Theater Games

The first day of almost any introduction to acting class will inevitably begin with a game; and, clearly labeled as “games”, these activities are often subject to a large amount of disrespect in the thespian world. Many professors of acting believe they are a waste of valuable time, while many students feel they are pointless and belittling. However, theater games are actually an incredibly useful tool for exploring different experiences that can occur on the stage, and are beneficial for eventual scene work and character development.

Some theater games are used as warm up exercises. One game in particular, usually called “walking the gird”, is an excellent way to allow a class of new students, or a recently formed ensemble cast to bond. This game simply has participants walk around the room and attempt to freeze, and subsequently start walking again, at the exact same moment. The objective is for actors to be able to sense a group pulse (very useful for actors that will be doing a scene together on stage), or be able to anticipate the inherent impulses of other actors (excellent for learning how to play off of another actor’s movements and emotions in a one-on-one scene). Being able to master these techniques will help make a scene seem effortless to an audience while also feeling completely natural to those on stage.

Another theater game that often goes underappreciated is a game called “human machine”. In this game, one participant will jump into the middle of the circle and create a shape with their body accompanied by some sort of vocalization. Next, the other actors will run into the middle of the circle as well, trying to make their shape work with what's already there, joining in with the group to make a huge human machine. The goal is to have all the parts working together, all the sounds coinciding, and all the movement attached to someone else in some way, This game is not only a lot of fun (all of the eccentric sounds together sometimes end up creating a catchy beat) but it teaches participants how to work with the choices of their fellow actors, no matter how obscure, and also how to create low or high status for a character based on movement and vocalizations. For example, if you walk into the middle of the circle and create the tallest and loudest aspect of the machine during the exercise, you would be able to take that feeling of dominance and use it to walk into the middle of a scene and create a tall and proud aura for a particular character.

A great piece concerning the significance of theater games is a play currently running in New York City. Annie Baker’s Circle Mirror Transformation is a play set in a creative drama class, and it explores the power and influence of these unusual games. Many of the play’s characters wonder aloud when they will be doing “real acting” in the class, others get to know themselves and their peers on a deeper level than ever expected. Perhaps the most significant factor however, is the fact that this play achieves what the preceding detailed explanation of these games strives to, it shows the masses how seemingly insignificant, wacky and often underappreciated “games” are actually exercises of the upmost importance in teaching students and actors some of the most fundamental and indispensable techniques that compose the foundation of the art of acting. The NYTimes review of Circle Mirror Transformation can be read at the following link: http://theater.nytimes.com/2009/10/16/theater/reviews/16circle.html

Science through Theater Arts

The physical and life sciences, and the performing arts are two areas of study that are not often grouped in the same sentence, let alone in the same project. However, several projects around the world have been created with the intent of bridging the theoretical gap between left and right brain, and teaching scientific material through theatrical means.

“Mind the Gap”, a theater piece developed and produced by Y-Touring Theatre Company explores the complicated world of memory and brain research. The description from the British Science Association’s website is as follows: “Three disparate people find themselves stranded on a deserted platform of an underground station…together on platform 2B these four minds are compelled to confront the devastating nature of Alzheimer's disease, the agony that is post traumatic stress and just what it is that could drive someone to kill at random”

An intriguing topic for theater buffs and medical school students alike, the play brings together two deviating disciplines and showcases the importance of both. The novelty and significance of conveying science through performance art is put exquisitely by Nigel Townsend, Artistic Director of Y-Touring: “’We always believed that strong drama could not only affect people emotionally but help them to understand new ideas and think about complex issues.” This statement, while short and simple, truly captures what science through theater can accomplish. Theater has always been a means of affecting people on various levels of psyche and emotional state, and the sciences are an essential part of learning and life; using theater as a teaching tool to convey important information in a way that not only lectures and informs, but has the power to deeply affect and intrigue minds from various backgrounds and disciplines, is a brilliant and exciting idea that should be continued through future projects.

Science through theater has been around for quite some time and will indeed continue into the future. While not all of the projects appear to be as thought provoking as “Mind the Gap”, several projects such as Carpenter Science Theatre Company (http://www.smv.org/livetheater.html) and “Science Live”, Minnesota (http://www.smm.org/sciencelive/) take advantage of theatrical science education as well. By using live demonstration, colorful characters and fanciful plotlines, children are able to equate essential scientific concepts and methods with excitement and fun. Whether through edifying performance , whimsical children’s show, or some combination of the two, science through theater arts has proven to be, and will remain, a beneficial and exciting use of performance arts for successful didactic endeavors.

Theater Etiquette

It is difficult to decipher who exhibits worse etiquette in the current theatrical climate; the audience members, or the supposedly “Professional” actors on stage. Several instances in recent months have brought about some very interesting cases, presenting absolutely atrocious behavior from both audience members and stage actors alike.

Many people who attend theater, be it at the community, national, or Broadway level do indeed demonstrate proper etiquette. They show up early, do not eat or drink at their seat, remain quiet during the performance, and obey what has come to be known as the golden rule of theater etiquette: they silence all cell phones. However, many theatergoers are left without a general knowledge of typical theater conventions, and behave as though they are at sporting event or rock concert. While the rules are often unspoken (except for a NYC law requiring cell phone silencing), they have become societal norms and to break these norms is seen as the epitome of selfish and rude. Some websites dedicated to the arts have actually taken the time to compose lists of how one should behave at a theatrical performance and an example of such a list can be seen here: http://www.fineliving.com/fine/rejuvenation_essentials/article/0,,fine_1422_1327738,00.html

In late January 2009, during one of the last performances of the Broadway revival of Gypsy, Patti LuPone, two time tony winner and renowned stage “diva” literally stopped the show. Ms. LuPone, after the first few chords of what is perhaps the show’s most climatic and pivotal moment, completely broke character, turned to audience, and began to scream at an audience member who had taken a photograph during the show. A few favorite excerpts from her three minute rant are as follows: “Stop, stop, stop taking pictures right now! You heard the announcement. Who do you think you are?...Three times you took a picture! Who do you think you are? I won't continue with them taking pictures. Get them out!"

The outburst was received first with nervous laughter and shaky applause, followed by a thunderous uproar of cheers and whistles. However, it is not fully clear who is at fault of breaking theater etiquette rules. While the majority of the audience thought Ms. LuPone’s outburst was a wonderful and exciting display of putting a rude audience member in his place, many were left with the feeling that for $100+ per ticket, Ms. LuPone, however rude the audience member was being, should have continued on with the show in a professional manner and dealt with the rule-breaker after the performance.

A similar case occurred in September of this year when Australian actor Hugh Jackman stopped a preview performance of the Broadway play A Steady Rain to tell an audience member to silence a ringing phone. "You want to get that?" Jackman said (with an attempt to remain in character, although as the moment progressed he continued to lose his temper) "Grab your phone, it doesn't matter…come on, just turn it off ... we can wait. Just get the phone, don't be embarrassed. Just grab it."

Once again, it is unclear who is at greater fault. While the majority of reporters cast the audience member as the evil wrongdoer, it would seem again that however rude the audience was, that the actors should be able to continue on in a professional manner and leave such issues for house ushers and staff to deal with.

The issue of professionalism versus expected audience behavior is a longstanding conflict that never seems to result in a clear conclusion. An obvious solution would be to better enforce theater rules, and threaten any troublesome attendees with expulsion from the show, which would prevent further disruption for their fellow audience members as well as the actors on stage.

*Ironically, both LuPone and Jackman singled out an offending audience member while profusely thanking the remaining audience members for being wonderful, rule-abiding community members. However, both of their mid-performance outbursts were caught on tape and can be seen or heard at the following links:
http://www.youtube.com/watch?v=WruzPfJ9Rys

http://www.youtube.com/watch?v=iE6OpSdtvz8
It appears that although one audience member was singled out, several others were waiting with recording equipment (cell phones and blackberries equipped with cameras) to take their place, which only helps to argue the etiquette case in favor of the actors*

The Significance of Masks in Theater Arts

Terrifying vampires, demons, and the forces of darkness suddenly materialize in countries around the world, while familiar faces of current celebrities, historical figures, and questionable politicians mingle among them. Halloween, the once Celtic festival turned commercialized costumed event (http://www.history.com/content/halloween), is now a pleasurable and celebratory tradition …and a form of theater at its finest. For one night, millions of people around the world embrace an alter ego, donning costumes and disguises that allow the opportunity to become one with a character, often choosing one quite unlike themselves. Many people immerse themselves fully in the experience by taking on a role for the duration of the evening, seldom breaking character, and using their costumes as an excuse to act in ways that on any other night could seem not only uncharacteristic, but even rude or alarming. The fun is in the fact that actions on this night can be considered consequence free, true selves are hidden behind an exterior that has supposedly has a personality of its own.

Costumes, and specifically facial masks, have an immeasurable power. Wearing something as seemingly insignificant as a mask has the power to change actions and behaviors. In the “real world”, a prime example being Halloween, masks allow the individual to hide behind a face that is not their own. While use of masks have been an essential characteristic of theater arts since antiquity, the use of masks in ancient Japanese theater presents some of the most interesting uses of this artistic tool.

The ancient Japanese art form known as Noh Theater requires masks for performance (Greenwald, Schultz, & Pomo, 2001). Actors of this genre will spend hours in the “mirror room” before a performance, apply their mask, sit completely still and stare at their reflection in order to wholly induce their psyche into believing they are physically the character whose mask they wear. The use of masks in Japanese theater is especially intriguing because it encourages an intense focus on aspects of acting that are not always viewed as salient in today’s theatrical endeavors. For example, many productions today can be large, flashy, and at times ostentatious, and we often end up focused on dialogue, character interactions, and elaborate stage surroundings. In Japanese Noh Theater however, audiences don’t have such opportunities as the stage is bare, the dialogue is minimal, and any movement is a slow, diligently prepared process (Greenwald, Schultz, & Pomo, 2001).

Noh Theater essentially forces audiences to pay close attention to actor body language and overall presence. In addition, while in the more unassuming mainstream theater (such as many of the plays on Broadway stages this season) we look forward to analyzing the deep emotional expressions on an actor’s face, in Noh Theater, all actors wear a mask. Their mask remains completely unchanged for the duration of the play, but nevertheless must be able to convey a vast array of emotions. The use of these masks draws our attention to body language and the actor’s overall stage presence. The actors of Noh Theater are forced to physically embody a character in an all encompassing way, so that their body language expresses the intense emotions that usually emanate from the face. While they wear a mask that displays one expression for the duration of a play, Noh actors must help audiences see different expressions within the mask, wholly by utilizing their bodies and surrounding stage lighting to encompass an entire world of emotion within the mask they wear. Whether used as a tool to deceive friends and neighbors on all hallows eve, or used as part of an ancient and ritualistic artistic endeavor, masks serve the purpose of aiding one to mentally and physically become anything other than themselves.

Traditional Noh Masks: http://liveness.org/plasticfutures/wp-content/uploads/2009/05/noh-masks.jpg


“Rotation of the head out of the visual plane changes the two dimensional image characteristics of the mask which viewers may misinterpret as non-rigid changes due facial muscle action. The figure below shows the same Edo-period Noh mask, Magojiro, at three inclinations.”
Changeability of the Noh mask: http://www.kasrl.org/noh-mask-effect.gif)

Theater Therapy

Theater traditionally exists as a form of entertainment. From the ancient roman spectacles meant to overwhelm audiences with excitement, to the precision and diligence of Japanese Noh plays performed exclusively for the elite of society, theater has been an outlet for creativity and craft for its actors, while providing intrigue and escapism for its audiences since its earliest beginnings around 1200 B.C.E. However, much of the theater that exists today does not have this particular objective in mind.

Theater in the 21st century is created in countless forms and for a variety of diverse reasons. There are plays that exist solely for the purpose of political commentary, improvisational theater designed to aide psychologists in better understanding of the human psyche, and (as previous postings on this particular blog would show), activist theater which exists to give minority groups and citizens a voice through an underutilized yet innovative medium. However, there is one use of theater in particular that continues to provide significant change and progress, but unfortunately has not risen to overwhelming popularity. The described use is theater as therapy, and although the origin is unknown theater in this form has been around for a number of years, surging in popularity in the 1980’s when a particular theatrical troupe, known as Geese Company, performed and conducted workshops in prisons and dentition centers across America. Their unique story is documented in a 1987 issue of time magazine and the full article can be accessed at this link: http://www.time.com/time/magazine/article/0,9171,965921,00.html

Theater as a therapeutic outlet is truly a powerful tool for both those involved in creating art in this form, as well as the audiences who are given the opportunity to experience such work. Theater as therapy has many different connotations, but there are two cases in particular that act as prime examples of the power and success of this unconventional idea.

Two years ago in Minnesota, a group of children with Asperser’s syndrome (a mild form of autism) participated in a summer theater workshop where they engaged in improvisational games, including a game in which the children had to mirror each other, at a close physical proximity, their fingers touching. While this “game” might sound unimpressive, (it is a common theatrical technique actors use to understand another person’s movements); for these children, participation in such an exercise was an extraordinary achievement. Children with Asperger's don’t like to be touched, and often have severe social disorders and problems interacting with other children. The fact that they were able to comfortably participate in an improvisation game demonstrates the triumph of the program’s goal of helping children with disabilities progress in their social and academic lives. Upon completion of the program, many of the children had made friends, spoken in front large audiences, and developed aspirations for future careers, achievements that are challenges even for children without such disabilities. More information about the program and its participants and director can be found here: http://minnesota.publicradio.org/display/web/2007/08/14/autismcamp/

Theater as a therapeutic tool has also been used in a completely different manner. The aforementioned Geese Theater Company continues their drama therapy work today that they began back in the 1980’s. Geese Theatre Company practices drama therapy in prisons for correctional staff, sexual offenders, and violent offenders, both juvenile and adult. Upon first read, many might wonder why actors would invest their time in providing therapy for the violently disturbed, especially when there are innocent people who could benefit from such services. However, Geese Theater Company is unique not only because their work provides an outlet for expression for some of the world’s most dangerous minds, but it provides an outlet for understanding and education as well. By allowing criminals, sexual offenders etc, to share their stories through actors on a stage, however violent and disturbing they may be, the troupe is able to significantly contribute to the field of medicine. Their plays aide in understanding of how criminal minds operate, while examining the deep rooted causes of where violent and criminal thought originates. The Geese Theater Company’s website can be viewed at the following link: http://www.geesetheatre.com/

Blog # 5: Theater as the Art of Human Experience

Oscar Wilde, a highly celebrated 20th century playwright once said: “I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.”

Theater arts offer a way for an individual or group to express feelings and emotions that many in the audience have probably felt themselves, are longing to feel, or hope never to feel. Theater is a way of connecting to other human beings and sharing experiences of all kinds, both fictional and true. However, theater is not always created for the benefit of the audience. In times of antiquity, “theater” as we know it today existed as a tool for demonstrating points of view, depicting religious scenes and rituals, and delivering messages of high importance. The first plays ever performed were intended for everyone in the surrounding communities to participate in, not for some to partake in while others looked on.

While most theater today has been highly commercialized, an incredible example of theater
With its original intentions still exists. Designed for the benefit of those involved was a recently concluded project entitled “After the Storm”. After the Storm was a theatrical endeavor that began as a way for youth effected by Hurricane Katrina in New Orleans to express their feelings about the tragedy and tell their stories in a creative outlet. Many of the children and young adults asked to participate had never had any outlet whatsoever to express their emotional struggles and hardships resulting from the storm. The project began with a group of actors from New York City, who were inspired to use the craft they love for something other than their jobs onstage, that set out to use their skills as a tool to benefit others. The group travelled down to New Orleans and revitalized a community center destroyed by the storm.

They decided to produce a play, “Once on this Island” (A critically acclaimed musical about
A peasant girl discovering her purpose in life in the wake of a terrible storm). While the play was performed for audiences eventually (with overwhelming rave reviews by area critics), the project was originally designed as a creative and therapeutic outlet. The cast was made up completely of Hurricane Katrina survivors, and the participants all shared their stories of survival. They used their experience with Katrina and their emotions surrounding the event to fully develop their characters, whose fictional lives did not differ wildly from their own. While rehearsing their roles and preparing to bring this musical to life, each cast member was asked to tell their story, go back and visit their destroyed homes, or talk about their estranged families. The preparation process and resulting theatrical production can be seen in a documentary film, the trailer of which can be viewed at the following link: http://www.youtube.com/watch?v=toXiPXLL_H8

The fact that so much reality went into preparing a fictional piece helps to strengthen the validity of Mr. Wilde’s words. Audiences who attended this unique production shared an experience with their fellow audience members, and with the cast members of the play. While reading about tragedy and trying to understand disaster through information provided by media is perhaps the best source for worried and curious minds around the world, horrific images and heart wrenching interviews are often re-played so many times that the problem begins to seem too overwhelming to actually deal with. People who want to sympathize often become desensitized to the tragedy of it all. However, through this project, a fictional tale infused with raw, very non-fictionalized emotion, viewers of the play are able to experience what it meant to be human during an event of fear and tragedy. While many in the world might never have to deal with such horrors in their lifetime, the importance of understanding such an experience and sharing in this facet of human existence and emotion has the power to help each audience member understand humanity a little more. By watching this play and feeling the emotional, real-life struggles of the actors shine through the façade of their characters; audiences that may have felt disconnected previously can begin to feel as though they are part of the story. This project that began as charitable endeavor to provide therapy to its participants became an educational and therapeutic outlet for all involved, and was indeed “the most immediate way in which a human being can share with another the sense of what it is to be a human being.”

Theater at Cornell University

“Wait, we have a theater major here?” is perhaps the most common student response to any mention of theater and dance classes at Cornell University. Cornell, with its adage “any person, any study” not only has a theater major, but dance and film majors and minors as well; however, for some reason knowledge of the strength and excellence of these programs is hard to come by. Whether it’s poor publicity or simply lack of awareness, attendance at Cornell theatrical productions is mostly populated by Ithaca natives, or students who have made the trip to that sparkling contemporary building on the cusp of Collegetown to support friends appearing in a show. It is rare for students of this fine university, many of whom undoubtedly have a yearning for quality entertainment and do not wish to spend every free moment participating in one of Cornell’s favorite pastimes (the university is notoriously rated high in college rankings as a binge drinking school) to attend a campus theatrical production.


This fact is unfortunate because Cornell students definitely know how to put on a show, and there are so many ways in which they prove it. First and foremost is the Schwartz Center for the Performing Arts. The Schwartz Center hosts brilliant theater seasons at very reasonable prices making great theater easily accessible to the Cornell community and surrounding towns. Many students are unaware of just how lucky they are to have such an outlet available to them. The plays at the Schwartz Center cast students, as well as professional in residence actors (known as RPTA’s) in their productions which give each play a professional edge while still involving students and faculty members, allowing the productions a community feel at the same time. Cornell Theater is also adventurous in the sense that it puts on some very experimental works many people would not otherwise have the opportunity to see. Last week, for instance, Cornell featured an intimate, one man performance by E. Patrick Johnson titled Pouring Tea: Black Gay Men of the South Tell Their Stories, available free of charge to Cornell students and faculty. An extremely poignant performance with deeply serious themes told through the devices of physical narration and humor, it was very well received by those who attended. However, the small theater in which it was presented was only about ¾ filled with students, the rest of the audience members coming from the Ithaca community and other local townships.


Last weekend also marked the closing of The Servant of Two Masters, which according to Cornell’s theater department website was a “classic Italian comedy stemming from the commedia dell’ arte form.” Perhaps it is the weighty descriptions that keep students from seeking out these productions. If unsure what “commedia dell'arte” means, or the words “classic Italian comedy” come off as dull or dated, it’s likely students would seek entertainment elsewhere. However, had they seen the show, they would have discovered a lively, humorous production filled with references to their own Ithaca, NY and Cornell University inserted by the director to help the play resonate better with the anticipated audience. The production also included a modernized script, and instances of energetic physical humor and audience participation that received great reviews by those who saw the show as well as local critics.


Aside from Schwartz productions, there are countless other instances to experience performing arts right on Cornell’s campus. Risley residential hall has a black box theater whose shows are beautifully put together, very well acted and received, yet they usually struggle to break even at the box office. Student organizations and clubs offer entertainment as well with comedy shows and dance troupes providing fun and excitement to students from all disciplines.


The Cornell theater scene is very much an exciting and stimulating place to be. While the turnout at events is not always as high as the performers and producers would like it to be, those who have the pleasure of attending a Cornell production definitely get their money’s worth.

Information on the upcoming theater season at the Schwartz Center can be seen here: http://www.arts.cornell.edu/theatrearts/
Information about upcoming shows and events at Risley Theater can be found at this address: http://www.risleytheatre.org/