State Theatre History

State Theatre History
State theatre companies play an important role in a community, state and country. State theatre
companies are ones that are directly funded by the government to showcase theatre. State theatre
companies exist to create a cultural environment for the country, and to entertain and educate a
wider audience than some of the lesser known theatre companies. They do this by creating a
mainstage season that appeals to the entirety of the Australian audience, – state theatre companies
are essential to a community, due to their ability to showcase theatre to a wider audience.
Queensland Theatre Company was established in established in 1970 by Alan Edwards AM MBE,
and was granted the prefix "Royal" in 1984{reference legislation}. Unlike the state companies ...
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It was originally styled the Royal Queensland Theatre Company. It was initially established as both
a training and a touring company. The company's origin lay in a decision by the Queensland
government in February 1969 to appoint a board to establish a state theatre company. The Australia
Council had made a decision to fund a state company in every state. The board had to choose
between the various options of promoting one of the local amateur companies to professional or
starting a new company. The board failed to come to an agreement and the government intervened.
The company granted statutory recognition in 1970 was the first federally funded professional
theatre company in Queensland. It took up residence in the new 611 seat SGIO Theatre, renamed the
Suncorp Theatre in 1986, near the central business district in Brisbane. The founding artistic director
was Alan Edwards, an English actor. His regular performances were a feature of the company under
his administration. The first production he directed was the musical A Rum
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Progression Of Theatre Essay
The beginnings of theatre go back far I history. It started by acting out of religious rites portrayed by
sings and dances to their gods. It's believed to be started by the Greeks. " The very words theatre,
drama, tragedy and comedy are Greek in origin"(Brown 13). England has been the center of
theatricals for many generations. There are many actors from England that have achieved success in
America. England's plays have been preformed on American stages. This paper follows the
progression of the theatre and its elements of acting, set design and technology from birth to future
in American theater. Americans love theatre, people flock to New York City to see the top plays,
first runs and classics. There are many local community players, performing their arts in warehouse,
strip malls, dinner clubs and ... Show more content on Helpwriting.net ...
A craft that was thought only for the rich has been marketed to children in schools, to their parents
and tickets are now more affordable. People are drawn to this style of entertainment. There are
theater lingo's like break a leg, the show must go on, dim the lights and curtain calls. I believe in
times of struggle the theatre is a form of escape for the masses and has been an escape method
throughout history. Theatre has continued to live on from the birth of American theatre to modern
theatre and continuing on now to the future through the progression of acting, design and
technology.
To understand the progression of acting, design and technology in theatre we start with the past
history, birth of American theatre. "It was the visiting actors from England, landing first in Virginia,
who laid the foundations of the American theatre, and along English lines that it developed"(
Hartnoll 165). Playhouses began to spring up in Virginia, North Carolina and Philadelphia. These
were the main areas of theatrical activity. The English

Stanislavski On Theatre
Theatre must be represented without any limits, full of freedom, without any boundaries. There is no
such thing as correct theatre, it is the effect that is important. It is what it makes you feel. I want
theatre that blows your mind, make you cry of sadness, make you cry of joyfulness, go further than
one's imagination, I want theatre to change perspectives and lives. In this aspect I find similarities
with Artaud, that claims for the audience to be disturbed, to feel uncomfortable and to wake up the
unconscious of the spectator (Artaud, 1938). However, I believe that not necessarily the feeling of
the public should be of a discomfort, any feeling is valuable. On the other hand, Stanislavski
believes that only one theatre, "his theatre"

Theatre Evaluation
The world of Theatre allows people from all around the world an outlet to express themselves and
convey a message or tell a story. The question as to what the ideal theatre performance would be
from an audience's perspective ultimately depends on many different factors; including age, culture,
traditions, preferences etc. However, for me personally as a member of the audience I would want to
see several different elements incorporated into the show and ultimately I would want a clear
concreate story line to follow.
First and foremost I would want the location of the show to be in an open arena stage. Not only
because of the practicality of this type of location but also because it offers an almost aerial view,
depending on where your sitting at the performance. Plus, the audience gets more of an immersion
into the show with this setup as well. Considering the fact that they nearly surround the actors on all
four sides. Allowing for multiple focal points on the stage, giving each individual member of the
audience their own preference as to what or who they want to observe. In this setting I would like to
see a Melodrama being performed that incorporates a broad display of choreographed group ...
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In other words I would want to have the orchestra play at the ideal moments to accent the actions of
the scene. I would want the props to be noticeable and add to the overall atmosphere of the setting
and action taking place. Also I would want the lighting to add an extra layer of depth to the
performance, adding the crucial amount of sinister drama to the villain or heavenly light to the hero.
These elements I would want to be used in a very thoughtful consistent manner. For example, a harp
should play every time the female love interest appears or the villain's entrance should be accented
by the theme track to

Live Theatre Analysis
In high school I was able to perform in two school plays and attended a few live theatre shows as an
adult; having the insight on both junctures permits me to express my experience and emotions of
live theatre. I do not see or feel the same connection when viewing a film as I do with live theatre.
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 ... Show more content on Helpwriting.net ...
On the night of the show, one is filled with anticipation of seeing the play laced with a hint of
ambiguity because of not knowing just what to expect. Getting dressed and arriving at the theatre
brings about more enthusiasm; once the mixture of people with different cultures and expectations is
seated in the theatre one experience an ardor of emotions. The interaction with the crowd sounds of
low chatter and sight of the person's attire add to the excitement of being in a place that can make
the magic happen.
On the other hand, the performers bring their own set of anticipation and excitement to the opening
night. The actors are tasked with bringing an illusion to reality for the audience. Once the actors hit
the stage there must be a transformation that take place, now in real time they must become the
character they are portraying and be convincing. The actor must bring about a transformation of
emotions that draw from their own personal experiences, and dig to the depth of his or her very soul
to bring a true to life enactment of the character they are

People In Theatre
Imagine you're at a play, watching from somewhere in the middle row with a loved one. The actors
are all wearing costumes that look like they came straight from the 1800s, and the set looks just as
beautiful. As the blonde actress says her lines you feel attached to every world, and watch her every
movement. You don't think you could look away even if you tried. At the end of the show you are
standing and applauding with the rest of the audience. The actors take their bows with huge smiles
on their faces, because this is what they live for. The people backstage are reacting the same way
with a sigh of relief and overwhelming happiness. For the last few months this group of people have
been working as hard as they can to bring this play to life. ... Show more content on Helpwriting.net
...
You can walk into any theatre classroom at any given time and you're pretty much guaranteed to see
singing, dancing, and/or people laughing. After shows are strikes, which meant taking apart the set
and putting it away; this process generally too about a week. It was some of the most fun times
though. All the stress of the show was gone, and we would just laugh and have a good time, trying
on the shows wigs, unscrewing the set pieces (which is surprisingly therapeutic), and when we were
done we would watch a movie. All these brought us together. Theatre kids become a family. We're
there for each other, even if we don't do it on purpose. I remember one day I was having a horrible
day, I failed a test, fought with my dad, and didn't get any sleep the night before. I walked into my
last class of the day, theater, and automatically felt better when I saw my friends laughing, and one
of them was even trying to do some weird acrobatics on a chair. Being in that fun up beat
environment made me forget all about my problems and I just had

Nonprofit Theatres
Finances
A problem with the arts in general, and theatre in specific, is funding and paying for everything that
goes into the creation of the art. In the case of other forms of art, visual arts specifically, the artists
often invest in the art, first absorbing the costs of material then selling the art for a profit. This is
harder in theatre and fine arts where personal budgets are often overwhelmed by the cost of
materials, technical instruments, and other costly measures necessary for the show to go on, this, not
including the money to keep the lights on and the space open. Regional theatres outnumber what
most people consider "professional theatre," such as Broadway, and a good percentage of regional
theatres are nonprofit. Nonprofit theatres ... Show more content on Helpwriting.net ...
Branding can draw people in, but can also drive people away, and in order to be successful it must
be unified across platforms. Branding for the arts is a bit more difficult than branding for a company.
Essentially, the products and the tone of the brand changes with each new season. To accommodate
this we must build a brand that both separates us from the competition and allows for flexibility. For
example, the Croswell Opera House markets itself as the oldest theatre in Michigan. This is
something they have used to create their brand, it separates them from the local competition, but
also doesn't pigeonholes them into a certain type of performance. In this way they are both flexible
and unique. Theatres help to shape their brand with their performances. By performing a certain type
of theatre, whether experimental, Shakespearean, or classical, a theatre can quickly gain a
reputation, and a brand. Recently, the push for theatres has been the move to social media. We
typically think of regional theatre attendees as being older, and in fact the mean age of theatre–goers
is 44 years. (Broadway League. 2015) This presents a problem. Unless we engage younger
audiences, the current theatre–goers will age and we may start to lose our audiences. (Shugoll
Research. 2008) So theatres are now looking to branch out and going to where they can reach a
younger generation. In addition, our generations have

Theatre Evaluation
300 to 500 words !!!!!!!!!!!! S.A. ( semester evaluation) 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. In the beginning we learned how to make our
voice really loud then really quiet.Also we learned how to do Fuzzy wuzzy really fast without
messing up witch was hard for me at first but now i'm really good at it.We did a story and we had to
remember it then present it to the whole class at the time I was so scared!,but once I got up there I
was fine, that really helped me with my presentation skills and remembering skills.

Musical Theatre
An accomplished American lyricist and composer, Stephen Sondheim, once said: "All the best
performers bring to their role something more, something different than what the author put on
paper. That's what makes theatre live. That's why it persists". Through my experiences in musical
theatre, both in elementary school and high school, I have come to realize that the script is the
backbone, or the base with which the actor begins to create. All of the words written down on paper
are one dimensional; they are flat. It is only when an actor gives those words a voice that the
character begins to come alive. An actor adds all of the other essential layers to the backbone, and
suddenly, there are movements, expressions and emotions to fit with the ... Show more content on
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That is the beauty about theatre. Each performer has a different interpretation of a character, because
they draw upon their own personal experiences in the attempt to connect with their character on a
deeper level. This is why musicals live on, and are repeatedly performed on Broadway. Although the
characters and the plot are ever–present, the actors will change from year to year, or sometimes even
from show to show. Therefore, not one show will be the exact same. Every performer brings
something different to their role, connecting with their character in a way that no one else ever will;
that is unique only to them. This rings true for my performance in the musical Fame. Having a
double cast, each character was shared between two people, thus allowing for differentiation in the
way in which the characters were interpreted and played. For example, I played Iris's character in a
way that was unique to how Katie Smith played the character. Even though we spoke the exact same
lines, we interpreted these lines differently, making them our own and molding a character from our
own thoughts, ideas, and personal experiences. Making these text–to–self connections (relating
one's own experiences to a text, or in this case, a script) is essential when acting. To truly relate to
the character in which one is acting, one must draw upon their own ideas and connect them to their
character's feelings, emotions, behavior, etc. Forming these connections allows for one to step inside
the character's shoes, and to truly become that specific character. In my personal experience of
acting as Iris in the musical Fame, I felt as though Iris and I shared great similarities, and this is
what helped me to relate with her character on an emotional level. Although I am not a talented
ballet dancer who never does anything but dance, I could relate to Iris's hardworking and
perfectionist

Theatre : The Most Important Value Of Theatre
Theatre has so much value to the world as a whole because it's one of the only forms of
entertainment that delve into the issues that make most people uncomfortable such as: bigotry,
homophobia, sexism, etc. These are topics that are hard to discuss, and simply because of that, most
people avoid the discussion of them completely. Theatre just delivers these messages and lessons in
a format that is less scary for a lot of people. Most of the plays we read this year deal with topics
like these. We had The Laramie Project, which dealt with bigotry and homophobia, A Doll's House,
which dealt with sexism and a difficult home life, Ruined, which involved a gruesome civil war, and
a few more. I am not saying that every message a theatrical show delivers is right, or that they are
not up for debate, but the important thing, and in my opinion, the most valuable thing about theatre,
is that they talk about these topics. It puts these topics on the table, and helps people understand a
view that may be unique to their own, or relate to a character that may share similar ideas. Besides
that, theatre also is the most unique form of entertainment, and is much more personal than watching
TV or film; theatre offers an actor audience relationship, the audience gets to hear, see, and
experience everything in the moment. The actor can decide how to shape their performance, based
on what kind of reactions they are receiving from the audience; it's immediate feedback. Someone
posted an article on

The Theatre Of The Lounge
Led by a group of actors into the theatre from the lounge, I saw a number of different theatrical
elements that were distinguished from other conventional theatre. The very first item that caught my
attention as I entered was a line of racks for coat hangers. Normally they would not be one of the
first objects an audience would notice in the house. The actors naturally guided the audience to hang
their coats on the hangers. As I went further into the space, I realized the audience seats did not face
the stage; the platform in which performance usually takes place on was veiled by black curtains,
visually creating a wall. This creation of the new wall yet did not induce me to raise a question on
where the actors would act; its answer was evidently shown. The house was stripped down to a bare,
flat ground, encircled by the audience chairs. I did not see any specially raised platform that
highlighted any actor's presence. Nor did I see any decorative set design, apart from two pillars and
a bench in between, which distinctly differentiated the acting region from the spectator region. I did
see a blue tape on the ground that physically defined the stage area. However, sitting in the front
row, the tape mark was so close that I could easily step on it. Meanwhile, instead of preparing
themselves at the backstage for the play to start, the actors walked around and interacted with the
audience members through informal conversation. They all wore their casual clothing; if I did not

Reflection Paper On Theatre
Meta–Thinking
Why do you do theatre? I remember somebody asked me this question last year when I first declared
my theatre minor. I gave them the same sentiment that I repeated during the beginning of the
semester, "Performing scares me, but there is no other place where I can get that same feeling...".
Throughout the semester, my answer has grown in multiple ways. I feel like I can better define that
feeling in theatrical terms, especially why the process of creating theatre feels fun. Throughout the
semester i've grown to understand how to make my theatre feel more authentic, and hopefully how
to make good theatre. When we began focusing on different theatrical terms ( tempo, duration,
authenticity, point, unity, harmony, and etc) it felt like we were wasting our time by focusing on
understanding these terms. The class seemed to understand what each term meant already, and there
was no need to use them. At the beginning of the semester it felt that we didn't need to spend so
much time on defining a vocabulary but I remember during the critiques each person had a chance
to mention what they liked about each piece and I knew exactly what each person liked, hated, and
thought should be changed. They mentioned certain key terms and I understood exactly what
dimensions they were referring to. I had completely understood them and without them mentioning
those terms their input could've been misinterpreted. While working on the scenery project, I went
for a practical approach

Going To Theatre
In a time when films and a variety of entertainments are accessible through digital forms, some
people may still go see the performances of live theatre

just

for the experience. Like the textbook
mentions, theatre is living, and each performance is unique to the moment. Because individuals who
regularly go to theatre performances are much fewer than those who would rather see a movie,
theatre helps establish an identity that sets the theatre goers apart from the rest and creates a
community that unites people who share similar tastes in art. Although in the past, theatre has been
widely seen by people of all income levels, in today's society, someone who regularly goes to the
theatre is stereotypically associated with a prestigious background and a traditional taste in art. In
this sense, going to theatre can be a display of social status. A more important reason is that theatre
offers an opportunity for the audience to interact with the performers on the stage. This makes the
audience feel involved and the performance more compelling than one that is on digital media. The
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The theatrical performances today still resemble how they were seen in the past: the audience sit
around the stage where the acting is carried out. The works of famous playwrights and composers
reflect the distinctive aesthetics, moral teachings, and much about the societies of different cultures
in different time periods. Films, on the other hand, is a relatively new form of entertainment and
lacks this historical value. Also, not many obvious distinctions in the forms exist among films from
different cultures since the films become ubiquitous in the world as result of

Catholic Theatre Vs Modern Theatre
Theater, especially realism, is suppose to show real life experience.,but real life experiences can also
be seen as a metaphorical theatrical performance. Some of my daily activity seem like a theatrical
performance, but one occasion that has the strongest elements of theater happens every Sunday. The
Catholic mass, which is a holy tradition for every catholic worldwide, has many theatrical elements
that accept the ideas of theater that we learn in class like audience interaction, liviness, use of
literary, visual, and heard experiences. This tradition also differ from an actual play by the use of
belief and disbelief. Similar to a theatrical performance, a catholic mass contains liveness that gives
it elements similar to a play. Similar to ... Show more content on Helpwriting.net ...
The set of this play is built beautifully like majestic castles with columns, glass windows that let in
color, and different artwork that is appeasing to the eyes. The background in itself is a piece of art
crafted by many artist. The use of statues to show the different saints and virgins and to help the
audience imagine Jesus crucified, which is not hard to imagine especially when there is a huge
statue of it right there. The robes of the priest and alter servers are the costumes of these actors. The
color on the priest's robes as well as the frabric vary with the liturgy season causing certain colors to
be associated with certain religious holidays. The church also uses the fire to symbolize the holy
spirit and the eucharist to symbolize Jesus Christ, which is similar to how Ibsen uses the Christmas
Tree to symbolizes Nora in the play A Doll's House. The music of the choir or the band serves the
same purpse as an orchestra, which is to enchance the mood to the viewers. They play lively music
to bring joy during a day that might be celebratory like christmas or more sad holiday like Good
Friday. Unlike a theatrical performance, the mass uses all the senses that products tend to use. The
smell of incense causes the audience member to associate memory of church to this partiucular
aroma; perhaps, a director might use

Role Of Theatre And Musical Theatre
Theatre and Musical Theatre has been a form of entertainment since before North America was
"discovered". Broadway shows have been dated back to the early 1920's and 1930's. By 2016, over
25,000 tickets are sold to Broadway shows in a week. Thousands of people enjoy the shows that are
featured on Broadway but have no idea the work and process that brought it to life. The process of
getting a show on to Broadway can be broken down into three phases: pre–production, staging, and
performance/promotion. 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. After a show has
been finished and has found a producer, it

Growing Up In A Theatre
Growing up in the theatre has shown me how much of an impact theatre professionals can have on
someone. The most miraculous thing about theater is that someone can always be inspired by
something you have created. I have been inspired by theatre that I have seen, and it has impacted my
entire life. My theatre teachers and other professionals I have worked with helped me find my
passion, and I want to inspire other artists to find their passions as well. It is an incredible feeling to
know that a production I worked on could have inspired someone to pursue a career in the theatre. I
also believe that I will have a lot to contribute to each individual production I work on, therefore
making me a good stage manager. My diligence, my organization,

Greek Theatre Essay
It was because the Sanskrit theatre was acting–oriented that it made minimum use of dramatic
properties. With massive use of prose recitations, chorus, verses and songs the Sanskrit theatre gave
greater flexibility to the dramatic speech and provide a multi–level organization of communication
between characters. Another form of communication used in the Sanskrit plays is announcements or
conversation from the backstage which is known as nepathaya or the use of oracles called
akashwanis through which supernatural beings communicate. These create audio–visual
attractiveness and instantly draw the audience into the play. For communicating some abstract,
indirect and mental aspects of the dramatic plays, the Sanskrit plays resort to a number of inventive
devices like swagata which is the Indian term for aside in the Western drama, janantika in which the
characters exchange ideas which are not meant for others and apavarita, in which the dialogue
spoken is heard by all the characters but for the person referred to. Of course all these expressions
are meant to be heard by the audience. Other features of the Sanskrit theatre namely are poorvaranga
or the preliminaries and rituals for propitiating the gods before the enactment of the play, generally
observed behind the curtain. The Sanskrit play generally began with invocation of the elephant–
headed god, Ganesha, by the sutradhar, accompanied by music and the play ended again with a
prayer by the sutradhar called

The Theatre Research Paper
The theatre is the place where stage actors belong. One can't help but admire the structure of the
grand stage bordered by big curtains and several seats all facing you. Theatre is my passion and
acting is pretty fun as well. Acting is a way to express oneself and hone a skill to portray a character.
After settling in after a long day of classes, if there isn't a tv show, play, or a movie , in the
background, the ambience is a buzzkill. It just doesn't feel right. Theatre is one of the few things in
life that brings people from all different backgrounds together. Some of the most dedicated, bravest,
and talented people just simply do what has been done for centuries. Deteminately, they tell a story.
Even if some tell it better than others, ... Show more content on Helpwriting.net ...
"Anyone Can Whistle is a musical about political corruption and the vague definition of sanity. The
hated mayor Cora Hoover Hooper, has led her small town into bankruptcy. To save the town, she
creates a fake "miracle" to attract tourist dollars. Unfortunately, during the tourist rush, the inmates
from the local asylum, called the Cookie Jar, escape. A Doctor Hapgood surfaces who says he can
identify the "cookies" and separate them from the "sane" members of society, Trouble ensues when
the cookies' nurse, Fay Apple, refuses to identify her patients and ends up falling in love with
Hapgood." (Laurents) Religion, politics, government, psychiatry, tourism, marriage, gender roles,
racism, and other things are what this show satirizes. An audience can easily get lost trying to
register and process all the satire. All the while trying to keep track of which character is the hero
and villain, the random French dialogue, character's disguises and alter–egos, and if the show is
actually funny or

Theatre: A Brief History Of Broadway Theatre
Broadway is famously known for its forty theaters and the major productions that it puts on.
Broadway was created in the early 17th century by the Dutch. Since that time Broadway has grown
in length as the city developed from a small settlement on the S tip of Manhattan Island and now
extends 27 km (17 mi) to the city's N boundary in the Bronx.
Until around 1750 New York City had yet to establish a significant theater presence. Walter Murray
and Thomas Kean, actor–managers established a resident theater company at the theater on Nassau
Street. The theater was only able to hold around 280 people. William Hallam sent twelve Britain
actors to the colonies with Lewis Hallam, his brother, as their manager. They later established a
theater company ... Show more content on Helpwriting.net ...
The gross of the musical is $467.6 million. The music and lyrics are by Stephen Schwartz. Stephen
Schwartz was born on March 6, 1948 in New York City. He is an American musical theater lyricist
and composer who has written hit musicals known as Godspell in 1971, Pippin in 1972, and Wicked
in 2003. Stephen Schwartz has won a Drama Desk Award for Outstanding Lyrics, three Grammy
Awards, three Academic Awards, and nominated for six Tony Awards. This year in 2015 he was
awarded a special type of Tony, Isabelle Stevenson Award, for his commitment to artists and new

Racial Minorities In Theatre
In my English 104 class, we are discussing the theme of exploring the margins. My group will study
the representation of racial minorities in the modern world. I decided to go to the theatre to look into
the lack of representation and the misrepresentation of race. Do people of other races feel like they
have a limited amount of roles to choose from? Do people of other races feel as though they have to
act and look more Caucasian to land classic roles? Does color–blind casting change the experience
for the audience? How are many different racial minorities not stereotypically represented? What is
being done to solve this issue? I will also discuss who is affected by this issue and what that may
mean for them. I will argue the possible solutions to increase the representation in theatre. I will
refer to the research I have done on the subject. I will reference Theatre Topics, the Canadian
Theatre Review, Applied Theatre Research, and Theatre Research International. Stereotyping in
theatre is a universal issue for all marginalized actors. This is an important topic to research if you
are a part of the theatre community. To work toward a more equal and accurate representation of the
world, the theatre community needs everyone to work together.
Hi, I am Caroline Koby. I am a Sophomore undergraduate student at Ball State University and today
I'll be talking about the lack of representation of racial minorities in theatre. I will also discuss who
is affected by this

Theatre Capstone Paper
Capstone Paper on Aspects of Theatre
Introduction
Theatre is a collaboration of various forms of fine art which utilizes live performances presenting
before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The
message is communicated through a combination of various channels like songs, speech gestures or
dances. Stagecraft skills are combined with elements of art to make the performance more physical
and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy,
tragedy and improvisation. Any form of these accepts integration of various production modes and
collective reception to influence the artwork being presented. As a result of this cooperation of items
in the theatre ... Show more content on Helpwriting.net ...
It calls for need to identify the central idea and unify the interpretations of different scenes with their
relevant characters. Important as well to be able to harmonized the movement of actors on the stage
and merge them with the pace of every scenery and line. Necessary also is the ability to plan and
coordinate lights, sound effects, scenery musical accompaniments and all other production
components. Directing is the function that brings quality and completeness in theatre production
enabling the team to achieve their artistic visions(Innes and Shevtsova 34). Directing requires
collaboration with other sub–disciplines hence the need to have various skills in each of them for a
harmonized work relationship. To occupy the position of directing one should be able to assume
varying authority and responsibilities. One must as well b e able to utilize a wider assortment of
philosophies, techniques and collaborative levels. Due to this fact there is growing demand for
professional training programs in directing. Theatre directing however presents an opportunity for
the person to learn the skills involved while on the job. Theatre house therefore have in–house
education systems which provides a chance for constant and continuous learning. Directing is an
evolving aspect of theater due to emerging trends and new

Theatre Personal Statement
I am an ideal candidate to study theatre because of my passion for it. This passion drives me to
volunteer as much time as possible to the arts ensuring I can learn as much as possible. I love the
impact a piece of theatre has on the audience and when working in theatre you have the opportunity
to experience first–hand the emotion you evoke in people. I want the opportunity to create
something real in people, whether it is through character or a piece I have created myself. Although
I have a particular interest in acting and directing, I also want to learn everything I possibly can
about all aspects of the theatre.
I have experience in theatre, I have been in a few productions and I love getting up on stage. I am in
a local Amateur Dramatics Society which allows me to perform; it also means that I can help with
set building, furthering my knowledge of a stage and how it ... Show more content on
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I will do anything to help people which makes me good in an ensemble but I have enough
confidence that self–lead work and independent learning is also very easy for me. Within my other
subjects I have developed the ability to analyse a wide variety of texts from different eras and
because of English Literature I have had the opportunity to develop this skill. I am very resilient and
am able to find information for myself making me a good independent learner and this is all thanks
to Chemistry and Maths. I have also been volunteering at my local theatre with the technical aspects
of performance, I am in the process of learning how to use light and sound equipment within said
theatre which I can use to gain access to work experience within theatres. This helps with my plans
for after university as well as I want to work in theatres in the future. By attending university I hope
to find the aspect I enjoy the most as well as developing my skills so that I could work in any sector
of the theatre

Theatre Analysis
The learning experience that is theatre can be very similar to a rolling snowball. Each and every
show gives me something new that I keep with me on the rest of my journey. Whether it be the
mastering of a double pirouette or the acquiring of a new accent, I can remember shows based upon
what I collected. This year is not an exception, but it is certainly a special case. Being a senior has
been a rocky road, but in turbulence I have found wisdom. After playing Bert most recently in Mary
Poppins, I did more than just refine my tap dancing. I got to experience firsthand the miraculous
power of theatre. My community is close–knit, so when tragedy struck, no one was left unaffected.
During the months of preparation for the fall musical, two students lost their lives to depression,
both of them being in my senior class. There was no emotional respite as the incidents occurred only
one month apart. Needless to say, daily life was put on hold. The vibrant hallways that I had known
so well became inert. Smiles became a rarity. The silence of each day was palpably heavy. As the
company trekked along one scene at a time, regardless of our ... Show more content on
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The recent circumstances, though, brought me to understand a new meaning of that term. I began to
internalize that the upcoming performance would become the anchor for others as it had been for
myself. No longer was I simply leading a cast, but I was about to be carrying a community. In the
weeks that passed, I came to realize that each line, song, and dance was a chance to improve
someone's day. I had known that before, of course, but never in the somber and very real context
that I was facing. I would constantly refer to the show as 'the shining light that our town needs'. This
was true in a literal yet poetic sense. The lights on stage would act directly as lights of hope for
those attending. Mary Poppins was no longer about how much I could take, but how much I could

My Passion In My Life Of Theatre As A Theatre
They say we all find something in our lives that means something to us, that exposes who we truly
are, and once we find it, it lights a spark in us that cannot be contained; this thing, this idea it lights a
fire in us that refuses to sizzle down and die away with all the oxygen in the room. It creates a
passion we are obligated by ourselves to pursue and to me that passion is theatre. I cannot recall a
time in my life when theatre was not the most prominent thing in existence. I cannot recall a time
when I told myself, 'theatre is not for me' or that 'this is all–for–none.' It is my life, my calling, and
my dream all in one. People love to entertain me with thoughts of why I should not be pursuing this
avenue of work, but I somehow find ways float above it all. I know, as an actress, my limitations are
great and I have accepted those; however, I do not, at this point in my life, believe that theatric
acting is my only passion and career option. When I sit in a dark space with actors in front of me,
conveying messages of honesty and life, I find myself entranced by what is in front of me; it is
almost refreshing. I find it astonishing the amount of love, kindness, truth, and above all passion that
pours out from a production onto a stage when presented in front of an audience.
I chose casting as my career because of one aspect that sold me the most. I find it genuinely
beautiful how casting directors can sit behind a table or in an audience with a brief knowledge of
what

Example Of Verbatim Theatre
This paper gives a brief view a bout verbatim theatre, its definitions, its importance to society , and
examples from verbatim drama. This paper shows a general idea a bout verbatim theatre as a type of
Documentary theatre". Verbatim theatre contains factual words and events from real people. These
events is collected from interviews or transcripts of records to indicate the actual incidents from
history. The paper then shows the phases of verbatim theatre's development. Peter Cheeseman is the
first playwright who introduces this type of drama in 1960.
Then, the paper sheds the light on some examples of verbatim theatre. The main target of these plays
is to explore some political and social issues. Then the paper shows how the verbatim plays present
reality. Finally, the paper indicates the importance of verbatim theatre. These plays help the
oppressed people ( other) to express themselves.
The definition of Verbatim Theatre ... Show more content on Helpwriting.net ...
These definitions may be seen as complex, varied, and diverse . But there is a basic feature to this
type of theatre, it is his desire to remain truthful to the subject being referred. It is based on history
and his historical events. John Grierson defined Verbatim theatre as "the creative treatment of
actuality."(18).
Many critics and playwrights have the same idea that the true drama depends on interviews,
newspapers, documents, diaries and etc . We can get documentation from seeing and selecting
situations based on our every day experiences. These types of documentary theatre confront and
involve the spectator. Grierson says that "You photograph the natural life, but you also, by your
juxtaposition of detail, create an interpretation of it."

Federal Theatre Project
It's well understood that the Great Depression devastated many parts of America. Many people and
buisnisses were devastated by the crash, and although most don't think of it theatre also suffered.
After World War I, a new generation of creative theatre emerged. Performing arts, costume, and set
designers worked within the material and financial limitations of the depressed economy. The
heavy–handed decorative design and hyperrealism of pre–war theatre began to fade as the increase
of supplies and labor forced a new group of designers to develop a more cost friendly theatre. They
became more interested in creating true–to–story artistic fantasies in which costumes and sets
worked together and did not hinder the production. English director ... Show more content on
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Although the project was formally canceled, it had a broad impact on the careers of many of these
professionals and shed light on the educational and community purposes to which theatre could be
put. While the Federal Theatre Project created a Depression–era platform for established
playwrights like Eugene O'Neill, it also provided a starting point for the careers of new ones like
Arthur Miller. Its programs opened the way for predecessor organizations like the American Negro
Theatre, which grew out of the disbanded Negro Theatre Project. This group would train a new
generation of actors like Harry Belafonte, Sidney Poitier, and Ruby Dee, who would become
fixtures on American stage and screen in later decades and would be known particularly for their
investment in exploring race and inequality. The tensions between FTP theatre professionals and
Congress around social issues in art foreshadowed the intrusions of Senator Joseph McCarthy and
the House Un–American Activities Committee hearings into the lives and works of playwrights and
other artists in the 1950s. As its impact demonstrates, the Federal Theatre Project was a powerful
and influential movement that altered the

Citizen In Theatre
Stasya Juracsik
Theatre I
AM4
A Citizen in the Theatre Community
The expression "the world's a stage" truly does hold up in today's modernized society. Theatre is a
lively subject, enabling us to take written language and add it with human emotion to receive a
fascinating presentation that captivates the audience and the actors alike. Being up on stage has a
plethora of benefits but comes with many responsibilities as well. As a member of the Maplewood–
Richmond Heights High School, I am responsible for recognizing what I am responsible for, what
my standards are, and what my expectations for my peers in this class should be. As a citizen, a
steward, a leader, and a scholar, I should uphold others' experiences in this class in addition to my
own. To do this, I will need to actively engage in classroom activities every day and be present. By
doing these things, I will ensure that I be an active participant in the Theatre I learning experience.
In addition, I can also contribute expertise, caring, and commitment to the class so that it can
function correctly as a team. This attitude toward my class will contribute to better social relations
within it and a better learning experience among my peers. An example high expectations might
happen during a play, where everyone is forced to contribute and persevere until a job is well done.
If one ... Show more content on Helpwriting.net ...
Some of these include to be engaged and present a hundred percent of the time, hold an A average in
that class, and help other students do the same. In my perspective, if one person fails, then the team
does as well. By committing to helping others, I help myself as well. As I mentioned before, there is
an advanced systematic procedure for putting on a play that could easily fall apart if one person
didn't do the right thing. I would greatly dislike to be that person, so I try to challenge myself as
much as I can to avoid this incident from

State Theatre Essay
At a hundred and four years old, the State Theatre still stands as one of Bay City's most recognizable
landmarks. Despite floods, fires, and a century's worth of history, the theater proudly remains and
operates on Washington Street. Dozens of events are put on there each year. Orchestras, Vaudeville,
various musical groups, and comedians are just a few of the thousands of acts that have been housed
within its walls. The building inside has been remodeled various times over the last few decades,
and each time parts of the past have been found. Though there's a haunting presence, the six hundred
seat house is still full for most events. The theater may not be run by the same employees, and the
jobs have changed, but the theater is still as ... Show more content on Helpwriting.net ...
C. Howard Crane renovated the theater to resemble a Mayan Temple in 1930, and the theater
reopened as The Bay (Greene). The theater had been purchased by Butterfield Theater chain and
Crane was extensively hired by the company to renovate the theater into its new exotic design. "The
eventual cost of the upgrading is said to have been $100,000. Crane successfully designed a Mayan
theme through out the entire building" (LaLonde). Being under new ownership the theater was also
under new management. The new theater manager was known as Floyd Ackerman, and it was said
the theater was equivalent to a spouse for him with how much time he put into it. Ackerman got so
caught up in his work he'd find himself going to the bank in the late hours of the night or even after
late night shows. On "December 16, 1943" while going to the bank after a late night show, he was
"murdered by Johnny Woos" ("History"). Floyd Ackerman is one of two men killed having to do
with the theater. By 1957 not as much excitement had happened, besides the theater being renamed
again and for the final time by the Butterfield owners to The State Theatre (LaLonde). In 1984 the
theater was bought by George Kerasotes Corporation and in 1990 they decided to close it (Greene).
In over a hundred years of being open The State Theatre has created quite the past for itself. Along
with a colorful history full of memorable

Diversity In Theatre
Diversity in Theatre
Theatre has evolved over the many years. As it has grown, it moved to include more diverse
performers, crew, producers, and audiences. This is an exploration of the expansion of diverse
theatre.
Western Theatre as an artform began as religious rituals in ancient Greece. Formerly, only men
could become actors, women being typically played by men or boys. In Ancient Roman and
Medieval theatre women were allowed occasionally, but not often. In the 17th Century opera
became prevalent, which began to include female singers. Behn was the first professional woman
writer in English literature, best known for her plays and her novel 'Oroonoko'. Which led the way
for female playwrights. Females began to slowly but surely make ... Show more content on
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population were African American, and Immigrant population was 14.4% of the population. By
2011, 12% of the population was African American, 6% Asian American, and 16.7% Latino and
Hispanic. As with everything, theatre matured to include these populations. In Dahomey in 1903
was "the first full–length musical written and played by blacks to be performed at a major Broadway
house."
Throughout the 20th and 21st centuries, many productions with prominently non–white casts have
become widely popular, including Miss Saigon, which won 7 Tony's in 1991, In the Heights which
won the Tony for Best Musical in 2008, and Hairspray, which also received a movie adaption.
Although many of these musicals focus mainly on issues involving race, and are historically non–
white. Recently, "color blind casting" has grown. Defined by the Actors Equity Association as
"nontraditional casting" and also known as "integrated casting," It is the practice of not considering
an actors race or nationality while casting. Rising in popularity due to the success of Hamilton,
which casts actors of all races as white historic figures, for example, mixed race actor Daveed Diggs
as French military officer Marquis De Lafayette and founding father Thomas

A Change In Theatre
Ever since the world was created, humans have tried to express themselves trough art. Painting,
sculpting, music, and, above everything, theatre. Even before they could speak properly , primitives
use dance and small rituals as a way of enterteinment. However, now, in the higly technology
developed world we live, every day there are more various and modern options to do in our free
time but, at the same time all changes and becomes dull too fast.This puts theatre in a really fragile
position and makes us wonder if it will become out–of–style or if, on the contrary, as this essay will
proof, it will still be relevant and up to date for the next generations.
According to The Telegraph, Great Britain´s theatre audiences decreased a 9 percent between 2010
and 2012, and the rates are only diminishing. This makes clear that the theatre as we know it, is
being less succesful. Nevertheless, this rates don´t look after new ways of theatre.And, as the world
changes, the way we conceive drama changes as well, and every day, new forms of spectacle
emerge. ... Show more content on Helpwriting.net ...
In this group we could fit for example cirque like "cirque du soleil" a dramatic mix of circus arts and
street entertainment. Another example is La fura des baus, a company who´s main aim is to find new
emotions in their audience putting them in uncomfortable or extravagant situations. They innovate,
changing the 2 most important aspects of theatre: the audience (who they want to be part of the
action) and the place (they don´t perform in places that were not meant for an spectacle) Both of this
new companies have a really high and solid audience because the feeling you get after this shows is
something you can only experiment with a live

verbatim theatre
Verbatim essay;
"the main purpose of Verbatim theatre has always been to challenge audiences into a confrontation
with real events and concrete facts, an to prevent their escapism into theatrical fantasy."
How well does this statement apply to Verbatim plays, RRR and LP?
Alfred Hitchcock commented, " what is drama but life with the dull bits cut out." This quotes is
typically true of drama, however verbatim theatre is contrary to this as it forces it audiences to
confront serious issues and offers conventions that shy away from "fantasy" world. Verbatim theatre
is from of documentary theatre in which plays are constructed from the exact words and testimonies
from interviewed people. These testimonies are based of people opinions ... Show more content on
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This idea is presented much in the same way as Augusto Boal's Theatre of the Oppressed, through
allowing the audience's voices to be heard empowering them and creating a sense of community.
This breaking of the fourth wall, allows the actor to talk directly to the audience, creating more of a
conversational atmosphere. This helps to reinforce to the audience that what they are watching is
real and they are encouraged to form opinions about what they are seeing. In Run Rabbit

Theatre Of Cruelty: Antonin Artaud's Theatre
Antonin Artaud has invoked a profound instigation and impact on the 20th–21st century's theatrical
stage and screen acting, including the chosen monologue from the play 'Seven Stages of Grieving'
through the application of his theatrical conventions to the performance.
"There is in every madman a misunderstood genius", a quote by Antonin Artaud in one of his
numerous novels, 'Van Gogh: The Man Suicided by Society' published in 1947 a year before his
death. Antonin Artaud was an actor, director, playwright and poet who was born on September 4,
1896 in the City of Marseille, France where he was raised by his parents. Growing up Artaud
suffered from various medical diseases and conditions such as meningitis, neurasthenia, addiction to
opium and ... Show more content on Helpwriting.net ...
The lasting influence of his theatre has resulted in many other artists in the 20th/21st century
producing similar types of works, by integrating particular elements of his theatre into productions
and films. A relevant example can be seen in the recent sell–out 2012 play The Changeling directed
by Joe Hill–Gibbin who's reproduction has taken on Artaud's elements of theatre by assaulting the
audience's senses, gestures and movements and by the themes explored within the play. The
performance received a 4 star review from the Telegraph stating comments such as, "The result is a
perturbing, often blackly funny", however the application of Artaud's form of theatre communicated
the desired messaged as seen in the review, "but the sense of a capable ensemble pulling together to
show mankind's capacity for mental disintegration under the marionette–tugs of its impulses leaves
you feeling curiously and rather shamefacedly invigorated.". Another example can be seen in the
film Marat/Sade by Peter Brook in 1967 which also adopts Artaud's form of theatre and surrealism
in film. Hence, establishing the influence of Artaud's Theatre of Cruelty and his techniques in the
20th/21st

True Theatre
I personally believe that the true magic of theatre relies on the power of make–believe. True theatre
is the art of inciting the imagination, to the point in which we are so immersed in the play that, if
just for a few hours, we forget our own reality. The first time I came to this realization was when
watching the 2011 Moscow's Chekhov International production of The Tempest. Not only was the
performance so engrossing to the extent that I felt I could understand Russian without the help of the
surtitles, but with almost a bare stage, the actors were able to bring to life the magic in the play.
With no more than three doors, one chair, a long rope, and a clever use of blue light, the actors were
able to create the opening scene's tempest, almost

Applied Theatre Analysis
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 ... Show more content on Helpwriting.net ...
The performers and participants are usually under 26 and live in the west [of Victoria, Australia] or
beyond. Western Edge Youth Arts has a vison for young people from all different cultural
backgrounss to find their own voice and become future leaders. WEYA takes two approaches to this;
WEYA Community creates contemporary performance that blends complex subjects with high
artistry, collaborating with young people through social and community networks and WEYA
Education teaches over 600 students a year in performance, film, creative writing and research.
Running in ten western suburb schools, the program can change young people's experiences in the
classroom and wider community. Western Edge Youth Arts is young people's stories, told by young
people, for young people. This creates a positive change within themselves, and allows them to
expresss and share their opinions and stories with a creative outlet. An example of this was when
WEYA worked wuth The Flemington Theatre Group. Western Edge's work with communities in
Flemington began in 2004. New migrants and refugees were living in this suburb in Melbourne's
inner west, many in the 'Flemington Flats' – a housing commission project (Western Edge Youth
Arts, 2015). A high quanitity of the population were under 25 and the relationship between police
and people was often tense. The

Drama Theatre Performance: Postmodernism and Theatre...
ostmodernism was a movement that began in the 1960s that affected all forms of art and literature of
that time period. Postmodernism followed modernism and it sought to challenge the ideas and
values of modernistic theatre, modernism was formed to shake up theatre, introducing new theories
of science and technology to explain the world, whereas postmodern theatre raises more questions
than supplying the answers for the audience. Modernism created a 'grand–narrative' whereby there
was only one meaning which would be told to the audience. Postmodernism broke down the 'grand–
narrative' when Jean–François Lyotard wrote La Condition postmoderne: Rapport sur le savoir (The
Postmodern Condition: A Report on Knowledge) (1979), he came up with ... Show more content on
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Forced entertainment are an experimental theatre company that formed in Sheffield in the 1980s at
the height of the postmodernist movement, they use forms of culture and their surroundings to ask
necessary questions to engage communities. They have created many shows over the past 25 years
and throughout these years have come up with the artistic policy that there shows will make art that
explores the highs and lows of complexities of contemporary life. An example of one of their
compelling and provocative shows is the club of no regrets, the main character Helen, gives
direction to two other performers to enact series of small stories whilst their inside a tiny box, there
are two other performers who act as brutal stagehands or even captors, they either smooth the
progress or hinder these enactments. The two performers who act as stagehands bound the first two
performers to chairs whilst threatening them with toy guns, they also assist the first two by bringing
them texts and props they may need in the performance. The scenes are replayed many times as
though Helen is unsure of what order they should go in. The scenes then become more violent and
chaotic using further text and a confused

Theatre As A Form Of Theatre
Theatre and live performance can serve so many purposes and one of them is to globally entertain
the audience and to shape the society through the lessons learnt from a performance or play. Theatre
exists because we are mimetic and communal beings, we seek order, finally we enjoy and need
entertainment.
Theatre as a form of entertainment is extremely popular all over the world, and it has been designed
to hold audience's attention for a long time, it has been the primary form of public entertainment
way before the advent of radio and movies (Foreman). Live performances are known to get audience
off their seats due to excitement and it can also change one's mood from bad to good or vice versa.
Examples of theatre as a form of entertainment ... Show more content on Helpwriting.net ...
This play has been revived many times since its premiere(Cruttwell).
The Role of the audience when it comes to theatric entertainment can be affected by the genre of the
play, space of the theatre, sitting arrangement and demographics. It is up to the audience to make a
performance better due to different reactions like echoing (being loud), laughter, standing ovation
and gasping.
Another great importance of theatre is the way it shapes the society. Firstly, theatre brings people
together as a community, Greek theatre is a good example of this, especially during the festival of
Dionysus, where the audience for plays would be over 1000 people. This gives the community
something to talk about therefore bringing people together. Theatre can also be of importance
because of the sense of identity it brings people, Theater, being such an ancient art, has become part
of the cultural heritage of many cultures. Peking Opera, Bunraku, Noh are all specific to a culture
and form a part of the identity of the people who belong to these cultures. Theatre being used as an
instrument for change is also important, nowadays, social media and video are probably a more
effective tool to effect change in society, but there is no media that can cause a bigger impact than
theater. Watching a live performance is much more likely to compel you to act for change. The work
of theorists like Bertolt Brecht and Augusto Boal is pretty much completely based on this idea.

The Theatre Community Analysis
The theatre community has played a very significant role in my life and in the development of who
I've become. There is no other community that has people competing directly against each other for
roles, yet can still foster positive environments and interactions between people. People in this
community are generally kind and accepting of others. Rather than being evaluated by the color of
your skin or by your sexual orientation, people look inside of you and truly can see who you are as a
human being. Many "theatre kids" are often ostracized by others in their schools because they are
labelled as "quirky" or "extra", but the theatre community allows unique people to grow as a person
and develop their own sense of self, rather than being

Greek Theatre History
Theatre has been an evolutionary cultural superpower since the beginning of Greek theatre to the
society impacting shows of Broadway. Although theatre is all the same, each social cultural
construct twisted theatre into it's own tradition and values. Greek theatre for example used theatre to
honor the gods; Dionysus in specific. Compared to Roman theatre where the Romans love to used
comedy, and spectacle. Japanese theatre however, has a long rich history and was twisted to the
Japaneses traditions and works.
There are four main types of traditional theatre in Japan: Noh, Kyogen, Kabuki, and Bunraku. Each
form is very distinct and unique from each other. Noh theatre also known as Nogaku is a form of
musical drama. Derived from the Sino–Japanese ... Show more content on Helpwriting.net ...
Translated as "the art of singing and dancing" some people interpret Kabuki as "bizarre and
shocking." Unlike Noh, Kabuki used more lively tactics to entertain it's audience using wild
costumes, fireworks and real swords in sword fighting. Kabuki first started in 1603 when Izumo no
Okuni, a shrine maiden began performing a new style of dance. The style immediately grew popular
and Okuni was asked to perform for the Imperial court. Rival troupes then formed and Kabuki was
born. Since Kabuki was a women on performance, performers were also available to prostitution.
With performances going from morning to sunset, Kabuki became a common form of entertain in
the 1600s and is argued that Kabuki started pop culture in Japan. It wasn't till the Shogunate disliked
Kabuki for being to erotic and open to prostitution, it was banned in 1629. Young boys then played
in Kabuki, but was banned as well due to the young boys being eligible for prostitution. Kabuki then
switched to male actors in the mid 1600s and when back to it's traditional ways of males playing
both male and female roles. The Genroku era (1673–1841) became the golden age of Kabuki
theatre. The structure of Kabuki was formalized and coventail characters types were established. A
Kabuki stage features a projection called "Hanamichi",a walkway that extends out to the audience
and allows entrances and exits to be made. A curtain that shields the stage before and during breaks
is in traditional colors of black, red , and green. White also can replace the green if needed and is
one continuous piece of fabric. An additional curtain called a "doncho" depicts the season the
performance is taking place, but wasn't used until the Meiji Restoration. Kabuki stages have gotten
more technology advance unlike Noh stages which stayed the same. Trap doors and revolving stages
were introduced in the eighteenth century and stage tricks

Film Vs. Theatre : The Art Of Film And Theatre
Someone once said "Film and Theatre are about capturing the moments" of times in one's life that
are to be remembered. Both the art of film and theatre in great likeness are appreciated and should
be accepted with the utmost respect for the work. Throughout the years both forms of the arts have
broadened and expanded to new horizons and technologically been advanced as time goes on. While
both are alike in more ways that few they also share their span of differences. In the ways they
create and show off their productions to the ways of acting itself film and theatre contrast in several
aspects. While both are greatly admired by the general public the productions of a live theatre
company are better than those of film.
Theatre is the closest a person is able to get to being inside the production from an audience
perspective. Arthur Miller, the amazing playwright of shows like, the classic, The Crucible, once
said "why the theater is so endlessly fascinating" to an audience is "because it's so accidental," and
that because of its accidental qualities "it's so much like life.'' Psychologist have found that when
witnessing actions by others it is simply an imploding amount of empathy that takes over the brain
to produce the feeling of being in the same situation as the actors. A hormone known as Oxytocin is
released into the brain, and causes you to feel empathy for the actors even when aware that it is
nothing more than a group of actors performing on a stage. Though one can

State Theatre History

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