Bread and Puppet Theatre and the Audience

Theatre is a relationship between the performers and a live audience. There is an invisible yet tangible energy that exude throughout the theatre, reaching the actors and audience. Both the performers and the audience bring their own energy, but once the two forms of energy meet up in the same space and intertwine then become a radiate experience. The natural excitement of anticipation and excitement of the audience can be intoxicating, they come with hope of being entertained and if the audience is lucky

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

Theatre is a collaboration of various forms of fine art which utilizes live performances presenting before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The message is communicated through a combination of various channels like songs, speech gestures or dances. Stagecraft skills are combined with elements of art to make the performance more physical and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy, tragedy and improvisation. Any form of these accepts integration of various production modes and collective reception to influence the artwork being presented. As a result of this cooperation of items in the theatre

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

A craft that was thought only for the rich has been marketed to children in schools, to their parents and tickets are now more affordable. People are drawn to this style of entertainment. There are theater lingo’s like break a leg, the show must go on, dim the lights and curtain calls. I believe in times of struggle the theatre is a form of escape for the masses and has been an escape method throughout history. Theatre has continued to live on from the birth of American theatre to modern theatre and continuing on now to the future through the progression of acting, design and technology.

There is no theatre without an audience. The audience is as much a part of the playmaking experience as the artists—so how do we incorporate them more actively into what we do? We must work with them – and I’ve learned, in so doing,

The directors contribute in creating this response from the spectators, they continue to do what previous audiences had originally loved. They believe that this must be the correct way to perform a play and lack any creativity to change it. 'The Deadly Theatre' shows that both actors and directors do not invent any new ideas, they both rely on what they have done previously.

When utilized correctly, theater can weapon, not one that destroys, but rather one that teaches the spectators to adhere to one ideology. The group or ideology that speaks and has the power of this microphone has changed over time and as a result culture has followed it. At first, we observe that the aristocrats held theater but soon after the power fell to the individual man. Once the bourgeoisie, as Boal calls them, took control, the common man followed two laws, according to Machiavelli: the virtù and the praxis. The virtù allows the lower man to trample the obstacles set by the higher powers. Although man has become more individualized, art today still indoctrinates the lower man that he must obey

The angel is probably the most obvious example of theatricalism, because, though angels, may or may not exist, it is unheard of to be visited by one. Yet, by not focusing on what is, rather what can or could be, the angel

Today’s society has been influenced by many things from the past. From governments to hippies, from historians to pioneers, from warriors to peacemakers. Our society has been influenced by many things. Theatre is one of the majorities than influence us.

Theater exemplifies various concepts through different ways however, acting allows one to convey more allusive messages through body language than possible with just the spoken word. The body language can also establish emphasis on particular ideas and is sometimes imperative in proving a point. Furthermore, theater can be abstract

It is through the use of the semiotic elemets discussed within the essay, that allowed the audience to gain a deeper understanding of what the play explored. By linking charcters to objects, it allows them to have a continual presence on stage and reminds the audience of their development from the start. It is through this that we see how charcters have grown from their expericens or how some have allwoed it to isolate them from those surrounding. The truth can have a pwoerful impact on an individual and this importance is highlighted through lighting choices that essentally control and captivate an audiences attention. The two elements combined creates a performance that resonates with those watching and leaves them with an ending that can

As a child, one tends to impersonate through miming, singing, acting those living and imaginary characters of one’s mind. However, as a one gets older, society through education would establish boundaries to have access and use of our own imagination. These boundaries define our behavior until we get constricted and somehow fear to use our imagination as adults. Having those social restrictions in mind, some adults do not lose their sensitivity to see, analyze and impersonate characters from their imagination or from a play script. The best place created to experience that creativity of imagination with no boundaries is in the theater. Theater deriving from the Greek word as “place to see” is a place where people

The Theatrical Worlds covers a profound number of methods of individual theatre practitioners and historical roots of the art of theatre which is heavily embodied within The Three Musketeers. According to the Theatrical Worlds, the dynamic between the actors and the audience is called the

“It is not a matter of suppressing speech in the theatre but of changing its role, and especially of reducing its position, of considering it as something else than a means of conducting human characters to their external ends, since the theatre is concerned only with the way feelings and passions conflict with one another, and man with man, in life” (72).