I Hate Children 's Theater

The past four years, I have breathed, slept, eaten, thought and immersed myself in all thing pertaining to theatre. This is where I discovered to truly work in a team, where I could be without fear of being something I am not, and where I have found peace in the maddening swirl of day to day life, ironic in the fact that theatre is a hectic world. This world is where I have made my best friends and found people I know I can count on and that I insist can depend on me. If I have learned one thing from my experiences in theatre, it is to strive and achieve

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

As well as the quality of spoken language that children hear on a day to day basis will have a vast impact on the grammar and language they use. Therefore teachers and all teaching staff should ensure they continue to develop children’s confidence when it comes to communication by developing the skills needed to explain their understanding this is also vital when it comes to understanding and explaining of books or other recourses. All children should have access to and be encouraged to develop their role in drama. Pupils should be able to adopt, create and sustain a range of roles, responding appropriately to others in role. They should have opportunities to improvise, devise and script drama for one another and a range of audiences, as well as to rehearse, refine, share and respond thoughtfully to drama and theatre

Theories and objectives that I have embedded into my performance include the transformation of spectator into the actor, image theatre, forum theatre and importance of proper speculation. It all begins with my cultural artifact, my stuffed animal bear. My stuffed bear may not have a dramatic history like many other objects out there in the world, but it does hold an important value for many if not all. We all grew up having that one toy we deeply loved and were emotionally connected with and for me, it was my bear. I first came into contact with it starting at a very young age and, therefore, I am unable to put a date on it. Regardless, it is a priceless possession that I own and it 's unknown value only appreciates with time. Stuffed animals are objects that are most commonly given to children as gift and presents. What people do not realize is that it is more than just a sentimental gift but rather a tool, a friend, and a companion to those receiving it. It is a tool because it aids young kids to embrace their emotional side which they are often told to withhold especially if they are boys. More than that, it is a friend and a lifelong companion, stuffed animals are typically given to children before they are actually capable of making friends and, therefore, it is usually considered their first attempt or first contact (Miller, 1999). According to Smith (2011), people in modern day society overlook the importance of stuffed animals and its contribution cultivating our

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.

Ever since I can remember I have loved theatre. It’s been a constant presence, and an important touchstone, in my life. However, for as long as I’ve loved theatre, I have also been ridiculed for my enjoyment of it. As a child, my interest was tolerated as something precious, something I was bound to grow out of. My parents and teachers would sit in the audience, clapping and cheering me on, all the while thinking to themselves “I bet she’ll make a great lawyer one day.” They thought, like most of society, theatre was an unnecessary luxury; a pastime for the rich and powerful, for those who didn’t have to worry about putting food on the table, or clothes on their children’s backs. Certainly not

When your interest is as broad as theatre it’s almost impossible for your identity to not be represented. However, like many of my peers, I’ve struggled to find my identity and have floated between different adjectives for the past seven years. Luckily for me my love for Broadway guided me to a perfect show that let me know it’s okay to be confused about who I am.

The Public Theater has been a staple of the New York City theater community for over 50 years now. Part of The Public’s core values include providing great content for the community and making sure that content is accessible to as wide an audience as possible. This mission is highly appealing to potential donors and foundation committee’s as it provides a very transparent place for donations to land and be used to directly improve the community. Through a clear mission, a great legacy and a proven track record of community centered engagement, The Public Theater’s clearly has a great capacity to fundraise.

From a human resources standpoint, FNL currently has a great relationship with its clientele and is rich with performers and entertainers eager to take part in the events. This is demonstrated by the growth of visitors to 25,000 in the last season with additional growth expected. By last year’s numbers alone, 2,800 visitors can be expected, demonstrating the objective is not out of reach (see Exhibit 1). As the venue’s maximum operational capacity is limited 5,000 people, a sellout is plausible, creating a feel of exclusivity, encouraging people to buy their tickets in advance. A sold out event would be a huge success not only in achieving the desired attendance, but also for the future episodes in the

Our goal for the next fiscal year is to bring professionally-produced full-length children’s plays (35 presentations), educational workshops (over 100 sessions), and staged readings to Latino communities (10 new plays) throughout the Northeastern United States, especially in areas with little or no arts

At the theatre at which I do most of my work, previews are a little different than the classic type. The audiences at our previews are comprised of people who may otherwise not be able to see the show- the School for the Blind, foster families, teen moms, kids on the autism spectrum, and many other people lacking the privilege to attend live theatre at all. The audiences at those shows are always the most boisterous, sometimes the hardest to perform for, but always the most grateful. My mindset about theatre for a long time was that the reason I love it so much is because it gives me more joy than anything else I’ve ever experienced. It got me through my dad’s death in 2012, it helps me stay positive through depression, and is overall a therapeutic experience for me. The first preview I ever did made me realize that theatre isn’t for the actors at all, not once performances start- it’s for the audiences. Art is a medium that allows ideas to be brought to light that no one wants to talk about, or don’t know how to. Theatre is my most beloved method of art because of the way I’ve seen it so tangibly transform the lives of those around me. The fact that we, as theatre artists, have the opportunity to bring light to the lives of people who don’t see it much otherwise, is extraordinary. Deaf West’s Spring Awakening revival is a brilliant example of this- it makes such

After exploring extracurricular activities my freshman and sophomore year, the abstract beauty of the performing arts enraptured my heart. Keeping theatre in high esteem, I anticipated and prepared for our success in exhilaration. My schedule revolved around our performances, and consequently, I eliminated any conflicts with rehearsals. To ensure the maximum potential of every one of our shows, I allocated all my spare time into productions. I once stayed at school well past 10 at night painting the stage with my director to guarantee we polished our set to perfection. The work ethic I instigated

Acting moves me to explore and reflect the curiosities I have for the beauty and the ugliness of the human condition, and the big questions that affect the world. I want to use my passion for acting to be a storyteller, an artist, a communicator, a commentator that provokes thought and creates conversation from an audience through theatre, film, television, song, and radio, on life and on what connects us to the world around us. Acting is therapeutic, so magical, and a great adventure to me; there is not a thing that excites, fulfills me, or that I enjoy doing more than

I have since concluded that community engagement must be a part of every theatre-making process. In the professional world, I’m finding myself pushed to think about the audience more actively, and am so thankful for it — both as an artist and as a citizen. Now, as the Community Engagement Manager at Long Wharf Theatre in New Haven, CT, I am certain: community engagement is not just something that’s nice to do, tangential to the theatre-making process – it is essential to the creation of the art itself.