Nonprofit Theatres

The Globe Theater was a theater that was built and owned by Shakespeare and the group he belonged to called the Lord Chamberlain's Men. Although it is not known exactly when the theater was built, the first record of it shows that it was built before the end of 1599. The Globe Theater was built using lumber from a theater that was not very far away. Even though the Globe Theater was built with wood from a dismantled theater, it was not the same as the previous theater. In fact the globe theater was much larger than the previous one. The theater was a great success for many years; nevertheless, it was burned down in summer of 1613 during a play of Henry VIII. During the performance something happened to a theatrical cannon to cause it to misfire

This article was written by the government so I know it is very reliable and trustworthy. Since I could not find any reliable sources that disagree with my topic I chose to use this source that explains why there were budget cuts against the arts, and the arguments for and against it. This article also gives statistics from over the years on how much the government spent on performing arts programs, and how their budget went down slowly over time. Additionally, this article discusses why performing

A generous commitment helps to keep the Shakespeare Festival as an active professional theatre. NCShakes has trustees. You can give money and get benefits as well. It’s great to suppor4t your local theatre. NCShakes really appreciates all of their trustees. You can give from a range to $10,000 and above and $250 and under. Not only do trustees help out NCShakes tremendously, but sponsorships play a very large role in NCShakes' success as well. Sponsorships help out by underwriting productions and programs. (“Welcome to the North Carolina Shakespeare Festival”)

The Globe Theatre became what it is today because of its history. What was its history exactly? Unfortunately, those are two questions many people don’t have an answer to. So, what is the history?

After the golden years known as, The Roaring Twenties,the U.S experienced the greatest economic crisis in human history known as the Great Depression.People struggled just to get by,actors especially .The Federal Theater Project (FTP), was a government funded program to help struggling performers find work.Though the idea of such a program was revolutionary,it failed, and ended a few years after its creation. The FTP ultimately didn’t establish what it set out to do.

From the Ancient Greeks, to the Romans, and all the way to present day New York City, theatre is a tradition that has been passed down for thousands of years. The art of expression through live performance is something that will never go out of style. The history of Broadway is a rollercoaster with flourishing highs and devastating lows, but they both have significantly contributed to shaping the industry into the prosperous business that it is today.

Throughout Canada, there are many theatre companies who incorporate not only Canadian playwrights into their productions, as well as other playwrights throughout the world. The Great Canadian Theatre Company in Ottawa, is one of few that envisioned and produces only Canadian plays. The founders of the company are professors and graduate students from Carleton University. During 1975 when the company first opened it was completely volunteer-run. Unlike other Canadian theatre companies, the main focus for their company was based around Cultural Nationalism. This nationalism continues to transform rapidly, as the years pass on and the company develops. The Great Canadian Theatre Company only accepts Canadian

For decades people found theatre one of the most enjoyable form of entertainment all across the world. With every play comes a cost. A value which somebody's story is told. Obviously it can be comic drama or despairing,. Each second of these plays are genuinely delightful and exceptional. Where the performing artists show a totally distinctive side of characters to the group of onlookers where they demonstrate to them something new and pleasurable. And behind the theatre and its plays is one person who keeps it all in check and that is the director. The director is like the heart of a person. You don’t see the heart but you know if it’s doing its job correctly

The case titled The Theatre Budget was a short journal about a frustrated Vice-President of a performing

To begin, I have been volunteering with at People’s Bank Theatre beginning in September of 2016. As a volunteer, I essentially pick and choose which shows I would like to volunteer for, then Sarah places the volunteers accordingly in the different positions as she sees fit. Throughout my time volunteering over

Realism provides only amoral observation, while absurdism rejects even the possibility of debate. (Frances Babbage, Augusto Boal). The cynicism of this remark reflects the aberrant attitude towards absurdism, yet there is truth to it. Theatre of the absurd is an esoteric avant-garde style of theatre based on the principles of existentialism that looks at the world without any assumption of purpose. Existentialism and Theatre of the Absurd became identified with a cultural movement that flourished in Europe in the 1940s and 1950s, after the Second World War. The idea that man starts with nothing and ends with nothing is a common theme amongst most absurd plays. Despite this strange philosophy, Theatre of the

With resounding consistency, every reference to The Theatrical Syndicate begins with the same anecdotal tale: “One day in 1896, six theatre businessmen met for lunch at the Holland House Hotel.” The gentlemen gathered that day where in a consensus about a few things, but the greatest of which being the state of the American theatre and its institutional need for centralization. (Mroczka) The aim of the following discussion is to contextualize this organization within American theatre history while illustrating the positive and negative impacts of The Theatrical Syndicate on the theatre community.

Today's effects of television on the theatre are big in good and bad ways. The good thing television can do for the theatre is advertise and show clips from the play. People also like to hear what other people think and there are shows on television that will do that. Television can also show the plays in full, which can be good and or bad. The way it could be good is seeing the play on television could make someone want to see it live, than again once someone sees it they may never want to see it again. Another thing that goes along with television is a VCR if someone wants to see something bad enough they can go rent it or tape it for every time they want to see it in the future. Now there are even channels that are dedicated to showing only stuff from the stage.

The Public Sphere within theatre was a concept that was first delineated by philosopher Jurgen Habermas in his book titled The structural transformation of the public sphere, in which he refers to the right that all citizens hold, the right to participate and engage into discussions on public matters of interest and public issues. Habermas writes: “the audience does not constitute a space for spectators and listeners but a space for speakers and addresses who engage in debate.” (Habermas in Balme 2012). The Public sphere has now become a space, a stage, for performers, speakers and protesters to have a voice rather than for the preliminary use of entertainment for the audience, spectators and listeners.

Through a review of recent literature covering the role of marketing (and branding) in affecting the artistic products and arts organisations, the proposed study explores the connection between the arts centres’ financial strength and their brands constructed therein. With particular emphasis on three arts centres in Singapore, namely The Substation, The Esplanade, and Goodman Arts Centre, five research questions are included to support the thesis. The initial investigation of the proposed study will attempt to 1) What is branding and its relationship with the arts in Singapore?; 2) What are the identified arts centres in Singapore?; 3) Do brand extension strategies for conventional goods and services succeed in the case of arts centres in Singapore? 4) Which type of