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Theater project essay
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I. Introduction Community theater is a form of theater production that consists of affiliates from a certain group (or community) joining hands together to create a performance that will directly influence the stakeholders of the production (Unglebower, 2011). Thus, it is used as a bridge to disseminate social issues a certain community is facing and to open the eyes of every member of the said group of people about their role as a citizen of their nation and this world.
II. History of Community Theater According to Woods (2006), since the Spaniards came to the Philippines, the concept of community theater in the Philippines began. The religious traditions such as rituals, songs, and dances were not addressed as theatrical behaviors until
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From the traditional rituals, songs, and dances of the community, the purpose of the production turned out to be for entertainment and for communicating the social problem the community is facing at a certain point of time.
III. People Involved in Community Theater
In a Community Theater production, there are people involved such as the author, the audience, and the actor.
Guthrie (1995), a renowned personality in the field of theater arts in Europe, wrote in an article that, whatever the author writes as a script, should be enacted by the actor and by that the context of the piece made by the writer will be passed through the audience. Therefore, it is the audience’s responsibility to absorb the message aimed to propagate by the play; and it is seen through their reactions—may be a sentiment of satisfaction or dissatisfaction.
Moreover, the audience serves as the central basis of the director on how he or she will manipulate and innovate the production through different elements—sounds, set design, costume and make-up, and the actors. After all, the focal drive of the play is to steal the interest people and to enlighten them about the whole importance of the piece
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
Pause for a second and think about a play or musical that you have seen. Consider the plot, whether you liked it or not and if the experience was positive or negative. Think about the characters, the costumes, and the emotions that were emitted. The discourse community of theatre is unique in the way that it is so complex and there are many different parts that ultimately come together to create a dynamic whole. The term discourse community is rather broad, but John Swales in his article “The Concept of Discourse Community” gives six characteristics that define it. Swales lists them saying,
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
Considering descendants’ effort to bring this culture back in society, this entire dancing performance, masks, and the idea of interacting with the outside world must not have been merely correlated to their religious and spiritual ritual. It might have been their identity; a symbolic of their society which their ancestors had built and passed down to them.
Over the course of his career, Brecht developed the criteria for and conditions needed to create Epic Theatre. The role of the audience can be likened to that of a group of college aged students or intellectuals. Brecht believed in the intelligence of his audience, and their capacity for critical analysis. He detested the trance-like state that an Aristotelian performance can lure the audience into. Plays that idealize life and humanity are appealing to an audience, and this makes it easy for them to identify with the hero, they reach a state of self oblivion. The spectator becomes one with the actor, and experiences the same fantastical climax that is unattainable in real life.
years ago the word "theater" possessed a different meaning than it does in today's society. The
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
In the beginning of time, man did not understand the complex workings of the universe. To compensate for this not understanding, man created mythical gods that held the power to cause nature to be nature. People who performed extraordinary accomplishments, like win wars, would be elevated to a god. Prehistoric man would perform rituals to please the gods. The gods, in turn having been pleased, would ensure the success of the land and hunting as well as protect them from their enemies. These rituals were performed in many places. At times, these rituals would involve the entire community. At other times, small groups would perform for the rest of the community. From that time until the present, every type of performance has created its own environmental conditions of performer-audience relationship, and these have varied from a patch of beaten earth to complicated built structures (Leacroft 1).
Brecht argues that the ultimate purpose of play is to induce pleasure and to entertain, and that--because of this purpose--play needs no justification. Plays should not be simply copied from or seen through older performances, but need to develop on their own to better relate to a new audience. Through the use of alienation which aims to make the familiar unfamiliar, play and theatre can be seen under a new perspective, and the actor can feel more free to perform under a new guise.
Community performance is an excellent venue for self-examination and expression. Brecht attempted to inspire his audiences to think about larger issues and for that reason, such a style is beneficial to a community. A community is a living organism that must ebb and flow with the tides of change. Performance is a way for new issues and ideas to be brought to the forefront, ready for discussion.
The first main area of art and reality colliding in the play is the existence of characters who are referred to as Characters. Pirandello stretches the bounds of meta-theater by having actors portray Characters who swear they are not actors, when faced with other actors playing actual actors and a Director. The layers of unraveling of reality are astounding. The Characters must try and convince not only the Actors and the Producer of their true nature, but also the audience. Pirandello must convey his beliefs about the essence of art through the mouths of Characters seemingly unattached to the actuality of the theater around them. In the play, the Producer acts on stage in place of the author, questioning the sincerity and the true nature of the Characters, who become his r...
The performances included opera-styled singing with intricate hand gestures. I used to think that the Chinese theater performances my grandparents watched on TV were too over-the-top and unnatural, but after reading about the history and meanings behind Chinese theater, I’ve developed a new perspective on the style and have come to admire the beauty of cultural differences in theatrical arts. Chinese theater’s “traditional performance” features a synthesis of poetry, singing, and dancing. In present day, “traditional performance” has undergone an improvement toward what can be termed “characterization performance,” which emphasizes the performer’s internal experience of the character played and the artistically truthful portrayal of feelings and thoughts (cite). Different cultures contribute to the varying theater styles. For example, “chinese playgoers are familiar with the stories, characters, and conventions...the objective of the Chinese performer is to meet the high expectations of the playgoers” (cite). Thus, Chinese performers are more conscious of ensuring that their gestures and body movements appear aesthetically beautiful to satisfy their audiences’ expectations. The knowledge of the diverse approaches of theater in different regions is significant for respecting a theater piece, because theater from different cultures than one’s own should be evaluated and appreciated with the viewpoint of that
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
The survival of theatre lies in the very nature of humankind: its inner voyeuristic drive. The desire to watch other people dealing with their conflicts and fates challenges as well as reinforces values and the morality of society. The theatre provides an exciting opportunity to watch stories and situations as if they were real life, showing us the truth of our nature.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern