Theatre in the Community Essay

Physical theatre is a form of performance where movement and physicality of the body has the main part within a performance. There are several quite distinct traditions of performance which all describe themselves using the term "physical theatre", which has led to a lot of confusion as to what the definition of physical theatre actually is. The term physical theatre has been applied to performances consisting mainly of mime, contemporary dance, theatrical clowning and other physical comedy (such as slapstick), puppetry and mask work and theatrical acrobatics and lifts. One of the early practitioners of physical theatre was Artaud. His ideas included total theatre, wherein actors appeal to all

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.

Before going further and avoid the institutionalization trap, we need to take a step backward. To exist, a theater requires; people demanding for entertainment (demand), to direct their need to entertain, to limit their choices to satisfy it (supply) and to make it legal. Therefore, the social demands produced by the socio-economic arrangements, allowed by the political economy, not only produce institutions, but also define their success. The same occurred with the

Hall, Stuart & University of Birmingham. Centre for Contemporary Cultural Studies (1971). Deviancy, politics and the media. Centre for Contemporary Cultural Studies, University of Birmingham, Birmingham [West

A goal of mine would be to work for my own theatre. The name of the theatre would be UCT (Uniting the Community Theatre), and the location would be in my hometown of Fort Lauderdale, Florida. Fort Lauderdale, is a diverse city filled with various people from different countries. Although Fort Lauderdale is diverse in terms of culture, the city lacks artistic spirit. Most residents don’t get excited when a Broadway production comes to town, and there are only a few residents that go to Broadway productions. The main reasons for lack of interest could be the price of tickets, or the residents cannot relate to the plays.

While this book begins by defining stage money as “Imitation money used in theatrical production, in film, and by magicians,” the next seven chapters are not spent describing these fake dollar bills (v). Donahue and Patterson step away from analyzing the aesthetic value of theatre and analyze what it costs. As corporations of today take steps into the 21st century, Broadway is forced to evolve with them. Due to the lack of ability of performers to increase productivity, the environment is high-risk. Investors can put in millions of dollars into a project and lose it all, simply because audiences were not drawn to the show. However, investing the same amount in a successful show can make millions. This “survival of the fittest” mantra describes

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,

The participatory theatre for children does not only entertain children with the fantasy world but the aim of this theatre is providing high quality arts projects for young audience and open the door for children to be more cooperative and social development from involving the performance. Fortunately, children have huge enthusiasm to response the performance that it is different from adult character who do not want to be expose in the stage so this benefits can reduces space of theatre that will provides opportunity of children can have deeper understanding. This essay will explore the four main elements which activate the success of participatory children’s

Public schools in America have seen a significant loss of funding which in turn has caused reductions in the funding and availability of arts programs country wide. School districts have cut the programs that they believe are least useful in boosting their testing averages which begs the question: In an age where students are taught simply to take tests, does education in the arts, and more specifically theatre, have a place in today’s schools.

“Human beings creating and experiencing a story together in a room—that’s not going away.” These words of Bill Rauch, an artistic director of the Oregon Shakespeare Festival, perfectly describes theatre as one of the biggest art forms internationally. In this modern society, theatre in the world has remained admirably resilient, but it simultaneously faces challenges with popular film and television. These challenges have expanded to the Internet and handheld devices recently. Theatrical performances have enamored audiences throughout history and it is an enjoyable form of entertainment. Long before the introduction of movies, theatre amused and captivated people far and wide. Theatre is not an outdated

Martinez seems to feel that “the nature of the punk movements [sic] anti-authoritarian, anti-market stance raises a stronger possibility for how popular music can become a platform to challenge oppressive socioeconomic systems and politically fraught environments”. He gives the example of the Sex Pistols, a British punk band that exploded in popularity as well as provoked public ire with their outrageousness in the late 1970’s. For example, the band’s drummer, Steve Jones, was infamously rude and swore several times during a television interview in December 1976. However, these sort of incidents turned into publicity stunts that attracted immense popularity to the band and brought them fame, deserved or not, all over the United Kingdom, making them a household name and not an underground, anti-populist group in any form. They became pop music and therefore became irrelevant both in the main part of the United Kingdom as well as in Northern Ireland insofar as the desire to run against the status quo was

New writing demonstrates a prevailing variety of structural effects and notions in British theatre which resonate through contemporary society. “What to do? How to act? Who to be? These are focal questions for everyone living in circumstances of late modernity – and ones which, on some level or another, all of us answer, either discursively or through day- to-day” (Giddens, 1991, p.80). Identity is a powerful umbrella radiating through the ever more challenging, fast paced living, and diversification of the present contemporary world, under which humanity ‘categorises’ individuals. More specifically, the current state of personal, political and social identity as depicted through recent plays such as ‘Posh’ by Laura Wade and ‘Crouch, Touch, Pause, Engage’ by Robin Soan, will be explored. This essay will critically examine controversial perceptions and understanding of self and others, reflected in the portrayal of homosexuality, class, alienation, feminism, masculinity and ‘Ladism’ present in contemporary society. Quintessentially, new writing is in its element in British theatre, providing a liminal space for discovery to engage with human condition on an emotional and intellectual level in a representation of our cultural infrastructure.

Despite - or perhaps in spite of - the turbulent political climate, the dawn of the 20th century saw the accelerated growth of the arts sector. European arts institutions began to expand into smaller communities which resulted in the emergence of national networks and more jobs for managers and artists. After World War II government support for the arts increased, possibly to raise morale, to enhance the continent’s air of sophistication or to stimulate a rebirth of culture. The 20th century also saw the introduction of radio, film, off-Broadway shows and residential theatre companies which created job opportunities. Growth in the arts was also supported by the NEA’s grant matching program and expanding course offerings across the arts in western universities. In the 21st century the growth of the arts sector has slowed but there will always be a cycle of companies coming and going and managers are needed for permanent major events such as fashion week, Olympic ceremonies and the Super bowl half time show. Ultimately the arts have a responsibility both to comfort and to confront societies, as it has done for millennia. Presently issues such as the refugee crisis, racial inequality and increasing radicalism confront our society. To address this Shakespeare’s Globe Theatre took a production of ‘Hamlet’ to a refugee camp in Calais “Because, of course,

On reading Christopher B. Balme’s The theatrical public sphere, the concept of theatre’s role in the Public Sphere is explored. Balme traces the origins

     There have been many dramatic plays over the centuries. Many of these plays have died in their time, while others have lived on. What makes these plays endure time and continue to be influential over time? Perhaps it is the storyline or the interesting nature of the play is what makes these dramas last. I think that it is the focus on human nature and its essential truths that keep these plays alive. Most of the plays, still enacted in theaters today, deal with social issues that people can learn from and relate to.