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/
Sunday, October 25, 2009
Sunday, October 18, 2009
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 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.”
Sunday, October 4, 2009
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/
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/
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