Public Theatre Personal Statement

In the 1980s, the cost of staging a Broadway show soared so high that major shows have to run for more than two years to break even (showtime, 604). The strong-willed individualistic producers were replaced by “artistic director, a general manager and various multi-producers.(showtime 604)” The latter were made up by businessman and theater owners whose priority is to sell tickets rather than create art. What’s more, the producers were less willing to take risks both financially and artistically, which made Broadway productions bleaker(showtime 604). As for the production of Rent and The Phantom of the Opera, the producers used different tactics to cope with the staggering cost. The rent cut cost on stage setting and location.They abandoned the expensive curtains and fancy settings and used sculptures of “junk, wire and Christmas-tree lights” to symbolize different sites(Wollman, 170).

The theater is the attempt to bring together various human experiences and to project onto ourselves and others. Theater can range be dark, funny, and thought-provoking. It emphasizes human interaction, which in turn helps people can express themselves. Furthermore, it encourages public speaking and brings people together. I enjoy theater because it influences the way we think and feel about our own lives. In addition, it encourages us to take a look at our values and behavior. Participating in the Open Doors Theater Scholarship gives me the excellent opportunity to explore theater arts, learning more about communications, human relation skills, and the world around us. I am passionate about extending my experiences and taking advantage of

While this book begins by defining stage money as “Imitation money used in theatrical production, in film, and by magicians,” the next seven chapters are not spent describing these fake dollar bills (v). Donahue and Patterson step away from analyzing the aesthetic value of theatre and analyze what it costs. As corporations of today take steps into the 21st century, Broadway is forced to evolve with them. Due to the lack of ability of performers to increase productivity, the environment is high-risk. Investors can put in millions of dollars into a project and lose it all, simply because audiences were not drawn to the show. However, investing the same amount in a successful show can make millions. This “survival of the fittest” mantra describes

Innovative, ideal, and beautiful, Carnegie Mellon University attains a multitude of components that are categorically suited for students like myself, striving to pursue a profession in the entertainment industry. Carnegie Mellon initially allured my attention from it’s prominent history of accomplishments and praises as an entire institution, in a technologically sound campus teaming with life, diversity, and possibility. During in-depth college research, I discovered it withheld a plethora of opportunities for myself, if I applied and auditioned as an undergraduate B.F.A in music theatre. Carnegie Mellon set the standard for my personal requirements when I came across the School of Drama in the College of Fine Arts, and no alternate program has surpassed my liking since. I strive to excel in the entertainment industry, and it’s to my full belief that Carnegie Mellon’s School of Drama is the ultimate choice to guide me on that journey.

The Arts have just that much power.     If I am able to be a part of Howard University's Department of Theater Arts, I can guarantee that I will be another face at the bottom of the College of Arts and Sciences department of Fine Arts' website. I am ready to take part in an internationally acclaimed leader and producer of artistic merit program at this fine university. I have the confidence and belief that I have the basic skills to get me far in this career. I also know that Howard University has the program, faculty, and staff to get me further than I could ever imagine.

As Vice President, I have increased the fund’s turnover by £15,000, resulting in greater quantity and quality of productions in and outwith St Andrews. A graphic designer (with proficiency in Adobe Creative Suite 6) and creative producer for eleven sell-out productions in St Andrews and beyond, my performing arts background is diverse. As Co-Founder of Sonder Theatre, St Andrews’ most prolific student theatre company, my productions have earned five star reviews in the professional and student press and recognition as Runners-Up for the Scottish Arts Club Theatre Award 2016 and an invitation to join the National Student Drama Festival’s 2017 Company for Delay Detach (Joanna

A few years ago, when I was in theater I missed a mandatory practice that was close to show week. I don’t remember if I was sick or out of town, but I do remember letting my director know I wasn’t able to make it. At a dress rehearsal, a week or two later I got in trouble for not being on stage during a certain scene. I had no idea that a change had happened in the choreography and I complained to my brothers later, whining that it “wasn’t my fault” and I continued to pout about it during the next rehearsal. If I could go back and treat that incident with more of a “creator” mindset, I would’ve realized that I should’ve contacted some of the girls the day I was gone to see what I had missed.

As an experienced Actor, Director, Choreographer of many-a-year and stage show for that matter, I’ve utilized the past 5 years in theater as more of a personal mission to learn more about the theater processes and procedures and determine the key components that help a particular show achieve success.

The recent marriage of not-for-profit theatre companies and commercial producers has experienced mixed reviews. The example of the American Repertory Theatre and Rocco Landesman developing a musical of Huck Finn in the 1980’s was the first of many such ventures that were both commercially and critically successful and combined the nonprofit with commercialism. But is it a conflict of interest or a marriage made in heaven or maybe even a marriage of convenience.

I have been in film acting classes for many years now, but I have always been interested in what goes on behind the scenes. For this reason, I was overjoyed when I could finally join my acting studio's Teen Producers program. After joining the program when I was eleven, I quickly fell in love with filmmaking.

The world of theatre and arts is one collaborative whole and that is something I understand, taking one section away and the creative process will stall, each department integrates with another and relies heavily on strong consistent communication and thoroughly adhering to the companies’ policies and procedures.

As I’ve told new students again and again, our Beginning Acting class is more than just learning lines, it’s a class where you learn who you are. I’ve not only taken this class but I’ve served as a Teaching Assistant and the lessons I’ve learned in that Blackbox theatre are ones I will take with me for the rest of my life. Whether it be the ability to work with others through blocking group scenes or the ability to make yourself heard through warmup games, theatre easily filters into every other sphere of my life. I know I can also ascribe my thirst for knowledge to my theatre background.

My love for Performing Arts began when i was in secondary school in year seven. I was a very shy child and i would not speak much, but when i auditioned for my first musical 'Grease' that all changed . By performing it gave me confidence to approach people in my day to day life which before this i struggled with. Ever since then my passion for performing has grown dramatically, and i continually strive to become a better performer and show the highest standard of work possible.

In theatre a director has to take on responsibilities such as choosing a script, the spine of the play, the style of the production, and the director concept. One year in my high school theatre class, for our 50th anniversary of our school, our director selected a minimum of five plays and five students could volunteer to assist in directing selected scenes from the five plays to produce for our semester production. Our main director had the job of choosing the script and the spine of the play but responsibility of the style of the production and the directorial concept was all on the students. The remainder of the class was placed with one of the five students to help with that production. People fail to realize how much responsibility of the production is put on a director until they are put in charge.

The Public Sphere within theatre was a concept that was first delineated by philosopher Jurgen Habermas in his book titled The structural transformation of the public sphere, in which he refers to the right that all citizens hold, the right to participate and engage into discussions on public matters of interest and public issues. Habermas writes: “the audience does not constitute a space for spectators and listeners but a space for speakers and addresses who engage in debate.” (Habermas in Balme 2012). The Public sphere has now become a space, a stage, for performers, speakers and protesters to have a voice rather than for the preliminary use of entertainment for the audience, spectators and listeners.