Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
An essay on character development
An essay on character development
An essay on character development
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: An essay on character development
The stage manager hustled about, other cast members performed their pre show rituals, and I nervously took my place stage right. I made sure to check that my pink tail and pig ears were situated, just as our costume designer had reminded me to do. Once our director finished, her decade long curtain speech, it was time to enter The Hundred Acre Woods alongside my partner in crime, Winnie The Pooh. I poured my heart into my opening soliloquy to three hundred fifty-two third graders,who happened to be my classmates at the time. I trembled from nerves and felt a sinking feeling in that weird space between my lungs and stomach, a feeling I would later thrive on. Seven hundred and four hands clapped and I saw nothing but teeth from the kids in the audience. I was bringing them complete candid joy, which in turn brought me candid joy. I fell in love with the feeling and it was incomparable to anything my eight year old self had experienced. It’s been nearly ten years, and I have yet to find anything I cherish more than my relationship with theatre. Every show I interpret writer's ideas through my own eyes and escape into a world created by the story. A world where breaking out into song is normal, spontaneous dancing is encouraged, and creativity is endless. Creative energy encircles me and overwhelms me with its …show more content…
Sometimes I do not get the role, sometimes I have off days, and sometimes I fail. However, I have learned to accept my failures and try harder the next opportunity I have. Doing this has strengthened my abilities as a performer and humbled me with each experience. Being humbled happens not only from failure, but also from my fellow performers, spirited people who have the same amount of drive and passion as I do. A sense of humble gratification overcomes me when I realize these extremely gifted performers are my colleagues, and they enjoy dancing around dressed as pigs as much as I
Most people that work in theatre have a pretty good idea of what a stage manager does during rehearsals - at least, the things that can be seen. We take blocking notes, cue lines, keep track of the time, coordinate presets and scene changes, answer the questions, and solve the problems. Yet, there are so many things a stage manager does, so many balls constantly being juggled, that many elements of the stage manager’s job go unnoticed. So, in honor of the unseen, here is a sampling of some tasks a stage manager completes before rehearsal. Early in our morning, we check our phone.
Every theatergoer may consider the question: What is it about performance that draws people to sit and listen attentively in a theater, watching other people labor on stage and hoping to be moved and provoked, challenged and comforted? In Utopia in Performance, Jill Dolan “argues that live performance provides a place where people come together, embodied and passionate, to share experiences of meaning making and imagination that can describe or capture fleeting intimations of a better world (p.2)”. She traces the sense of visceral, emotional, and social connection that we experience at such times, connections that allow audience members to sense a better world, and the hopeful utopic sentiment might become motivation for civic engagement
“Theatre is like a gym for the empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.” (Bill English of the SF Playhouse). This quote accurately summarises the purpose of Children’s Theatre, to help the growth and understanding of children whilst also keeping them entertained through theatrical techniques. The National Theatre’s Cat in the Hat, along with our performance pieces of Cranky Bear and Possum Magic all showcased these techniques in a number of ways, whilst also subconsciously coinciding with the child development theories
What started out as a hobby transformed into a passion for an art form that allows me to use movements and expressions to tell a story. Whether I’m on stage in front of an audience of just friends and family, hundreds of strangers and a panel of judges, or the whole school, performing over thirty times, has helped me build lifelong
The writer puts us in his shows and the director does a great job depicting everything. The music, the cinematography, the characters, and the plot all blended together to make one great story that made you laugh and cry.
Listening, I could hear them, the persistent sound of chatter and laughter. The roar of ambient joy rang from the house and into the ears of everyone behind the scene. You never know what to expect when you're standing backstage; you never know what's going to happen. Thousands of thoughts and worries are bouncing around your head. What if I mess up my life? What if I miss my cue? What if I forget how to speak? It isn't until that very precise moment when the audience's voices have hushed to a whisper and directly before the curtain has opened that your mind becomes clear. You forget all about the hundreds of people that came to see your show. You forget all about the friends you have in the audience just waiting for that moment when you have to do some embarrassing stunt on stage to capture it on film. You even forget all about who you are and all your worries. In that moment, you are an actor.
Until now, only my family and those who have had the experience of calling my house in the midst of one of my renditions of the confrontation scene between Javert and Valjean from Les Misérables knew about my passion for musical theater. For years I have endured ridicule from my sisters and their friends who have overheard me belting out the lyrics to "Sunrise, Sunset" from Fiddler on the Roof while in the shower. Ever since my first musical, Jesus Christ Superstar, seven years ago, I have been obsessed with the telling of stories through melody and verse. My heart leaps when I see that Phantom of the Opera is coming to the local theater, or when Guys and Dolls is appearing on television at one in the morning.
On Friday April 21, I attended Chicago, a musical performed in Griswold Theatre at American International College. The performance started at 7 p.m and I arrived at approximately 6:45 p.m. This was the first time I had ever attended a live musical performance and the first thing I noticed upon walking into the lobby of the theatre was the excitement. The audience had a buzz among it, making it very apparent that everyone was looking forward to seeing the actors hard work pay off on the stage.
I was seven years old when my local high school put on a production of the musical Annie. I remember the bright lights, booming voices, live orchestra, and audience applause. However, I wasn’t watching this show from the auditorium; I was participating on the stage. I played Molly, the precocious young orphan who mocks Miss Hannigan by proclaiming that the orphanage must be cleaned until it “shines like the top of the Chrysler Building!” Due to my unusual experience, my first play taught me many important life lessons at a young age.
It is so easy to lose yourself onstage. Even with an almost blinding spotlight shining down on you, it is so easy to feel yourself slipping away until you are no longer there anymore. You have been replaced by this person known as your character and everything that you were has now become everything that they are. Your entire being has been stripped away from you, yet you embrace it because you are an actor and this moment is the most euphoric moment of your life.
I went on stage, and with the blazing spotlight on and eyes on me I felt comfortable. I fell in love with performance, even if it was three years too late. That is not to say I have cured my anxiety; it is something I carry with me and it certainly has still led to many missed opportunities, but I have made progress. Through the successes and failures I have made since “the incident” my voice is stronger than the screaming in my
A mere mention of the term theatre acts as a relief to many people. It is in this place that a m...
Often, when writing a stage production, a stage director needs to fully place himself in the position of their audience; though the director is often the creator of the production they are directing, the audience normally determines whether the production is an overall success or failure or whether certain parts of the production are working in the overall composition. When crafting a stage production, a director tends to take one aspect of the audience into deep consideration: the audience’s reactions to certain scenes or events. It is a common goal for stage directors or creators of all types to try get the audience to feel a certain way about a certain scene, characters, or settings; this is done through mainly the power and strength of a stage performance and can leave the audience feeling a variety of emotions. Overall, in this manner, the stage director is attempting to somewhat manipulate the emotions and overall feelings of the audience or, in other words, bring the audience under his
I can still feel those first gitters. I was nervous and thought of vomiting but remembered there was ‘No! food while in costume’, I can’t recall my time physically on stage, at all--- but I remember the feeling afterwards: free, unjudged, invincible, floating, and proficient. It is a feeling I am still chasing to this day, 13 years, 500+ performances, 7 speeches, and 20 hosted events later, currently directing a show while teaching for DMIS and in a touring show, enough may never be enough. All research and findings have been proven by my own experience, as Schwartz (2016) stated, “learning and sharing are the cornerstone of collaborative learning...often with a trajectory of continued participation and growth” (p.53&193).
When discussing the poetic form of dramatic monologue it is rare that it is not associated with and its usage attributed to the poet Robert Browning. Robert Browning has been considered the master of the dramatic monologue. Although some critics are skeptical of his invention of the form, for dramatic monologue is evidenced in poetry preceding Browning, it is believed that his extensive and varied use of the dramatic monologue has significantly contributed to the form and has had an enormous impact on modern poetry. "The dramatic monologues of Robert Browning represent the most significant use of the form in postromantic poetry" (Preminger and Brogan 799). The dramatic monologue as we understand it today "is a lyric poem in which the speaker addresses a silent listener, revealing himself in the context of a dramatic situation" (Murfin 97). "The character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life. The circumstances surrounding the conversation, one side which we "hear" as the dramatic monologue, are made by clear implication, and an insight into the character of the speaker may result" (Holman and Harmon 152).