Final Reflection: Not Just Collaborative Theatre

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.

Above all, I wouldn’t be where I am today without theatre. Without the chance to perform throughout my life, I would be disconnected from the wide array of communities and histories that’s been imbedded in my daily routine. Unfortunately, it’s speculated that the theatre is a dying art form, because of the expanding popularities of movies (“Is”), but I think that it’ll remain a well renowned part of expressing imagination and interpreting history as years pass; it only takes cooperation with school faculty and young students that go above and beyond to change their

Above all other factors of improvisation, having knowledge of the basics is absolutely vital. This is knowing about the concept of “make, accept, extend”. This is where one person makes the offer, it is accepted by another, and then is extended by the actors playing out the scene. An excellent example of this was shown in class today, during an improvisation game. One group set up a scene for another group to act in (this was where the offer was made), and in this scenario, it was a game show. Straight away, the group that was acting picked up on what scenario they had been put into (this was where the offer had been accepted) and continued on with the scene without hesitation (this was where the offer was extended). Another excellent, and hilarious example of “make, accept, extend” was when in class, we acted out the scenario of waiting at a bus stop. Jerrah had acted out that she was pregnant and in labour. Suddenly, Gabby decided she would be the baby. Jerrah had to quickly accept the offer made by Gabby, which she did, and they both extended it in an incredibly hilarious fashion.

A discourse community is a group of people with similar ideologies, goals, life experiences and ways of communicating. A lot of us have been in a discourse community without even knowing it. They are so easy to be a part of, you are practically born into one, for your family has a culture and background, which fits the definition of a discourse community. I am actually a part of a few communities myself, and you probably are too. Some examples of mine are my family, being a UTA student, Italian, a woman and a part of UTA’s musical theater program. Which brings me to the most important community I have been a part of, so far in my life, Colleyville Heritage High schools theater department, I am no longer a part of it, but in the short four years I was, my life has changed for the better. In my paper, I will talk to you about my time at Colleyville Heritage High School theater department, and how the community gave me a sense of belonging, taught me how to persevere, by means of loving art and preforming. This will be backed by ethos, logos and pathos, for I have experienced all the emotions of joining a new group, along with the four years of taking acting, and singing lessons and doing shows, paired with real life events to prove everything in this paper is one hundred percent real.

After watching the Playwright's Voice and the Real Life Drama of Being a Playwright, I came to the realization that writing a play and producing it takes a lot more work and time than I though it did, as there is a lot of steps that need to be taken before the audience sees the final product. Also, I was surprised to hear some of the major theater companies are closing their doors to the public because they don't make enough profits from the plays they present. One of the reasons I choose to see the Playwright’s Voice and the Real Life Drama of Being a Playwright was because I wanted to know more about the writer’s journey into Broadway, and also I wanted to hear from the people who work directly with the theater company about their view in

After read the Part II of Collaboration in Theatre about working together to create musical theatre, I felt that I was overwhelmed by the charm of collaboration. To me, I considered that it was such a significant process not only to musical theatre creation but also to other disciplines and industries, including Supply Chain Management (SCM) – the specialty that I am majoring in.

I began this semester with a comedic high school play production, and finished it with a comedic play presented by Theater By The Grove. Boeing Boeing served as a parallel to my initial experience with the Indiana Senior High School production of Around the World in Eight Plays. Despite the similarities between the two productions, many aspects differed including the performance level. Being this is the third play I’ve seen since attending college, I now have a wide spectrum upon which to compare each production.

After this project I can say that I personally better understand theater and that I enjoyed the experience. I’ve learned many things and had a lot of fun making memories with my classmates. I really appreciate all the information and all the fun

In 1992, Boal was invited to be the keynote speaker for the National Conference of the Association for Theatre in Higher Education (ATHE) in Atlanta, Georgia. This is the national

I believe theatre critics are necessary because they play a vital role in the theatre realm. Their role provides a crucial communication between those who watch the drama and those who makes them. Without this interaction the general public, who lacks theatre knowledge, would go see theatre performances blindly. Most theatregoers would find this nerve-racking for the fact that they spend a good amount of their money to go see a performance that could potentially be boring or not of interest, and resulting in losing their money’s worth. For instance, who else is going to provide a well-thought-out analysis on whether or not a drama is worth one’s time and money? I, personally, would rather read a critic review over a basic review online that

Theater was about attracting the middle class crowd to see their play but also to please the audience. For many years in theater much of it presented false or unrealistic concepts. Many authors of playwrights were accustomed to the idea of showcasing productions that could not happen in real life. Around the late 19th century, there was a push for creating more of an authentic and truthful piece of work. The movement was known as realism, which is the “representation of familiar things in a way that is accurate or true to life” (Google). “Reality is the state of things as they actually exist and is the perception of things as they actual exists” (Google). In Miss Julie written by August Strindberg, this play displayed his attempt at representing realism. Creating reality in theater requires implanting realistic points such as characters, actions, and dialogue that is accurate to real life.

Like many, I initially thought I was going to be taking a typical theater class this semester, so when I discovered the class was actually centered around devising, I was worried. I had no previous experience devising, and frankly, I didn’t even know what devising ment. Nonetheless, by being submerged in devising all semester, I learned the processes necessary to write, design, and create a piece in a group setting. Through these processes, I developed some positive skills like giving and taking criticisms, methods of brainstorming, and open-mindedness.

William Kraft, a musical composer and conductor, once said, “When you go to the theater, if you’re really involved in the play, you don’t think about it – you’re in it.” This quote from William Kraft is especially true for the One Act plays I attended. The smaller theater space and closer proximity to the stage allowed you to more involved in the play than if you were seated farther away. In the following response, a synopsis and critique of three of the plays I saw will be given.

shall be for all you theatre lovers out there (I also speak to my own drama-

During last week’s lecture I learned that there is a variety of career divided under the umbrella of theater profession. Before attending that lecture I only thought that a play, musical, movie, drama or any other performance only requires the producer, the director, the cast, and crews that helps out in between times. I never thought that there are lots of other significant personnel that are needed to produce a performance. Out of all of careers that we discussed in last week 's discussion I am more interested in becoming a performer, a cast. Since I was young, I was really fascinated by how performer can use their skills and passions to influence the audiences. I could still remember times when I was influenced by the acting and started to cry.