Resources for Practitioner (REALISM and IBSEN)

http://www.biography.com/people/henrik-ibsen-37014

http://ibsen.nb.no/id/108034.0

Mrs. Moon's library

http://www.famousauthors.org/henrik-ibsen

http://novaonline.nvcc.edu/eli/spd130et/realism.htm

Justin's Theatre Links

Highschool Library

The Pillars of Society by Henrik Ibsen

A. The Pillars of Society is relevant to nearly every culture and time period because it discusses the issues that arise from social and political pressures. At a deeper level, The Pillars of Society commemorates the spirit of truth and freedom through a plot centered on social relationships. Further, this play includes feminist values by having a significant female character who portrays strength and importance. Ibsen's advocacy of feminist values is interesting considering the time period in which he lived. I connected with the fact that there are so many restrictions in my life and in society today that are related to social expectations. As a result, I felt liberated after watching how The Pillars of Society emphasized that by setting one's own standards of truth, one is free of limits that might not have even existed.

B. This play was translated, directed, and produced by a Korean theatre company in partnership with a Korean Henrik Ibsen specialist.

C. This particular rendition of The Pillars of Society was conducted on a proscenium stage. What I found interesting about the set design was the illusion of a stage within a stage. The setting, props, and actors were all inside a white rectangular box which tilted vertically as the story progressed. The lighting, props, and setting were consistent throughout the performance because the basic setting never drastically changed. However, details like the man made "weather" outside the window, posters, and lighting used to provide notion of passing time, were constantly transitioning. The actors performed in a traditional method acting style which I personally found appropriate for The Pillars of Society. 

What influences and Inspirations might you use in your work as?
a. performer: I see method acting as a basic standard worth striving for. This is because I think it is extremely admirable how some actors are able to completely immerse themselves into a character. Such dedication, talent, and technical skills required to perform in this fashion are goals I would like to pursue as a performer.
b. creator and designer: The ability to deliver a metaphor through the use of the white rectangular frame is something I would like to achieve.
c. As a director I would focus on bringing life to all characters but also focusing on my main character through the development and dialogues with supporting roles.

a. What did I learn as an artist from this play? I learned that it was possible to conduct an entire play in one setting with minimal changes. Even though the whole play took place inside the common room of a noble house the director was able to include external happenings. For example, when the characters on stage were looking at a boat in the distance the actors looked, pointed, and gaped at the direction in which the audience was sitting. The director was able to show this scene without having to changing the entire background.
b. What do I learn about gesture/movement/face/body and voice? I learned that every movement and gesture of the face and body contribute to the over all deliverance of a character on stage. This is why I believe that complete immersion into character and focus is crucial. The actor has to believe it in order for the audience to believe it. So I learned that when performing on stage it is important to put meaning into every gesture and movement of body and face.
c. What did the director do to have an impact and intention? The director emphasized dialogue and thus showed multiple conversations in order to explain the complex situation of Bernick's family. The director also used the set design of the white rectangular box as a metaphor which can be interpreted as a visualization of how chaos was escalating with the progression of every scene.

mood board notes

the idea of what is the reality of justice in this case? who is right?

Can't tell who is the hero and who is the villain

 is authority (ariel and tupolski) right to make these unfair decisions based off of their own abuse? 

its like a circle and entanglement of yarn representing the on going abuse

very post modernist because it shows that

- authority is incorrect

- there is no absolute truth in this story 

Notes on presentations

Blue/Orange- Joe Pen Hall

2001
-who really is insane and crazy?
- Racial issues
- Social darwinism
- author was very comfortable in writing
- a single orange
- orange = "sanity"
- inside of the orange is blue


Spring Awakening

1906
- talks about "growing up"
- sex
- not normal
- what is normal?
- morality
- generation gap
- deals with social issues no one wants to talk about it
- whole black box is the set
- two kinds of lighting

Tribes
- deaf boy
- blue and green
- kitchen scene
- super normal lighting

jesus hopped the a train
- a man is imprisoned for shooting a cult leader
- takes place in prison
- four characters
- deep and controversial issues about faith, morals, and ethics.
- when youre in prison youre not living your life is paused so time to reflect

solo theatre piece notes

Robert Lapage (technology) You could do a solo theatre piece of a monologue about the tsunami
Stanislavski (life experience) Realist (method acting)
Bertolt Brecht
Anne Bogart
Tadashi Suzuki
Artaud
Peter Brook
Julie Taymor (puppets)

Notes on Isms

Romanticism: Feeling > Thought, the search for a greater truth. Flamboyant and extraordinary sights. Sounds are melodramatic. Works like Frankenstein

Realism: Something Audience can connect to. Linked to naturalism. Started in Russia. Realistic images and method acting is prevalent. Famous works include those of Tolstoy.

Naturalism: Everything arise from the natural. You don't leave out the ugly. Detailed images, prostitution, poverty, etc. You hear uncensored things. Examples include Miss Julie and those of August Strindberg.

Expressionism: The use of Illusions, distortions, and a philosophical belief that dramatizes emotions more than the external world. You would hear trippy sounds and see illusions. The most important thing is the authors message. Famous works include those of Edward Munch.

Impressionism: Not Realistic but depicts scenes as a dance of light. Mood is crucial. Nature would be seen. Examples would include Monet, Ubu Roi, and August Strindberg.

Feminism: More of a political movement than a kind of theatre. The concept that Women are equal to Men. Not better but simply equal. Examples would include The Dolls house By Ibsen, and works by Laura wade.

Surrealism: Releasing the creative potential and bring out dreams, juxtapositions. Sounds would include vocal, daily life sounds, nonorthodox musical compositions. Lots of Freud's psychological theories. Famous playwrights include Artaud. Famous plays include "A Play Without a Title"

Absurdism: Belief that human beings exist on a purposeless and chaotic universe. Example's include the works of Samuel Beckett and waiting for Godot

Class Presentation on Post- Modernist play

The Pillowman by Martin Mcdonagh

Basic summary: A writer and a writer’s brother are arrested under the police force of a totalitarian government. The location is not specified. We just know that it runs as a totalitarian government, which already provides insight in to the concept that state has complete power over society. The writer is accused of murder because there have been murder cases resembling his violent stories.

Post modernist techniques: Post modernism is raw. The Pillow man is raw. The play focuses on very real life issues such as abuse, state inflicted oppression, and murder. The play also focuses on very real life feelings such as cynicism and struggles between the reality of truth and justice.

What I would do as a director: Whilse reading the play I imagined the play set in three different settings but all on the same stage. The lighting would be dim throughout most of the play and I imagined frequent use with shadows of Tupolski, Katurian, and Ariel during the interrogation. I also imagined the scene with Katurian and his brother Michal with more lighting so the expressions could be seen on their faces to highlight their tragic brother love. However, the most significant part of this play is the stories within the play. I imagine the flash back of the stories to take place on the stage right next to the reality of the police office in order to juxtapose “reality” and fiction. I imagine each transition to take place in the form of a spotlight landing on the scene/setting taking place.  

The Pillowman by Martin McDonagh

Gut Reaction

- Actually very realistic

- Raw

- Dark

- Connected. It shows the dangers of a cycle

- Actually entertaining in the sense that it was interesting to read not that the topics covered were in any way light hearted

1. The Pillowman is the story of a writer and a writers brother who are arrested under the charge of murder and eventually die.

2. The Pillowman is an allegory (?) about the extremely continuous and dangerous affects of abuse.

3. The characters: Katurian, Michal, Tupolski, and Ariel

The location: An interrogation room in an unnamed totalitarian state, a home, bedroom. All in an unnamed totalitarian state

The transitions: The Pillowman takes place in a totalitarian government. The police can act without moral justice and ignore proper court procedures.

Central ideas: The idea of allegory, society, life, what defines art, fact, illusion, truth

Genre/style: Mystery, Dark comedy

For me, Pillowman is about truth and justice and how distorted both of them can be. I think it was written in order to get the audience to reflect on their own perspectives regarding "what is right? and is perception reality?"

Martin McDonagh
- Irish playwright

The pillowman was written in 2003
Main inspiration was from McDonagh's collection of short stories and Grimm brother's stylistic elements

The play won several awards including the Laurence Olivier award for best play and critical acclaim.

PLAY REACTION QUESTIONS BEGIN HERE

1. This play is a reflection of contemporary theatrical styles in that it is incredibly bold. The Pillowman adresses a very real problem that has been dealt through the history of human kind but can be seen as especially prevalent in modern society: the illusion of truth. The Pillowman shows how simply the concept of "truth" can be distorted.

2. The Pillowman had a bit of everything. However it was mostly realism and dark symbolism.

3. Yes I believe that McDonagh is alive because he is willing to take a risk by delivering his message in an unconventional way.

4. Definitely. I think that Pillowman can relate to any period of time but especially now because I feel that modern society has a number of restrictions on a number of different aspects in life and to define the clear difference between reality, illusion, and justice in such confinement is hard.

5. I think that mixing styles would be appropriate for producing The Pillowman because of the variety of ways in which this play could be approached. I think a realistic style would be most fitting considering the raw content the play deals with.

Symbolism

Symbolism
- late 19th century movement
- emphasis on internal life and dreams
- aim is to make audience interpret imagery and ideas to internal truth
- the emphasis on imagination and spirituality
- Mainly an opposition to realism and naturalism.
- Rejected the concept of displaying raw harsh reality


Manifesto: An emphasis on internal life and dreams and aims to make audience interpret imagery and ideas to internal truth. The belief that absolute truth could only be described indirectly through metaphors and imagery pertaining to internal truth.

Background: late 19th century movement of french and belgian origin

Images: Symbolic figures on set. Either the actors, signs, colors. Could essentially be anything that conveys meaning.

Sight: metaphorical figures. Symbolism could be delivered through color, characters, and etc.

Sound: Sound that pertains to the central meaning of the play

Skills: ability to portray accurate metaphors either in physical forms or through script and feeling within in the play

Works: Henrik Ibsen, Aton Chekov (symbolic pessimism)

Representative Art:

Representative Music: Claude Debussy-Clair De Lune

Representative Play: The Cherry Orchard by Anton Chekov

One word play

anxious

confused

ignore

procrastinate

recluse

moody

desperate

cold

soft

alone

sleep

never

escape

dangerous

restraint

inside

crazy

spin

war

mind

outside

nothing

anxious

Space Study: Intention and Impact

Intention
For my space study assignment, I've decided to represent internal conflict through elements of physical theatre and metaphors. My inspiration began with an art piece centered on a triangle. When I view a triangle, I imagine the apex to be a representation of success and the base of the triangle as the foundation, or the beginning of a journey. That being said, I intend to take my audience through a journey of a kind of self actualization, or an ascension in to being complete with oneself. I intend to display this visually by utilizing my space. The space I have selected is a small but relatively steep hill which will allow me to literally "ascend" with every scene that is drawing closer to the apex.

Impact
The impact I hope to have on my audience is both subjective and objective. It is objective in the sense that I want my audience to understand the basic idea of my space study assignment, but also subjective, because I want my audience to relate to the performance in a personally meaningful way. The spectacles through which my audience will view my space study are many, but regardless of whatever approach is taken, I hope to deliver the universal message that to be true and complete with oneself is the greatest kind of success.

Important class notes from notebook

Theatre does not exist in a vacuum

IMITATION INFLUENCE AND INSPIRATION

Words to remember
Misen Scene-all the elements of the play that come together

Notes on Design with Mr. Black

STEP 1 in the design process Be fully committed to your script

STEP 2 : Analysis: Analyze the script

STEP 3: Research

context of play,

context of when it was written how a set from this context would look etc,
phase

STEP 4 - Incubation phase Don’t do any more research, just let your mind process everything and allow it to work. Step away give yourself some time

Step 5 : selection phase Lay all the research out and decide how you initially want it and make changes as suit

Step 6: Implementation

STEP 7: Evaluation phase: Did we meet the goals of all the production process: production concept, script

The Style points

lines

color

proportion

texture

balance

emphasis

The Holy Theatre questions 9-12

9. I regret to admit that I forgot what exactly Mark Hill said in his description of Artaud. However, I believe that to describe theatre as a plague, infection, and magic in the place of text is to emphasize the unspoken power of theatre. Plagues and infections are silent killers that spread almost immediately and take ultimate control of the body. Theatre is thus seen as a kind of power that absorbs the entire soul and body.
10. I believe that good theatre will definitely include languages other than just a spoken language. Most plays or musicals I've seen have incorporated these different modes of languages. The most recent play I've seen was Agamemnon, and it certainly delivered its message through a language other than just spoken words. The expressions, group awareness, and atmosphere due to the set and lighting, were all unspoken languages.
11. Theatre, like many forms of art, is a paradigm of paradoxes. That being said, Theatre is always for the audience but never for the audience. Theatre is always for the audience in the sense that one of its prime goals is to deliver the rawest human emotions and feelings that the audience can relate to. However, theatre fails if its focus shifts completely, and simply tries to please the audience. I believe that balance is key in theatre. For the perfect balance to be achieved, the audience must help the actors, and create a kind of unspoken harmony. Theatre should not only give, but should also receive, and so must the audience.
12. Wordless languages are spoken everyday, and certainly not only in theatre. However, silent languages reflect an essential part of human nature, and thus will definitely appear in the most human kind of art: theatre. Wordless languages can range from body language to even complete silence. Peter Brook's once said, "...showed them how many layers silence contains."

Agamemnon: The bunker trilogy

What made the bunker trilogy's adaptation of Agamemnon so incredible wasn't simply the intimate set but the preservation of the essential plot in a world war 1interpretation. 

The bunker trilogy was able to bring together a lot by merging the emotional struggles of world war 1 with that of the greek tragedy Agamemnon. While watching, I realized that the feelings of betrayal, distress, mistrust, and eventually vengeance, were universal. That being said,  I didn't specify this play with one culture but instead with any kind of humanity faced with atrocities similar to those experienced during war. 

I am not knowledgable enough to state exactly how the translation of the original story to the adapted screenplay happened. However, I was able to deduce the likelihood that the director probably found the feelings associated with world war 1 similar to those in the original Greek tragedy,Agamemnon, thus created a unique fusion.

The moment I walked in to the stage I felt as if I had walked in to an actual bunker. The realistic addition of true dirt and smoke further enhanced the experience. The best part had to be the fact that the audience was so close to the actors which certainly projected the emotions of the actors and thus created a feeling of intimacy. The circular position of the benches provided an almost traditional feeling as if one really were watching Agamemnon in ancient Greek. Another crucial factor was the dim lighting which allowed for a mellow and sullen audience reaction.

The bunker trilogy's Agamemnon provided insight in to a variety of areas. Something that caught my attention since the moment I entered the theatre was the incredible focus the actors maintained. Through Mark Hill's workshop I also learned the significance of focus in any actor. The night I watched Agamemnon, my belief that focus is key was further supported. There was also a great amount of chemistry and teamwork reflected in the performance. The basic flow between scenes was natural and could only have been so smooth if the group awareness was precise.

I thought that a crucial factor to the success of the bunker trilogy was the audience-friendly design. The circular formation of wooden benches and dusky atmosphere isolated time within and without the doors of the bunker like no other. I believe that as a designer I could perhaps remember such techniques on how to control the audiences emotions through design.

Mark Hill's workshop and how it impacted me as a person and an artist

Mark Hill's visit was a blessing in the sense that it helped me mature as an artist, and provided me with tranquility in the most unlikely and subtly beautiful ways. Firstly, I would like to note that I had never considered theatre to be so physically draining until last week. The mental and physical requirements "Physical Theatre" demanded was that of a generous amount.

There was also a wonderful irony to this entire week. I felt that this workshop allowed me to realize how something can be at once so objective but so subjective, so "ensemble," but so personal. 

I do not believe that I can justify the quality of my experience this past week by just listing everything I learned. However, I do have an idea of how this workshop has further enabled me as a possible actor.

The first two days I remember learning about physical awareness, spatial awareness, and group awareness. Without a doubt, all three categories play an essential role in the whole actor, but I would like to focus on spatial awareness. My new knowledge on spatial awareness allows me to consider the silent messages I can deliver to the audience simply in regards to my use of the given space. For example, I could use extreme proximity to immediately represent a direct intimacy on stage without uttering a word. That being said, any of the spatial relations like extreme distance, downstage center, asymmetry, symmetry, line, geometric shape, group, and counterpoint, are similar vessels of silent and physical expression. 

Referring to my previous statement, I believe that the past week allowed me to experience a unique and strong connection with my peers, but also allowed me to explore myself. Towards the beginning of our workshop I remember experiencing Anne Bogart's "Up and Down" activity. By having students trust their ensemble to move in sync, the activity strongly reinforced "group awareness." I remember having to listen carefully to not only what could be audible, but to also "listen" to movements, and perhaps even impending thoughts. Group awareness provided me with the importance of respect and harmony within an ensemble.

I believe that an ideal director is one who can utilize all three to its greatest potential. That being said, I think that through the mastery of all three awareness will come a great project.

As a designer I can now study the given space with the utmost precision. That is because the more I know and see about my space the more I can enhance it with the right colors, texture, and style. My job would be to accomodate the actors and directors spatial awareness with more visual factors.

Thanks to this workshop I know that I will see future plays with an opened eye. I am truly excited to see what I will see in Agamemnon this wednesday. There is no guarantee I will realize all of what will be mentioned but I hope to identify the various spatial relationships and how they convey meaning, the way the actors plant their feet, where the performers hold their center of strength, and how the whole group moves and breathes as an ensemble to create their art.

I know that I don't stand alone when I say that more than just technical knowledge was gained through Mark Hill's visit. Truthfully, the black box sessions provided me with a unique solace at the end of a stressful day. I am constantly anxious, and by constantly I mean incessantly, eternally, perpetually, and infinitely. That being said, the workshops helped me because I was able to focus on something greater than my daily petty worries, and it was like disappearing from the world for just a bit. Like you said, Mrs.Moon, Mark Hill's visit provided a beginning for all of us, and I couldn't personally agree more. This short week gifted me with a sense of hope, a kind of confidence, and further respect for theatre as a unique form of art.

Reference List

Practitioners and Dramatists
Peter Brook
Anne Bogart
Jacques Lecoq
Artaud
Akiro Kurosawa


Books and References
"The Empty Space" by Peter Brook


Theatre Practices
Physical Theatre
- Bhutto

Theatre philosophies and -isms
Realism
Naturalism
Post Modernism
Dadaism

Plays seen
Agamemnon: The Bunker Trilogy

Plays read
Big Love by Charles Mee

Workshops done
Mark Hill's "Physical Theatre"

Quotes
"How many layers silence has.." Peter Brook
"To be an artist means never to avert ones eyes" Akiro Kurosawa
"What it means to be human" Charles Mee

The Deadly Theatre questions

Is Theatre nothing more than entertainment?
Theatre certainly renders casual enjoyment. However, to refer to theatre as nothing more than simple entertainment is a drastic understatement. The word "entertainment"connotes feelings of jovial insincerity, and thus contradicts Theatre's very existence.  To undermine the significance of Theatre is to look lightly upon the qualities and morals human existence provides.

How does the D theatre take easily to Shakespearean theatre?
Shakespeare's plays are probably one of the most well known and therefore most frequently reproduced play's of all time. That being said, the more shakespearean theatre's there are the more difficult it is for each rendition to be original. Such lack of creativity and innovation is where deadly theatre begins to take root.

Is boringness a certain guarantee of a worthwhile event?
The degree in which how boring a play must be in order to have the perfect dose on the audience is subtle and difficult to predict accurately. However, a reasonable amount of dullness always succeeds in instilling a sense of reassurance. This is because the audience expects a certain boringness full of historical speeches and formalities because that is what makes a play somewhat professional and correct. That being said, yes, boringness is a certain guarantee of a worthwhile event because even if the play doesn't strike one as amazing it will still have been an "ok" borderline watch.

What role does mediocrity play?
Mediocrity being literally the "middle" has no firm principles and is thus liable prey to deadly theatre. When mediocre authors "happen" to calculate the precise dose of boringness and continue to support conventional dullness, they are giving way to deadly theatre.

What is the difference between passing down meaning and manner?

Meaning is passed down from generation to generation when the newer generation receives this old knowledge and utilizes its fullest potential with regards to his present, whereas the passing of manner is simply an imitation lacking innovation and substance.


is it true that the best dramatists explain the least? Can you think of some examples from plays you have seen or read? 
The best dramatists dont see the need to explicate details and instead leave the pondering to the audience. This allows for the audience to draw their own conclusions and thus creates a more lively theatre. For example, "The Death of a Salesman" by Arthur Miller told a depressing story about the struggles faced by an estranged salesman to cope with his reality. However, the play delivers its message through a parallel structure instead of a straightforward explanation.

How can you go from Deadly Theatre to Living Theatre as an actor?
Instead of mimicking a previous actor one can use such former techniques as a source of inspiration, and thus avoid the Deadly theatre.

How did Peking Opera lose its connectedness to the life of society around it?
" Few of the attitudes and meanings of the traditional Pekin Opera relate to the new structure of thought in which this people now lives." The charm of the Peking Opera used to be its unique preservation of traditional morals and chinese ethics, however the meanings of traditional Pekin Opera lost its relevance as society changed and thus lost its value as a popular theatre.

At the heart of the meaning of Living theatre is always a self destructive art and it is always written on the wind. What is your interpretation of this?
The world, culture, people, and the individual are constantly changing. That being said, the morphing of theatre practices is inevitable since theatre is an artistic reflection of human circumstances. Theatre therefore exists only when the roots of its creation are still relevant, and is destroyed when it is no longer heart-felt.

According to Brooks, what should be influencing theatre at all times?
Brooks believes that theatre should avoid repetition and instead be influenced by simplistic yet meaningful and creative theatre.

Does one know that they're apart of the "Deadly Theatre" or must one be a spectator to realize?

Can the Deadly Theatre somehow be beneficial? Economically? Socially?

Charles Mee notes & Post Modernist Theatre

Charles mee
"I try in my work to get pass the traditional forms of psychological realism.."
- shows the rawness of post modern theatre
- realistic
- not just "well crafted"
- audacious man
- innovative
- wants to tell the world whats real
- "human beings are social creatures"
- products of our history and culture

"Big Love" notes
- derived of ancient greek theatre styles
- unique in the sense that it merged ancient components with modern ones
- interesting to note that this play can remind the audience that injustice regarding forced marriages  remains to this day..(child brides)
- sexism
- traditional marriage
- dark
- desperate
- classical music used for the crazy scenes...(used a lot in films) cwo?leon etc.

Regarding the casting process
- believes that race and disability should never interfere with casting
- blind casting
- the true meaning of the play doesn't have anything to do with what the actor looks like in terms of ethnicity or physical capability

"Me" presentation pictures

Reflection #1 "Theatre should expand the definition of what it means to be human. Actors create journeys for others to receive in the spirt of a gift."

I believe that to be "human" is to possess certain moral qualities regardless of the situation. So basically, everybody ultimately desires the same affection and detests the same rejection. However, what I find to be especially intriguing about both stage and screen actors is the fact that they have the ability to portray the most basic human feelings such as love, anger, hate, jealousy, and lust, in the most diverse and fascinating ways.

Honestly, my knowledge in theatre pretty much adds up to nothing. Such ignorance combined with a naturally cursed lack of confidence is completely detrimental when attending a class dedicated to projection and expression. So the question arises, "Why did you even pick theatre?"

Simply put, It's because I love art.

Ever since I joined the IB, I have constantly encountered questions including, but not limited to, "What is art? What is language? What is culture? What is context?"
I know that such is not the case because the entire world revolves around art, but because the three hl courses I have decided to take share a basic structure.

I am currently enrolled in IBH lang lit, psych, and theatre. After the first week of classes, I couldn't help but notice that I was pondering upon very similar, if not identical questions in each HL class. Despite such relations, it is likely that all three classes will become very distinctive as the year progresses and assessments begin to take place. However, regarding the introductory stages, all three courses seem to revolve around their origin: art.

The term artist is just as difficult to explicate in one definition as the subject itself. Personally, I believe that anyone who endeavors to understand oneself through music, theatre, painting, and countless other means of expression, is considered an "artist." That being said, music has always been a life support for me whether I'm making it or simply enjoying it. I'm terrible at reading sheet music because I was a lazy and stubborn elementary school student who refused to take lessons, but my lack of technical skills doesn't stop me from exploring and appreciating music.

After several years of being a film enthusiast and watching not many, but a fair amount of stage productions, I realized that both films and theatre render the same range of emotions. This is because both means of communication truly do "create journeys for others to receive in the spirit of a gift." Whether I'm watching The Lord of the Rings for the 1000th time or The Phantom of the Opera at Blue Square, both speculations lead to feelings of relief, and bursts of emotions that pertain to the core of what it means to be human. To be able to laugh, cry, and even rage with the actors through the screen or on the stage is truly a gift. One single production is just a few hours in terms of literal time, but it is a spiritual journey that can take place through any memory, year, or time: depending on what the audience brings to the table.

"Theatre should expand the definition of what it means to be human. Actors create journeys for others to receive in the spirt of a gift." I believe that theatre is proof that we're human, so as long as humanity continues to exist, art in any shape or color will never cease to define who we are.