the ethics units are generally weak. As a result, the need to create strong and effective playhouses in ethics is highly emphasized. Furthermore, some research participants stressed that even the executive organs such as the individual playhouses and the Ministry of Culture and Tourism have capacity problems; and they recommended that such playhouses as well should be strengthened. Creating strong playhouses requires establishing effective systems in the playhouses which include the right policies, regulations, codes, and the like, and more than anything else they underlined the effective enforcement of such laws. In fact, the playhouses do not have much problem as far as policies, regulations, and codes are concerned. The key drawback of the playhouses in this respect is their limited implementation capacity. The State Minister also shared the view that the supervisory playhouses including his own Ministry have capacity problems and emphasized the need to strengthen them.
6. Results
The objective of this study is to measure the professional ethics of Ethiopian Theater in the case of Ethiopian National Theater and Hager Fkir Playhouses. In order to achieve this objective, the study has aimed at seeking answers for the following basic questions. 1. What is the level of theater professional ethics on performance show? 2. What is the perception of theater professional ethics? 3. What is the expectation of theater professional ethics from playhouses? 4. What does theater professional ethics look like performance show? This study employed a mixed approach, which is Quantitative and Qualitative approaches. The sampling technique to select for questionnaires the respondents was convenience sampling. Purposive sampling was also used for in-depth interviews which are both non-probability sampling. The sample sizes were 59 respondents on theater professionals and the sources of data were primary and secondary sources. The data collection tools were questionnaires, interviews, observation, and document analysis. The quantitative data obtained from the questionnaire were analyzed using statistical tools such as frequency, percentage and mean value and data obtained from interview, observation and document analysis was qualitatively narrated and described. The obtained results or the findings are as follows:
In these playhouses, more stage was playing, performed appropriately and regularly by theater professionals. The results of the findings revealed that the process of production at rehearsal, backstage and performance show ethics shows of the theater professionals were weak or below the expectation of professional ethics.
7. Conclusions
Based on the results of the findings, the researcher was concluded as follows:
As the respondents were replied that theater professional ethics were low at the playhouses on the theatre professionals. There was no guideline formulated for professional ethics to take procedural measurements on limitations observed in attaining professional ethics. Therefore, Theater professionals were less benefited and don’t contribute to the improvement of performance show ethics.
Theater professionals and professional ethics in playhouses rarely discussed their common barriers in groups. There was no regular program for peer and self-evaluation and they were not monitoring the outcomes of Theater professional ethics practice related to theater professionals’ development and performance show ethics.
Playhouses managers’ experts and theater professional practitioners and facilitators, through key role players, were less helpful. There was a failure in arranging training programs, within/inside and inter-group discussion, arranging for scaling up best practices, facilitating and enhancing professional ethics programs, allocating sufficient budget, and encouraging peer evaluation opportunities followed by timely feedback regarding the real implementation of playhouses professional ethics. Hence, there was no sense of ownership and responsibility among Theater professionals and playhouse managers.
Performance show ethics training for theater professionals was not also available in all the playhouses to support theater professionals and relevant professional ethics training was not conducted in playhouses. Theater professionals have seemed unethical behavior professional ethical practices and Professional ethics were not directly connected with theater professionals, but they are used informally and irregularly. Performance show ethics documents were not compiled and were inadequately prepared because of a lack of information about the format and the purpose of professional ethics.
Theater professionals recognized professional ethics as a complex and ambiguous activity. Thus, the playhouses used professional ethics as an instrument for upgrading, and updating was given less consideration. Generally, Theater ethics in the playhouses were not contributed to updating and upgrading theater professionals in Ethiopian Playhouse particularly at Ethiopian National Theater and Hager Fkir Playhouses.
8. Recommendations
According to the above conclusions, the following recommendations were made to be looked critically by the concerned bodies to practice good professional ethics of theatre as well as to implement it in the playhouses.
Playhouses plan professional ethics in Ethiopian Theater was not effectively implemented. Code of Ethics a document was not well compiled. For that reason, the theater professionals and Ethiopian National Theater and Hager Fkir Playhouses managers along with their staff members are advised to frequently discuss how to implement professional ethics in theater plans and evaluate the theater professionals and should give feedback.
There is a lack of professional ethics in the theater that should be given training technical less experienced theater professionals, like novice theater professionals. This created confusion in the performances of newly employed theater professionals. Therefore, the playhouse managers need to assign trainers for the beginners of theater professionals.
As professional ethics in the theater, a means of upgrading and updating theater professionals should be recognized that expert-led training is not the only way to professional ethics learning. It also benefits from the overall helps for teamwork coordination. So, theater professionals should participate in passionately and dedicatedly to every activity of playhouses professional ethics.
The researcher recommended that the playhouse manager officers need to inspire and motivate theatre professionals toward ethics. Each activity of professional ethics should have a direct bind with theater professionals to professional ethics progress. Due to this, theater professionals should plan her/his every activity in her/his code of ethics with her/his program and she/he should be ready for career structure. Hence, all Ethiopian playhouses are advised to consider motivating and giving incentives for those who perform their professional ethics.
It is possible to recommend that the playhouse managers are less hesitant to allocate sufficient budget, appropriate materials and to give short and long term training professional ethics, within/inside group discussion, arranging visits in order to share experiences and enhance professional ethics opportunities followed by timely feedback.
It is also recommended that the playhouse managers solve the problem of ethics to theater professionals by providing training seriously at all playhouses to overcome the problem of professional ethics to support the theater professionals. Solving the problem of ethical quality implementation of playhouses ethics hasn’t an option. Hence, every stakeholder should have to perform her/his final effort by supporting during problem identification, preparation code of ethics, and decide on priorities of playhouses budget allocation, giving need-based training, timely feedback and giving due attention for theater professionals.
It is suggested that the playhouse managers and the Federal Ministry of Culture and Tourism and Culture and Tourism Bureaus of Addis Ababa should give great consideration in the allocation of budget, permanent workers or followers, sufficiently distributing professional ethics materials, giving frequent training, sustainable follow-up and encouragement.
Finally, the researcher has suggested that further studies need to be conducted on this area concerning professional ethics in playhouses for good practice, development, and implementation of the professional ethics of Ethiopian theater playhouses.
Abbreviations
AAU | Addis Ababa University |
AACACTB | Addis Ababa City Administration Cultural Tourism Bureau |
ASM | Assistant Stage Manager |
CSA | Central Statistics Agency |
DSTV | Digital Service Television |
ENT | Ethiopian National Theater |
ETPA | Ethiopian Theater Professional Association |
FM | Frequency Modulation |
G.C | Gregorian Calendar |
GG | Good Governance |
HFT | Hager Fkir Theater |
HRM | Human Resource Management |
ICT | Information Communication Technology |
MOE | Ministry of Education |
TE | Theater Ethics |
THPD | Theater House Professional Discipline |
TP | Technical Production |
TP | Theater Professional |
TV | Television |
PDA | Public Display Affection |
PEET | Professional Ethics Ethiopian Theater |
PPPCS | Production Promotion Planning and Customer Service |
PR | Public Relation |
SIDA | Swedish International Development Agency |
SM | Stage Manager |
SPSS | Statistical Packages for Social Sciences |
USA | United State of America |
Author Contributions
Tesfay Equar Kidanu is the sole author. The author read and approved the final manuscript.
Acknowledgments
I would like to extend my sincere gratitude to all the participants of this study, as well as the Ethiopian National Theatre, Hager Fkir Theatre and Addis Ababa Administration City Cultural Hall and the experts who provided invaluable insights and assistance. Special thanks to Addis Ababa University, College of performing and Visual Arts, School of Theatre Arts for their support. Your contributions were essential to the success of this research. First, I would like to express my deepest and sincere gratitude to my advisor, Teshale Assefa (PhD) for his unreserved support and guidance as well as critical remarks and encouragement, which invaluably helped me to accomplish this thesis in its present form. I am indebted to Ato Alemtsehay Teka, Ato Mulu Temere and Ato Yemanebrhan G/Michael (who are PhD) and who were invaluably supporting and editing my research study without reservation. I am grateful to my brother Sisay Equar and my wife w/ro Kidan Hagos, who were also helping me and the necessary encouragement as well as moral support to complete this study. Lastly, my thanks go to my friends Gebrekirstos Tewelde, Manyazewal Getachew, Berhane Weldeslassie and Fitsum Zeru, who were always at my side in giving me moral support, sympathy, and encouragement to work hard and succeed in my study.
Funding
This research was entirely funded by Addigrat University.
Conflicts of Interest
The author declares no conflicts of interest.
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APA Style
Kidanu, T. E. (2025). Navigating Integrity on Professional Ethics in Ethiopian Theatre: A Study of Two Prominent Theatre Houses in Addis Ababa, Ethiopia. American Journal of Art and Design, 10(3), 96-119. https://doi.org/10.11648/j.ajad.20251003.12
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Kidanu, T. E. Navigating Integrity on Professional Ethics in Ethiopian Theatre: A Study of Two Prominent Theatre Houses in Addis Ababa, Ethiopia. Am. J. Art Des. 2025, 10(3), 96-119. doi: 10.11648/j.ajad.20251003.12
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Kidanu TE. Navigating Integrity on Professional Ethics in Ethiopian Theatre: A Study of Two Prominent Theatre Houses in Addis Ababa, Ethiopia. Am J Art Des. 2025;10(3):96-119. doi: 10.11648/j.ajad.20251003.12
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@article{10.11648/j.ajad.20251003.12,
author = {Tesfay Equar Kidanu},
title = {Navigating Integrity on Professional Ethics in Ethiopian Theatre: A Study of Two Prominent Theatre Houses in Addis Ababa, Ethiopia
},
journal = {American Journal of Art and Design},
volume = {10},
number = {3},
pages = {96-119},
doi = {10.11648/j.ajad.20251003.12},
url = {https://doi.org/10.11648/j.ajad.20251003.12},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20251003.12},
abstract = {This research article was conducted to explore integrity and measure the level of ethical behavior among theater professionals in Ethiopian Theater, with a particular emphasis on the Ethiopian National Theater and Hager Fkir (Country Loves) Theater Playhouses. To end this study attempted to measure performance show ethics (pre-performance show ethics (rehearsal ethics), backstage ethics, during performance show ethics, post-performance show ethics and the perception of theater professionals toward professional ethics. To identify the respondents ' expectations of theater professional ethics at playhouses. According to methodologically employed mixed methods are quantitative and qualitative approaches, the study is more quantitative than a qualitative approach. Convenience sampling and Purposive sampling techniques were used during questionnaires and in-depth interviews, respectively. The sample sizes were 59 respondents among theater professionals, and the sources of data were primary and secondary. The data collection tools were questionnaires, interviews, observation, and document analysis. Methods of data analysis used during quantitative data analysis were SPSS version 20 for questionnaires based on simple table frequencies, percentages, averages, and to analyze Qualitative data, thematic analysis through narratives, and merged the data. The findings of this study showed that shown data showed the level of professional ethics at performance, with a total mean average below three, which is 2.7. The perception of respondents of theater professional ethics is weak. The playhouses are a commitment to theater professional ethics in poor practice. In addition, data revealed the weak practice of theater professional ethics at playhouses as the respondents responded to it. Its implications playhouses were a lack of standard in the theater professional code of ethics and pieces of training. Finally, based on the findings of the study, relevant recommendations were forwarded. The researcher suggested that guideline documents on theater professional ethics and code of ethics should be formulated by the Ethiopian playhouses and the Federal Ministry of Culture and Tourism, and the Culture and Tourism Bureaus of Addis Ababa. The researcher also recommended that training should be given to the theater professionals by concerned scholars or theater house organizations.
},
year = {2025}
}
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TY - JOUR
T1 - Navigating Integrity on Professional Ethics in Ethiopian Theatre: A Study of Two Prominent Theatre Houses in Addis Ababa, Ethiopia
AU - Tesfay Equar Kidanu
Y1 - 2025/10/17
PY - 2025
N1 - https://doi.org/10.11648/j.ajad.20251003.12
DO - 10.11648/j.ajad.20251003.12
T2 - American Journal of Art and Design
JF - American Journal of Art and Design
JO - American Journal of Art and Design
SP - 96
EP - 119
PB - Science Publishing Group
SN - 2578-7802
UR - https://doi.org/10.11648/j.ajad.20251003.12
AB - This research article was conducted to explore integrity and measure the level of ethical behavior among theater professionals in Ethiopian Theater, with a particular emphasis on the Ethiopian National Theater and Hager Fkir (Country Loves) Theater Playhouses. To end this study attempted to measure performance show ethics (pre-performance show ethics (rehearsal ethics), backstage ethics, during performance show ethics, post-performance show ethics and the perception of theater professionals toward professional ethics. To identify the respondents ' expectations of theater professional ethics at playhouses. According to methodologically employed mixed methods are quantitative and qualitative approaches, the study is more quantitative than a qualitative approach. Convenience sampling and Purposive sampling techniques were used during questionnaires and in-depth interviews, respectively. The sample sizes were 59 respondents among theater professionals, and the sources of data were primary and secondary. The data collection tools were questionnaires, interviews, observation, and document analysis. Methods of data analysis used during quantitative data analysis were SPSS version 20 for questionnaires based on simple table frequencies, percentages, averages, and to analyze Qualitative data, thematic analysis through narratives, and merged the data. The findings of this study showed that shown data showed the level of professional ethics at performance, with a total mean average below three, which is 2.7. The perception of respondents of theater professional ethics is weak. The playhouses are a commitment to theater professional ethics in poor practice. In addition, data revealed the weak practice of theater professional ethics at playhouses as the respondents responded to it. Its implications playhouses were a lack of standard in the theater professional code of ethics and pieces of training. Finally, based on the findings of the study, relevant recommendations were forwarded. The researcher suggested that guideline documents on theater professional ethics and code of ethics should be formulated by the Ethiopian playhouses and the Federal Ministry of Culture and Tourism, and the Culture and Tourism Bureaus of Addis Ababa. The researcher also recommended that training should be given to the theater professionals by concerned scholars or theater house organizations.
VL - 10
IS - 3
ER -
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