Transcript File - Wallace Theatre

THEATRE AMAZEMENT AND
JOY OF THE PAST
WHAT DID YOU LEARN DOING
PANTOMIME AND COMMEDIA?
HOW DID YOU COMMUNICATE
IN BOTH?
WHY DO THEATRE IN
MIDDLE SCHOOL?
What can you apply outside the theatre classroom
that you have learned so far (or might learn)?
WHAT PLAYS HAVE YOU SEEN?
Someone list them on the board
WHAT IS THE MESSAGE THESE
PLAYS ARE TRYING TO
SPREAD?
THEATRE VS. THEATER
ORIGINS OF THEATRE
LET’S BLOW YOUR MIND….
DEFINE PERFORMANCE
Play, musical, film, acting, dancing, singing, ceremonies, religious acts/rituals, brushing your
teeth, everyday conversation
MIND………BLOWN
BUT…HOW WAS
PERFORMANCE IN THE
BEGINNING?
EARLY “PERFORMANCES”
 Ceremonies (still continue today)
 Dances: tribal, religious
 Movements: gathering food, making a fire, etc.
 Speeches
 Rituals: religious
 Storytelling: legends, histories, etc.
 Any others?
GREEK
THEATRE IN THE
TRADITIONAL SENSE
AESOP AND ARISTOTLE
Who was Aesop?
Who was Aristotle?
AESOP’S FABLES AND
ARISTOTELIAN PLOT
STRUCTURE
LET’S REVIEW
ARISTOTLE AGAIN
Aristotle created a structure for a WELL MADE PLAY including the various parts of a plot. He
studied Greek plays from festivals to create his structure which we will talk about later.
ARISTOTELIAN PLOT
STRUCTURE
Climax
Falling Action
Rising
Action
Denouement
Exposition
Inciting
Incident/Hook
OTHER ELEMENTS
NEEDED FOR THEATRE
Actor
Audience
Place
Light
HISTORIOGRAPHY
“The study of the way history has been and is written — the history of
historical writing... When you study 'historiography' you do not study the events of the
past directly, but the changing interpretations of those events in the works
of individual historians."
1. The study of the way history has been and is written
2. The changing interpretations of historical evens in the works
of individual historians
3. ESSENTIAL: it is looking at history either through someone
else’s perspective, opinion, etc.
YOU: INTERPRETING
HISTORY/STYLES
 When you watch the performances today, you will look at them through your lens (your
understanding or view on things)
 Basically: you are all historians who understand or see history based on your own
opinions, understanding, ideas, etc.
 Some styles may seem silly, “bad storytelling”, bad acting, hard, etc. But, you label
them yourself.
 Note: the actors are also “historians” who are interpreting their style according to their
own understanding and even desires
GREEK
GREEK
PLAYWRITING/FESTIVALS
Greek plays were written:
1. Mostly in trilogies (3 plays to tell 1 story: think
The Lord of the Rings or Hunger Games)
2. Written for festivals. Main one being the
festival for Dionysus, the god of wine and merriment
(GENRES) OF
PLAYS
Tragedy
Comedy
Satyr
• modern day satire (make fun of
society)
HTTP:// WWW.YOUTUBE.CO
M/WATCH?V=PL8LCV_POHA
40 seconds
1.
4.
We know little about him
THESPIS
2.
Won play competition: festival of Dionysus
3.
Playwright? Actor? Priest? We’re not sure
His name is used to represent the dramatic (performing) arts
5.
THESPIAN
AMPHITHEATERS
 Largest held 20, 0000 people (Rio Tinto Stadium)
STAGE SET UP
 Skene: backdrop and some special
effects
 Orchestra: where chorus would
dance
 Ekkyklema: wheeled platform (used
to bring the skene's 'indoors' outdoors)
 Mechane: crane to raise an actor
ACTING
STYLE
One “actor” standing, wearing a
mask, telling the story
Declamatory: “overdramatic”
Chorus: chant, all together
HTTP:// WWW.YOUTUBE.CO
M/WATCH?V=OSKCYPNFO
A8
ACTORS
Only men acted. Women not considered citizens
5 MAIN PLAYWRIGHTS
 Aeschylus: Oresteia.
• Introduced the concept of a second actor
• Possiblities for plot and historionics
• Interaction of the two (interplay)
 Sophocles: Oedipus Rex
• Chorus starts to go away
• Interplay between actors increases
• Third actor added
5 MAIN PLAYWRIGHTS
CONT.
 Euripides, Medea, Electra, Trojan Women
• Won less competitions than Aeschylus or Sophocles but most prolific and
existing works produced today
• Foreshadowed the ultimate form of drama as we know it
•
employing a far more naturalistic or human approach in his works, in contrast to
the remote scale and formalized conventions used by his contemporaries.
Aristophanes and Menander
• Comedies
• End of Greek reign, fall of the empire
•
Outlet for frustration and economic downfall
ROMAN THEATRE
GREEK TO ROMAN
Fall of Greek empire marks the
rise of the Roman Empire
The Romans borrowed a lot
from the Greeks, especially in art
(theatre)
ROMAN THEATRE
The word “PLAY”
comes from Greek ludus:
recreation or play
ROMAN: 2 FORMS
1.
Fabula Palliatia: from Greek
1.
2.
Translated Greek plays
Also, Roman plays based on Greek plays
(Note: this happens from here on out with theatre)
Terence: introduced subplot
 Subplot:
enabling us to contrast the reactions of
different sets of characters to the same events or
circumstances
ROMAN: 2 FORMS
1. Fabula Togata: from Rome
1. Native origin: original work
written by Romans
2. farcical situations and humor of a
physical nature
Plautus: playwright
ROMAN THEATRE
Spectacles
•gladiators
•chariot races made
ROMAN PLAYS
Plays of a more serious, literary nature
Plays not intended to be performed so much
as read or recited.
Again, only men performed/attended
Few works by Roman playwrights surviving to
us in forms that would lend themselves to revival
ROMAN STAGE
Roman theatre had a greater effect on
performing space (theater)
• The semi-circular orchestra of the
Greek theatre became a raised stage
• More physical style of acting
(meaning they used
physicality/movement more)
ROMAN AND THE CHURCH
 However, the greatest impact Rome may have had on the theatre
was to lower it in the esteem of the Church
 This impact that was to retard the growth of the dramatic arts for
several centuries.
 low comedy and its mass appeal -- coupled with its association
with the entertainment of the arena (which involved the martyrdom
of early Christians)
ROME AND THE CHURCH
CONT.
Plays, or ludii were associated with either
comedy of a coarse and scurrilous nature, or
with pagan rituals and holidays.
These rituals may be the reason theatre
continued through middle ages
ROME AND THE CHURCH
Secular (Rome)
Religious (Church)
 Bawdy
 Sermons
 Appealed to the masses
 Street preaching (missionary)
 Exciting
 Later performances based on
 Course
Bible writings
 “Innappropriate”
DISCUSSION
In your opinion, which is more popular today? Why do you think it is more popular?
GREEK/ROMAN
PERFORMANCE
 Greek
•
•
•
•
Masks
Declamatory
“Monotone” or emotionless speech
Violent acts happen offstage, chorus or servant tell the stories to the
audience of what happened
 Roman
• More interplay between actors
• More movement/action
GREEK/ROMAN
PERFORMANCE, CONT.
Do not
• Add contemporary movement to it
• Speak in slang, or as you would to your friends
Stay as true as you can to they styles and the genre
of the play
ROMANS
Celebrated the human body (just as the
Greeks)
• Art, statues, performance, etc.
Gladiator performances in the nude
Only men performed and attended (again,
“Middle Ages”
MEDIEVAL
PEOPLE OF THE TIME
Pagan
• A person holding religious beliefs other than those
of the main world religions
• Of or relating to such a people or beliefs: “ a
pagan god”
Illiterate
• Could not read (Bible) or were not allowed to
FALL OF ROME
 Players (performers/actors) tried to make a living by performing
where they could (traveling)
 Kept theatre alive in Europe during Dark Ages, thought the Catholic
Church tried to silence them in every way possible
 Church’s belief that the end of the world was near, it argued that people
should turn away from worldly interests (performing being one of
them) and prepare for the Day of Judgment
DARK AGES-MEDIEVAL
Players traveled with what they could carry
Stages were improvised trestle stages (folding and
portable)
Since the world did not end, the Church started to see
less harm in entertaining diversions, but said they
(plays/performances) should be religious in nature
START OF MEDIEVAL
THEATRE
 Since the people could not read priests started acting out parts of
the Bible to help them understand Christianity
 First plays were about Christ
• The nativity (advent)
• The resurrection
• Other biblical events
• Noahs ark, Adam and Eve (Cain/Able), Moses and the Red
Sea, Jonah and the whale, the Good Samaritan, etc.
MEDIEVAL THEATRE
Passion plays
• Christ: birth, life, death
• The Catholic Church looked at theatre as
an “unholy”, negative and wrong practice
….until it needed theatre to spread it’s
message during the Medieval Era
MEDIEVAL THEATRE
PRACTICES
Street players
Jugglers
Acrobats
Animal trainers
Ironically, it is because of the Church that theatre
survived the middle ages
MEDIEVAL THEATRE
PRACTICES CONT.
Seasonal pagan festivals (rituals and superstition)
still continued
As a result: the Church linked it’s own religious
holidays (i.e. Easter, Christmas) with these
festivals and began to use theatre to illustrate the
stories behind the holidays
PAGAN AND THE CHURCH
• Easter: the resurrection. The time of Easter is based on the cycles
of the moon, the equinox, and seasons and things in nature.
• In simple terms Easter occurs on the first Sunday following the
first full moon that occurs on or after the day of the vernal
equinox (the first day of spring).
• Christmas: became generally associated with the southern solstice
(i.e., the Roman winter solstice), with a sun connection being
possible because Christians consider Jesus to be the "Sun of
righteousness”
THE CATHOLIC CHURCH
THEATRE
 Re-enactments of the first passion plays (nativity and adoration of the
Magi)
• Played by priests in the church (cathedrals/sanctuaries/etc.)
 Priests would stand at various locations in the church (building), acting
out scenes
 Choir would sing
 Audience would move from scene to scene
CHURCH THEATRE CONT.
Eventually moved outside the church
Members of the towns began to contribute, plays
became more elaborate
Passion plays became super popular (like a new movie
coming out)
Added subplots and elements of humor
PAGEANT WAGONS
PAGEANT WAGONS, CONT.
Roll from one town to another
“To teach”
Mysteries: plays performed on pageant wagons
Wagon: stored scenery, dressing room space, offstage
space
People would pay more money than they could really afford to
see them
CHURCH THEATRE, CONT.
 Held in a more permanent place
 Often scenes centering around the life of Christ
 Single stage with an elevated “heaven” and one end and a “hellmouth” at the
other (usually belching flames and deamons)
 In between: “mansions”, or small buildings, that represented various points in
the New Testament story
 “Hellmouth” the most popular because it used flashy special effects favored by the
crowd (think summer blockbusters)…the dead boiled in cauldron, etc.
TYPES OF CHURCH PLAYS
Passion Plays: Christ’s life
Mystery Plays/Miracle Plays:
Bible stories
Morality Plays: Taught morals
THEATRICAL ADVANCEMENTS
Stage (as discussed before)
Stock characters that were contemporary
(Everyman)
When the protestant reformation took hold and
stable government came into Europe, theatre became
more secular (next time period)
MORALITY PLAYS: TEACH A
MORAL, DUH
Morality plays held several elements in common:
 The hero represents Mankind or Everyman.
 Among the other characters are personifications of virtues, vices
and Death, as well as angels and demons who battle for the possession
of the soul of man.
 The psychomachia, the battle for the soul
 A character known as the Vice often played the role of the tempter in
a fashion both sinister and comic.
MORALITY PLAYS
 Dramatized allegories of the life of man, his temptation and
sinning, his quest for salvation, and his confrontation by death
 Developed most fully in the 15th century, handled the subjects that
were most popular among medieval preachers and was inspired by
preaching technique
 An allegory about life and death
EVERYMAN
• There’s this guy named “Everyman” because he represents, well,
EVERY MAN (all mankind)
• God sends Death to summon Everyman to die
• Everyman will present himself before God to have his deeds tallied
before him (final judgment)
• He goes around to get “friends” to go with him after death to make
his account to God better
• These characters represent (allegories) various human actions, virtues
and vices (Fellowship, Goods-material, Knowledge, Good Deeds,
Confession, Beauty, Strength, etc.)
• Conflict of good and evil seen in each interaction with a new character
• Only Good Deeds goes with him
MORALITY PLAYS, CONT.
Certain themes found a home in the morality plays:
 The theme of the Seven Deadly Sins (lust, gluttony,
greed, sloth, wrath, envy, pride)
 The theme of Mercy and Peace pleading before God for
man's soul against Truth and Righteousness
 The Dance of Death, which focuses on Death as God's
messenger come to summon all, high and low.
DECLINE IN THEATRE
Although much occurred during
Medieval times with theatre, it’s sole
focus on Christianity ideals limited
it’s growth
 In the first section of our History of Theatre, we looked at the
beginnings of theatre in Greece, its migration to Rome, and its
decline during the Middle Ages. In this section we'll examine the
rebirth of the theatre and its domination by a playwright of genius. It
is during this period that theatre re-emerges from the Church and
becomes secular theatre-- although it remains largely under the
control of the state, be that sovereign King or Republic.
THE INTERLUDE
COMMEDIA D’ELL ARTE
WAS MORE FULLY
DEVELOPED AND
PERFORMED FROM THE
1500S ON
INTERLUDE
 Morality play
 BUT….
 Added: more realistic and comic elements
 Term “interlude” might be from a short play performed between
the courses of a banquet
 End of 15th century (1400s)
INTERLUDE
Transition from MEDIEVAL
RELIGIOUS drama to TUDOR
SECULAR drama
INTERLUDE CONT.
Gives us the beginnings of English
Comedy, the beginning of prose
(everyday speech in a play), and
English Tragedy
TUDOR PLAYWRIGHTS
 Henry Medwall’s Fulgens and Lucres (end of 15th century)
• Earliest secular play in English
Tudor Plays=written as part of the
evening’s entertainment at a nobleman’s
house and their emphasis is more on
amusement than instruction
RENAISSANCE AND
REFORMATION
 15th and 16th Centuries
 Renaissance=“rebirth” or rediscovery of Greek/Roman
 Movement towards Nationalism (Protestant Reformation)
 Secularization of art
 Italy: Roman plays revived and performed, proscenium stages
(“picture frame”) used
R & R CONT.
 “Play-Makers”, stages, included enclosed courtyards open
to air
Apron stage, or open stage=THRUST stage (audience on
3 sides)
Groundspace for standing (groundlings)
Elevated Stage
R & R CONT.
Emphasis on dialogue, not blocking and action
Plays still had a moralistic tone
“Play-maker”=emphasis on performer
Troupes created with owner-actors, journeymen
and hirelings
REFORMATION
Protestant Reformation and the establishment of the Church
of England (break from Catholic Church)
Intellectuals based plays on Greek (Protestant) and
Roman (Church in Rome)
Caused them to be called “Heretic”=life or death
Thus they avoided revivals of classics and wrote original,
secular works of a general, non-political and non-religious nature
THEATERS
THE BANNING OF TROUPES
Traveling troupes were feared to carry the plague
Possible civil unrest (riots, etc.) by people who drank and
went to the performances
Possible idleness and taking people away from work
Theatres were associated with women of ill-repute
Civil authorities banned performances of traveling troupes
THEATERS CONT.
Previous things led to
• Established theatre companies
• Permanent theater spaces
• Licensing of official companies by the
throne
• Domination of theatre by the state
THE UNIVERSITY WITS
Secular Professional playwrights
Graduated from Oxford or Cambridge
Elizabethan drama became literary and more dramatic
Influenced private and public theaters
Paved the way for Shakespeare and later Elizabethan and
Jacobean dramas
THE UNIVERSITY WITS
John Lyly: court comedies, private theatres, mythological
and pastoral plays
George Peele: courtly mythological pastoral plays
Robert Greene: founded romantic comedy. Combined
realistic native backgrounds with an atmosphere of
romance and comedies.
THE UNIVERSITY WITS
Thomas Lodge: Prose romances. His play Rosalynde
inspired Shakespeare’s As You Like It…)
Thomas Kyd: founded romantic tragedy. Mingled love,
conspiracy, murder and revenge. Violence and grossness
comes to the stage (tongue)
R & R AND WITS
ACTING STYLE
Declamatory
Demagoguing: arousing emotion,
passions and prejudice of the people
ELIZABETHAN THEATRE
AND SHAKESPEARE
Elizabethan and Jacobean playwrights: Christopher
Marlowe and Ben Jonson
Shakespeare was a share-holder in companies and so
made money as a maker of plays, an actor and an investor
• Born in Stratford-upon-Avon
• Plays are timeless for their understanding of human
nature and character
SHAKESPEARE CONT.
 Member of Lord Chamberlain’s and King James I’s own company, part
owner of the Globe and Blackfriars playhouses
 Open-air theaters
 Acting style is more “natural”. Encouraged a more natural style
of speaking
 Men played women (women didn’t perform until 17th century)
SHAKESPEARE TEXT
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to Time thou grow'st.
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
I left no ring with her: what means this lady?
Fortune forbid my outside have not charm'd her!
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord's ring! why, he sent her none.
I am the man: if it be so, as 'tis,
Poor lady, she were better love a dream.
BENEDICK: O, she misused me past the
endurance of a block! An oak but with one
green leaf on it would have answered her; my
very visor began to assume life and scold with
her. She told me, not thinking I had been
myself, that I was the Prince's jester, that I was
duller than a great thaw; huddling jest upon jest
with such impossible conveyance upon me that
I stood like a man at a mark, with a whole army
shooting at me. She speaks poniards, and every
word stabs.
Nay, I'll show you the manner of it. This shoe is my father: no, this left
shoe is my father: no, no, this left shoe is my mother: nay, that
cannot be so neither: yes, it is so, it is so, it hath the worser sole. This
shoe, with the hole in it, is my mother, and this my father; a vengeance
on't! there 'tis: now, sit, this staff is my sister, for, look you, she is as white
as a lily and as small as a wand: this hat is Nan, our maid: I am the dog:
no, the dog is himself, and I am the dog--Oh! the dog is me, and I am
myself; ay, so, so. Now come I to my father; Father, your blessing: now
should not the shoe speak a word for weeping: now should I kiss my
father; well, he weeps on. Now come I to my mother: O, that she could
speak now like a wood woman! Well, I kiss her; why, there 'tis; here's my
mother's breath up and down.
Cordelia. Unhappy that I am, I cannot heave
My heart into my mouth. I love your Majesty
According to my bond; no more nor less.
Lear. How, how, Cordelia? Mend your speech a little,
Lest it may mar your fortunes.
Cordelia. Good my lord,
You have begot me, bred me, lov'd me; I
Return those duties back as are right fit,
Obey you, love you, and most honour you.
Why have my sisters husbands, if they say
They love you all? Haply, when I shall wed,
That lord whose hand must take my plight shall carry
Half my love with him, half my care and duty.
Sure I shall never marry like my sisters,
To love my father all.
But, soft! what light through yonder window
breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
THE REPUBLIC AND
THE RESTORATION
1642-Civil War in England. Parliament closed theaters
in England (Republic)
Restoration (Charles II to throne in 1660) started again
Between 1642 and 1660 little theatre done in England
Italy and France
FRANCE AND ITALY
 Italian: architecture
 France: mechanics of scenery and spectacle ( costume, dance,
clever scenery and scene changes were emphasized not acting and
plot
 Louis XIV (“Sun King”) danced himself Ballet Nuit
Proscenium: forestage (apron) used for action, behind
proscenium displayed scenery (panels on tracks)
THEATRE SPECIFICALLY FOR ROYALTY
the
FRENCH PLAYWRIGHTS
Jean Racine: tragedy
• Bajazet, Mithridate, Iphigenie, Phedre
Moliere: author of some of the best comedies in
European history
•
•
•
•
Tartuffe (script)
La Misanthrope
Le Femmes Savantes
Le Malade Imaginarie
RESTORATION OF CROWN
ENGLAND
Women first began to appear on stage
(already happened in France)
Theaters licensed and controlled by state
But…18th century brings theatre back to
everyone
18 TH , 19 TH AND 20 TH CENTURIES
Increased commercialization of art
Technological innovations
Critics
Discuss with a neighbor…
IN YOUR OPINION, ARE
CRITICS (THEATRE/FILM)
IMPORTANT? WHY OR
WHY NOT?
18 TH CENTURY
ACTOR: David Garrick
• Manager and playwright
• Natural form of acting (realism and
naturalism)
• Used sets (tables, chairs, etc.)
Theatre began to appear in North America, mostly English Plays
19 TH CENTURY
INDUSTRIAL REVOLUTION
Theatre changes
•
•
•
•
Gas lighting (1817)
Arc-lighting followed
Electrical lighting following that
Lighting controls
Poor quality of lighting probably contributed to the development
of the melodrama
19 TH CENTURY ACTING
Exaggerated, spectacle, heightened drama, physical comedy
The mid-19th century, a more naturalistic (more real
and like people are in real life)
Subject matter: contemporary social life, such as marriage
and domestic issues and issues of social class and social
problems.
MELODRAMA
(THINK SOAP OPERAS)
What type of acting do you think they did in
melodrama?
Are there other styles or performances that are like
this today?
I’ve come for the rent! (ONE PERSON
MELODRAMA)
MELODRAMA HAD…
Stock Characters
Damsel in distress
Hero
Villain
What else have we learned about in
theatre wonderment of the past that
used stock characters?
Roman theatre
Commedia d’ell arte
Passion Plays
Miracle/Mystery plays
VOLUNTEERS
12
http://www.youtube.com/watch
?v=Gw-W48n06Lw
REALISM: PLAYWRIGHTS
George Bernard Shaw (Pygmalion…My Fair Lady)
Henry Ibsen
Anton Chekov
More serious (dramatic) plays
KONSTANTIN
STANISLAVSKY 1880 -1930
Actor/director
Created realistic acting as we know it
Wrote books
Influenced American theatre
AMERICAN THEATRE
Mostly east coast, later toured the country
(first permanent building in Utah was a
theater)
Entertainment
Became a business
THEATER (SPACES)
Gas lighting replaced by limelight
Limelight consisted of a block of lime (rock) heated to
incandescence by means of an oxyhydrogen flame torch.
The light could then be focused with mirrors and produced
a quite powerful light.
THEATER SPACE CONT.
Theater spaces became like they are
today
Theatre etiquette was developed
20 TH CENTURY
EARLY 1900S
Vaudville: the SNL of it’s time
• Magicians
• Musical numbers
• Melodramas continued
Beginning film
• Silent Film acting
• Charlie Chaplin, Buster Keaton
EXAMPLES
 Vaudeville
 http://www.youtube.com/watch?v=vZo4imTt4Og&noredirect=1
 http://www.youtube.com/watch?v=PsVQ9e8nWx0
 Charlie Chaplin
 http://www.youtube.com/watch?v=79i84xYelZI
EARLY FILM
 http://www.youtube.com/watch?v=bkyvstNrkHo
3 Stooges
Musicals
Plays made into movies
MOVEMENTS
Political movements
• "proletariat" were manifested in theatre by
such movements as
• realism, naturalism,
• symbolism,
• impressionism
• highly stylized anti-realism
MOVEMENTS AND
MEDIUMS
 Dada
• World War I
• Nonsense, reject reason and logic,
irrational
• Da da means yes, yes in Romanian
 Broadway
 Film
 Musicals
 High School/Educational Theatre
 Staged Chaos
 Invisible theatre
 Improv Everywhere
 Hip Hop Theatre
BROADWAY
BROADWAY
Established 1850s, though theatre started in the 1750s
First “modern” musical 1866, The Black Crook
1910s started Broadway as we know it today
40 professional theatres, 500 or more seating
$1.081 Billion in 2012
BROADWAY SHOWS
 Popular
 Show off
http://www.youtube.com/watch?v=Cs
http://www.youtube.com/watch?v=JLDq
KH2tqoFJ8
 Gravity
http://www.youtube.com/watch?v=3g
-2e2JC0
 War Horse 1
http://www.ted.com/talks/handpring_pu
ppet_co_the_genius_puppetry_behind_w
4ekwTd6Ig
ar_horse.html
 Hamelt
 War Horse
http://www.youtube.com/watch?v=K
http://www.youtube.com/watch?v=q-
E3OB1rpbVc
bni4QqSv4
OTHER PERFORMANCES
 Hip Hop Theatre
http://www.youtube.com/watch?v=K
Zb4hh_FLaE
 Will Power
 RSC Comedy of Errors
http://www.youtube.com/watch
?v=-hie-ks6gD8
http://www.youtube.com/watch?v=m
 Subway http://
1B_HLJsVQM
improveverywhere.com/2010/0
 Thriller
http://www.youtube.com/watch?v=Kv
0uAur3N1Y
7/14/star-wars-subway-car /
OTHER PERFORMANCES
CONT.
 Dance
 Poetry
http://www.youtube.com/watch
http://www.youtube.com/watch
?v=SQeqpcg_WHs&feature=yo
?v=mdJ6aUB2K4g
utu.be
 Roof Top
 Visual
http://www.youtube.com/watch
http://www.youtube.com/watch
?v=mdJ6aUB2K4g
?v=7vldw0qs3A8