Theatre Evaluation

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

The set used for Vernon God Little was highly symbolic and simplistic; when we walked into the theatre we could visually see that there were flowers, cards and memorable items attached on the audiences seats above our heads, which already created a sombre atmosphere around 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)

For our critiquing assignment in our Introduction to Stagecraft 1, I ventured to downtown Toronto, to a small indie theatre called, The Unit 102 Theatre. There I saw the production of MISS; written by Dora Award-nominated playwright Michael Ross Albert who wrote such works as Tough Jews, The Spadina Avenue Gang with the Storefront Theatre. The set takes place in the aftermath of a shocking accident in a boarding school classroom, the story explores the tenuous connection between a high school teacher, her fiance, and a troubled student whose lives have been irrevocably changed by tragedy caused by a miscarriage, an affair, and the fear of the consequences that are not yet revealed, and finally, murder. This is a one act showdown between three

Having knowledge and involvement in both the acting and the technical aspects of theater, I expected the production to deliver a qualitative performance that gave its audience the full experience. This experience is achieved by the elements of theater such as acting, lights, sounds, props, costume and set design

As for the first theatre, I chose Book-It Respertory Theatre. Its location is at The Center Theatre in Seattle, Washington, and the address is 305 Harrison St, Seattle, WA 98109. They have just finished with the show “Emma”, which came from the book that Jane Austen wrote. During May, they will start with a new show called “The Brothers K”, and it is written by David James Duncan. Although I have never read this book before, the review said it’s one of the great American novel one hasn’t read. As for the current artistic director, Myra Platt, she will be leading and directing the show for “The Brothers K”. The theatre started in 1990, and it has been able to continue operating for twenty six years with the hard works of its members’.

Applied theatre refers to the practice of theatre and drama in a non-traditional setting. It focusses on social and cultural issues including health and social welfare, but is also used as a rehabilitator, team building in a corporate setting and most importantly education. Applied theatre takes many different forms, is used in many different settings and can focus on a diverse range of issues. There are many applied theatre companies both in Australia and internationally; examples include: Geese Theatre Company, Shakespeare Behind Bars, Big hART, Western Edge Youth Arts, Theatre for Living and Milk Crate Theatre. These companies use Prison Theatre, Community-Based Theatre and Theatre of the Oppressed in their work, which all fall under the

According to Boal if you desire your play to be great, then theater should be about becoming. If on the other hand, your wish is to be a terrible play writer, then yes you should make theater about being. When the flaw or error of the character is presented right from the beginning, the audience does not feel much of an effect. There is virtually no conflict and no story. When a play portrays the current state of a person all throughout, the audience is being told what to do, similarly to being instructed directly, and as a result, the spectator disregards the information after the show is over. However, when theater is about becoming, they audience member is figuratively taken through a ride. As the character changes from a state of happiness

Our choice to tell stories should exist in the same moment that we identify an audience who needs to hear that story – now, in this context, in this time, and in this medium. The best relationship with an audience begins dramaturgically, at the beginning of a rehearsal process. We must ask: How can we keep our minds open to the audience we have and also to the audience we want and the audience with whom we hope to collaborate? How do we enter a community and work with new people, learn from them and hope they learn from us? Partner with our similar goals and share resources. Work with them and never for them. Theatre isn’t a service—it’s a

As my transcript undoubtedly shows, I am an Anthropology and Sociology major who also has a great intellectual and personal investment in Theater. I am continually fascinated and taking deeper looks into societal structures academically, but I have acquired a good deal of hands on practical knowledge about life, love, and how to make the "magic" happen through being a part of theater productions. Granted, I have certainly worked the most behind the scenes in set building, design, lighting, props, management and directing, but maybe because of that I am all the more cognizant of the message being conveyed to the audience and how the subtle ways in which the world of the play manifests change the message.

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

“Set the stage and get out the props for the first scene, we’re starting in half an hour.” These are the words I heard shortly before starting the first of three shows that year. OAHS theatre did Cinderella that year. Five long months of preparation, painting, building, and planning were finally paying off. Each year of stage crew was more rewarding than the last, and I learned how much I really enjoy working with my peers to create something phenomenal.

Theatre provides us with a mirror of the society within which we live in and where the conflicts we experience in life are acted out on stage before us. In the space of a few hours, we participate in a story where the facets of life

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

Starting off my group tried to use the list of movement vocabulary. That didn’t work out so instead we decided to focus on what our theme or story would be. Eventually we settled on two topics, unrequited love and love at first sight.