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/
Sunday, September 27, 2009
Censorship in American Theater
Lysistrata by Aristophanes, a sex-comedy/anti war drama, The Crucible by Arthur Miller, a plot centered on the Salem witch trials banned because it contains “sick words from the mouths of demon possessed people”, and A Streetcar named Desire, banned for its features of rape and descent of a woman into insanity by Tennessee Williams are among some of the most banned plays of all time (http://classiclit.about.com/od/bannedliteratur1/tp/aatp_bannedplay.htm ). But that was in the past, back in the days when liberty and justice was certainly not for all. Society has progressed immensely, specifically in recent years, so how could these problems of artistically beautiful and stunningly insightful works of performance art being banned from the masses still be a problem relevant today?
Today’s theatrical productions are unfortunately still no stranger to censorship. Though society has evolved, new and more evocative plays have been written and produced, and rules changed for the better, instances of censorship are still not uncommon in today’s “evolved” world. Last February, Orange county high school in Newport Beach, CA banned production of the drama department’s selected spring musical RENT. While seemingly understandable at first (the original production is known to include some vulgar language, sex, and heavy drug use), this version of RENT is specifically called RENT: School Edition and much of the objectionable material not suitable for students under 18 has been removed. So what were the grounds for banning the production? There weren’t any; at least not any legitimate ones. Several stories about an anti-gay principle, a simple budget cut, and parent protests floated around for a while. However, when the rumors subsided the fact remained that the play was banned with no reason other than the principle's uncomfortable feelings about the possible effects of the material on students. Student and parent responses to the issue can be seen at the following link: http://www.queerty.com/orange-county-high-school-principal-bans-gay-characters-in-drama-department-20090213/
More recently, in April 2009, George Washington University, a world-renowned highly ranked university with a student body of over 23,000 got itself into a similar predicament. “The Company” theater group, which prides itself on progressive and experimental theater chose to produce the play “Quills” about the last few days in the life of Marquis de Sade, a French aristocrat and pornographic novelist. Aside from a plotline involving pornography, the play contains one scene in which the main character appears nude. The university gave the go-ahead on the play, on the condition that the nudity be cut. The fact that a University, not a high school, with an intolerant principle and few outspoken upper middle class parents, but A NATIONAL UNIVERSITY tried to censor artistic creativity is unthinkable, and frankly confusing as to how this could happen in today’s supposedly progressive and first amendment based society.
Nevertheless, although these setbacks are frustrating for the producer as well as the avid theatergoer who looks forward to cutting edge productions or even just accurate portrayal of the classics, many of today’s shows have escaped censorship and gone on to play to large audiences around the world. In fact, despite the controversy in Orange county high school the first ever RENT: School Edition played to packed houses at Harry S. Truman High School in Levittown, Pennsylvania and has been well received in high schools across the nation ever since.
Today’s theatrical productions are unfortunately still no stranger to censorship. Though society has evolved, new and more evocative plays have been written and produced, and rules changed for the better, instances of censorship are still not uncommon in today’s “evolved” world. Last February, Orange county high school in Newport Beach, CA banned production of the drama department’s selected spring musical RENT. While seemingly understandable at first (the original production is known to include some vulgar language, sex, and heavy drug use), this version of RENT is specifically called RENT: School Edition and much of the objectionable material not suitable for students under 18 has been removed. So what were the grounds for banning the production? There weren’t any; at least not any legitimate ones. Several stories about an anti-gay principle, a simple budget cut, and parent protests floated around for a while. However, when the rumors subsided the fact remained that the play was banned with no reason other than the principle's uncomfortable feelings about the possible effects of the material on students. Student and parent responses to the issue can be seen at the following link: http://www.queerty.com/orange-county-high-school-principal-bans-gay-characters-in-drama-department-20090213/
More recently, in April 2009, George Washington University, a world-renowned highly ranked university with a student body of over 23,000 got itself into a similar predicament. “The Company” theater group, which prides itself on progressive and experimental theater chose to produce the play “Quills” about the last few days in the life of Marquis de Sade, a French aristocrat and pornographic novelist. Aside from a plotline involving pornography, the play contains one scene in which the main character appears nude. The university gave the go-ahead on the play, on the condition that the nudity be cut. The fact that a University, not a high school, with an intolerant principle and few outspoken upper middle class parents, but A NATIONAL UNIVERSITY tried to censor artistic creativity is unthinkable, and frankly confusing as to how this could happen in today’s supposedly progressive and first amendment based society.
Nevertheless, although these setbacks are frustrating for the producer as well as the avid theatergoer who looks forward to cutting edge productions or even just accurate portrayal of the classics, many of today’s shows have escaped censorship and gone on to play to large audiences around the world. In fact, despite the controversy in Orange county high school the first ever RENT: School Edition played to packed houses at Harry S. Truman High School in Levittown, Pennsylvania and has been well received in high schools across the nation ever since.
Sunday, September 20, 2009
All The World's A Stage
Theater is defined as a building, part of a building, or outdoor area for housing dramatic presentations, stage entertainment, or motion-picture shows (Merriam-Webster Online, 2009), but not all “theater arts” take place in structures designed specifically for arts and entertainment. In fact, one of the keys to understanding the basics of how theater arts came to be and why certain performances are so powerful and others, not quite up to par, is understanding that “theater” is constantly happening all around us. Actors can so skillfully embody a character or audience members be moved to tears by events on a stage, because theater is an art form based on observing and re-creating actions and events. We are all (albeit often subconsciously) actors every day. We put on different “costumes” for different events (i.e. wearing a different outfit on a job interview than on a date), and we change our way of speaking in order to be perceived differently in various situations (speaking one way with our friends and another to our teachers). We often do things to get attention, hide our flaws, be taken seriously, thought of as funny, etc., the list of acting and performance qualities in our daily life goes on and on. It is perhaps these factors that help explain why some of the most well-known and adored instances of theater have taken place not in the typical structure defined so clearly above, but in some of the most unstructured environments available. There are countless forms and instances of theater that occur outside the so-called “designated space.”
Mobsters from “On the Waterfront” on a floating dock in Brooklyn, a re-enactment of the famous V-J Day kiss in 1945 live in Times Square, a few hundred or so people break into synchronized song and dance in a crowded shopping mall (pictures at http://www3.timeoutny.com/newyork/upstaged/2009/07/street-theater-break-out-in-song-this-week/) ; all of these scenes represent theatrical performances that have take place in the ’08-’09 season. On the street, in public spaces, or in outdoor areas is where theater transcends all barriers and becomes not just an audience watching a performance, but a truly interactive, innovative, and all encompassing experience.
Perhaps one of the most original productions done recently, was this summer’s staging of “IRT: A Tragedy in Three Stations”, performed entirely in subway train cars and on various station platforms in New York City. Teased as being the “longest running theatrical production In New York – it runs from Brooklyn to Manhattan”, this piece truly embodies every benefit street theater has to offer. IRT took advantage of a well-known public space and turned the everyday ordinary into something extraordinary. Costing only $10 a ticket, this play was affordable for audiences of all ages and incomes and even gave a few lucky commuters a chance to glimpse the excitement for free. The New York Times review and accompanying photographs can be seen here: http://www.nytimes.com/2009/02/02/nyregion/02underground.html
Mobsters from “On the Waterfront” on a floating dock in Brooklyn, a re-enactment of the famous V-J Day kiss in 1945 live in Times Square, a few hundred or so people break into synchronized song and dance in a crowded shopping mall (pictures at http://www3.timeoutny.com/newyork/upstaged/2009/07/street-theater-break-out-in-song-this-week/) ; all of these scenes represent theatrical performances that have take place in the ’08-’09 season. On the street, in public spaces, or in outdoor areas is where theater transcends all barriers and becomes not just an audience watching a performance, but a truly interactive, innovative, and all encompassing experience.
Perhaps one of the most original productions done recently, was this summer’s staging of “IRT: A Tragedy in Three Stations”, performed entirely in subway train cars and on various station platforms in New York City. Teased as being the “longest running theatrical production In New York – it runs from Brooklyn to Manhattan”, this piece truly embodies every benefit street theater has to offer. IRT took advantage of a well-known public space and turned the everyday ordinary into something extraordinary. Costing only $10 a ticket, this play was affordable for audiences of all ages and incomes and even gave a few lucky commuters a chance to glimpse the excitement for free. The New York Times review and accompanying photographs can be seen here: http://www.nytimes.com/2009/02/02/nyregion/02underground.html
Sunday, September 13, 2009
Activism and Theater Arts
The term Theater Arts encompasses a wide and diverse array of topics ranging from full-blown musicals and large stage productions to local experimental and avant garde theatrical projects. The focus of this blog will be on examining changes and progress in American theater in recent years, as well as the effect of theater arts on society and current events and issues in America today. As a senior at Cornell University studying Communication and minoring in Theater Arts, this topic is one that I am very excited about, as it encompasses my core interests and studies. In addition, the interplay of performance art and pressing social issues is a topic I’ve spent a lot of time contemplating and developing unique outlooks on, and I am eager to share these with the Comm. 3600 class as well as the rest of the blogosphere.
Since theater’s earliest beginnings, with the first ever plays recorded in ancient Greece and Rome, (Greenwald & Schultz, 2001) the stage has been a definitive creative outlet for getting your voice heard. Over the centuries, but especially in recent decades, themes of some of the most well-known dramas and musicals alike have included extremely controversial topics such as racism, war, sex and sexuality, physical abuse, illegal drug use, and gay rights just to name a few.
While controversial themes in theater can sometimes be mistaken as cheap ploys for media attention, they can also be the ultimate teaching tool, a way for playwrights to express their passion and opinions in creative, entertaining, and hard-hitting ways. Plays that deal with issues that affect society, that can make people uncomfortable while making others want to stand up, take action and make a difference are the works that garner the attention of private organizations, worldwide media, and general audiences alike.
Homosexuality has been a topic of performance art pieces throughout society for years, and some of the most popular and award winning works in the theatrical world have gay themes and characters. RENT, Angels in America, and Hair, are perhaps three of the most renowned works that have captured audience’s attention, while causing both positive and negative reactions, for decades. Most recently however, a short, satirical musical theater piece was created as a tool of performance activism to demonstrate one side of a prominent social issue and try to garner new supporters to vote against Proposition 8: “a California ballot proposition that eliminates same-sex couples right to marry” (http://www.whatisprop8.com/, 2009)
First released as an internet-only satirical piece and later adapted for the live stage, “Prop 8 the musical” was performed live on February 23, 2009 on Broadway at the Defying Inequality Gay Rights fundraising event. The piece was later performed at several other live venues including California activism events and colleges and universities across the country; and was played and replayed on several national television news and political programs.
The video can be seen at http://www.youtube.com/watch?v=TAMXclA_W-A
This example, chosen for its qualities of humor, its popularity and surrounding controversies, presents an ideal case for the power of theater arts in society. There were countless ways that the intended message (support to vote against Prop 8) could have been communicated, and indeed in the months and weeks leading up to the vote countless methods were pursued. Ads ran on TV, Facebook groups were formed, and viral marketing campaigns both online and off ensued. However, the fact that these actors, (most of whom are well known and work only in television and film) chose the form of musical theater to join together and propagate a message they felt strongly about, shows the true value and respect this art form holds in the acting community. In addition, this method was not only chosen because of its respect in the artistic community, but because it was thought that using this satirical, musical piece would be the best way to positively affect audiences. Whatever the reactions, (which in reality included massive outpourings of both public outrage and support); “Prop 8 the Musical” was indeed successful at gaining attention for a significant cause through the art of musical theater.
Since theater’s earliest beginnings, with the first ever plays recorded in ancient Greece and Rome, (Greenwald & Schultz, 2001) the stage has been a definitive creative outlet for getting your voice heard. Over the centuries, but especially in recent decades, themes of some of the most well-known dramas and musicals alike have included extremely controversial topics such as racism, war, sex and sexuality, physical abuse, illegal drug use, and gay rights just to name a few.
While controversial themes in theater can sometimes be mistaken as cheap ploys for media attention, they can also be the ultimate teaching tool, a way for playwrights to express their passion and opinions in creative, entertaining, and hard-hitting ways. Plays that deal with issues that affect society, that can make people uncomfortable while making others want to stand up, take action and make a difference are the works that garner the attention of private organizations, worldwide media, and general audiences alike.
Homosexuality has been a topic of performance art pieces throughout society for years, and some of the most popular and award winning works in the theatrical world have gay themes and characters. RENT, Angels in America, and Hair, are perhaps three of the most renowned works that have captured audience’s attention, while causing both positive and negative reactions, for decades. Most recently however, a short, satirical musical theater piece was created as a tool of performance activism to demonstrate one side of a prominent social issue and try to garner new supporters to vote against Proposition 8: “a California ballot proposition that eliminates same-sex couples right to marry” (http://www.whatisprop8.com/, 2009)
First released as an internet-only satirical piece and later adapted for the live stage, “Prop 8 the musical” was performed live on February 23, 2009 on Broadway at the Defying Inequality Gay Rights fundraising event. The piece was later performed at several other live venues including California activism events and colleges and universities across the country; and was played and replayed on several national television news and political programs.
The video can be seen at http://www.youtube.com/watch?v=TAMXclA_W-A
This example, chosen for its qualities of humor, its popularity and surrounding controversies, presents an ideal case for the power of theater arts in society. There were countless ways that the intended message (support to vote against Prop 8) could have been communicated, and indeed in the months and weeks leading up to the vote countless methods were pursued. Ads ran on TV, Facebook groups were formed, and viral marketing campaigns both online and off ensued. However, the fact that these actors, (most of whom are well known and work only in television and film) chose the form of musical theater to join together and propagate a message they felt strongly about, shows the true value and respect this art form holds in the acting community. In addition, this method was not only chosen because of its respect in the artistic community, but because it was thought that using this satirical, musical piece would be the best way to positively affect audiences. Whatever the reactions, (which in reality included massive outpourings of both public outrage and support); “Prop 8 the Musical” was indeed successful at gaining attention for a significant cause through the art of musical theater.
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