Theatre Is A Beautiful Thing

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.

The first stage of a show is pre-production. Every show starts as merely an idea. This idea can come from all kinds of sources. In the beginning, Broadway shows started one of two ways; a producer who hired a creative team or a creative team who found a creative team to back it. Nowadays, it is increasingly getting harder for songwriters, lyricists, etc. to get a show produced. Contrary to popular belief, many writers send in just an idea and a brief excerpt when trying to get produced. Hundreds of wannabe writers send their ideas to producers only to get a rejection letter. Many composers don’t fully commit to finishing writing a show until a producer has committed. As American composer and songwriter, Cole Porter once said, “My sole inspiration is a telephone call from a director.” Whether it be an idea from a producer, a creative team, or an unknown writer, there is no show without serious commitment from a producer.

What musical theatre does best is to be abstract, not literal reality. Julie Taymor director

In Scott McCloud’s “Understanding Comics,” he defines art as both “any human activity that doesn’t grow out of EITHER of our species two basic instincts: survival and reproduction” (164), and “the way we assert our identities as individuals and break out of the narrow roles nature cast us in” (166). Although McCloud was discussing graphic novels in his work, I think that these quotes and his argument apply to any type of visual rhetoric. As a former theatre minor at Marquette, I have had the opportunity to be privy to this argument in the form of theatre. Watching a play unfold onstage has an effect on the participating audience, largely due to the intricacies of each scene. While a good play must start out

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

Theatre is an art form that has been revered by all civilizations. It is one of the oldest and most popular forms of art. In order to stay at the forefront of modern culture theatre has had to endure much opposition. Changing times and changing interests of the world have been reflected in theatrical advances. One of the biggest challenges facing theatre in the United States today is the challenge of funding. In a world that becomes increasingly filled with new forms of entertainment it is difficult for theatre and art to continue to earn their relevance. In order for any form of art or entertainment to be truly captivating there must be some level of edginess. An example of this is the popular television series titled Game of Thrones. This show is noted for its scenes of violence, sexual perversion, and foul language. The shows edginess is a strong contributor to the shows immense success. Shows like this are a difficult opponent for theatre in the realm of entertainment.

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.

I want to create a place where people feel accepted and included; where there is such a thing, I want to ensure that those ideals prevail, perseverate - in a healthy way, of course - within the community. When I first stepped into the world of theater, the community theater that I preformed with seemed loving, and though many were, being a much more soft-spoken fourth grader, without a lead role, without a familiar face, didn't exactly make me very many friends. As a freshman within my high school drama program, I found myself talking to, as well as befriending seniors - people with the leading role. I had never felt more welcome, nor seen my confidence shoot so high. At Stevenson, I will advocate for an environment where students feel encouraged,

Innovative thinking around the use of sound design and music to further the show’s signature style

In theater, a sound designer provides the aural landscape for the play. This includes sounds noted in the play script, called motivated sounds, as well as other sounds inferred from the play script and setting. The sound designer also helps select opening and closing music to help set the mood for the play. In a musical or a play in a large theater, the sound designer also prepares the reinforced sounds by selecting microphones for the musicians and or actors and running them though the theaters sound board to amplified speakers. The designer will then tune and mix the audio to supply a clear and consistent sound to the audience during the performance.

"All the world's a stage…" to quote the world's most famous playwright William Shakespeare who rose to prominence in the 16th century during the reign of Elizabeth I, and who's plays have excited and obsessed the generations since and will doubtless continue to do so as we approach the 2nd millennium. On this stage the actor represents the symbol of man with all his imperfection and weakness, with all his morals and ideals.

When I saw Elphaba “defy gravity” in Wicked as a leery 13-year-old, my entire world changed. I had no idea one could be in a musical and get paid for it! On the train back home, I could not stop listening to the Wicked cast recording, and I soon knew every word. Today, I still have as much of a love for theatre as my 13-year-old self. Since then, I have seen 29 individual Broadway shows and I have cemented my desire to pursue theatre as a degree in college.

The reason why I wanted to do theater was to learn to act and to become a better actor and also to make friends that like to act.I was kinda scare it was going to be hard but it’s really easy.I think I did good this semester,at the begging I don't think I was that good at acting but this semester I think I got better. My favorite thing we did was miming.I will be talking about my favorite thing we did,what we did in the begging and about the MLK and the other informational stories we read.

Historically, research with vulnerable groups experiencing health inequities has been problematic (Quinlan, 2009; Smith, 2012). The imposition of research agendas and failure to engage research participants at the very onset of a research project can yield findings that are incomplete and misrepresent the knowledge and resources of those being researched (Wilson & Neville, 2009). For example, throughout the world Indigenous groups have been researched to their detriment, often with little or no representation or rights with respect to the research process, or to the interpretation and use of resulting data (Moodie, 2010; Smith, 2012). The imposition of western research epistemologies, processes and ethics that exclude traditional approaches