The subject of initiation of new entrants in theatre training has been widely debated. Different schools of thought hold distinct opinions on initiation practices, and this has been ongoing for quite some time without any definitive conclusion. While some question the necessity of initiation, others view it as a fundamental instrument of shaping a performer’s training and ultimately, career. I find it important to contribute to this discourse because I underwent my own Association of Theatre Arts Students’ (ATAS) initiation in 1986 at the University of Ibadan, and I have never regretted it. The experience provided me with a clear understanding of the profession I was entering, and prepared me for its demands and instilled in me the ethics, discipline, resilience, and endurance required to navigate the profession. It is noteworthy that at Ibadan, Initiation was and still is purely a student affair with very minimal contributions from the faculty.This paper focuses on the kind of impression that initiation and its rigorous training leave on students enrolling in theatre or performing arts. The experience is intense, and it leaves a lasting impact on a performer throughout their lives. For me, it serves as a constant reminder of my foundations when I hear “Choboi”, meaning that the show must go on in spite of the inevitable pressure and challenges that come with the profession. While the term “initiation” may raise concerns, its essence and meaning varies from person to person, much like a tale that unfolds differently for different people. However, its significance in theatre training at the University, especially university of Ibadan cannot be over-emphasised. ATAS initiation has been preserved by students to ensure that new students not only undergo the process but also understand its purpose. For many, it is their first encounter with total theatre on a formal stage.From an historical/analytical perspective, and as a participant-observer, I reflect on how initiation shaped my creative and entrepreneurialgrowthat the University of Ibadan where I encountered artistic excellence and resilience through initiation. Even beyond my student years, the values instilled in me through initiation have continued to shape my professional life, reinforcing the principles that guide me in my many specialist areas of the arts and business. This discussion, therefore, is not about religion, non-belief, gender, sexual orientation or personal identity, but about professionalism and the necessity of proper theatre training. I strongly suggest that initiation should not only be maintained by students who have done a great job of it, but also be given greater recognition, financial support and commercial value by the universities to enhance its role in preparing new performers for the realities of their chosen profession and proving the marketability of live theatre in our different domains.

Keywords: Theatre Initiation, Total theatre, Culture and performance, Cultural studies.