We all mature at a different
pace. For me, it was quite a while before I could watch a scary
movie and realize it was just make believe, therefore not actually
something to be afraid of. So its tricky when producing
Halloween plays for kids. Just how scary should it be?
Legend of Sleepy Hollow takes its cue from Washington
Irvings original work. Give that story a close reading
and you will see that Irving meant the whole thing to be hilarious,
not terrifying. The comedy comes from Ichabods fear of
ghosts and never tries to frighten the reader. In
ArtReachs The Legend of Sleepy Hollow your young audience will
scream at the first sight of the Headless Horseman and then laugh
their heads off at Ichabods reaction.
We offer the life of Edgar
Allan Poe in the play Poe!
Poe! Poe! Since it is offered as readers theatre,
this play emphasizes the literature and life of this great American
writer. Though stories such as the Masque of the Red
Death are dark, quite dark, the audience is left with an appreciation
of the writing, not the scariness of the story.
our newest Halloween play, Kid
Frankenstein, Frankie and Irving are science nerds who have an
unusual idea for the upcoming Science Fair. When Doctor
Frankenstein's ancient secret book arrives from Transylvania, the
friends are whisked into a sci-fi fantasy of time-warped, weirdly
scary and lively adventure.
However the kids feel about
scary movies these days, ArtReachs Halloween plays are perfect
choices for young audiences.
to Dress Your Dragon
on how to make a fun
There are many dragons in our
culture. You can find them in hundreds of medieval paintings
that depict the age-old myth of St. George and the
Dragon. You can find them in old and new childrens
books. You can even find them on the Disney Channel and in the movies!
Here are some excitingly
clever costumes that recently graced the stages of The Rose
Childrens Theatre in Eugene, OR, and Bremerton Community
Theatre Jr. in Washington State!
your dragon in three easy steps!
Elaborate Dragon Costumes
Its a great idea to
leave the actors face open to the audience. Seeing both
faces, the audience will quickly meld the two giving you the best of
both worlds: A dragon face and the human expressions of your young
performer. Also, dont forget your poor sweating performer
make the costume as comfortable as possible.
Dont let dressing your
dragon scare you away from presenting this lovable beast on your
stage! You will be surprised how effective a simple headpiece
and tail can be. Here are some examples of simple costumes that
will serve beautifully for comic and informal performances:
A little work can go a long
way for clever performers!
Never forget to talk to your
actor when making costume decisions. Youll be surprised
how many ideas they already have in their eager, creative heads!
They may actually know of something at home that they can fashion
into a costume. That makes it clever, easy and wonderful fun
for your young cast!
to Create Amazing Costumes Kids Love to Wear
all-kids cast do the creative work for you
We love all the great costume
ideas weve seen lately, especially for our new Christmas
Musical, THE VELVETEEN RABBIT.
Check out Robbie Robot on below on the right.
You can make your directing
job a lot easier by asking kids to participate in the creativon of
their own costumes! Tell your young thespians to think about
how their character acts, talks and walks. Then have them go
home and look around for household objects that might be used in
bringing their character to life! Youd be surprised how their
imaginations are always turned on a great resource for you to tap!
Get inspired by robot costumes
by Élena Nazzaro of French Toast Girl!
of Theatre Terms
The branch of philosophy that deals with theories of art and beauty.
in which the audience sits on all four sides (theatre in the round).
One or more persons who observe actors in a scene or play in a
classroom or a theatre. In theatre education, audience is sometimes
loosely used to mean the reflective performer as well as classmates,
other students, faulty, or the public.
Adaptable playing space.
Stage movement including sitting, standing, entering, exiting, and crossing.
A person, animal, or entity in a story, scene, or play with specific
distinguishing physical, mental, and attitudinal attributes.
The exploration of internal and external traits, including character
histories, based upon given imaginary circumstances.
The process of exploring the physical, social, and psychological
aspects of a role in order to create a believable character.
movement/dance in a play or musical.
opposition of persons or forces that gives rise to the dramatic action.
actor's stage clothing.
Fancy or plain,
it's your choice!
Costume Plot: The
organizational layout of costumes required for a play.
An actor's movement from one part of the stage to another.
A signal from the stage manager to actor, stage crew, props manager,
or lighting technician that some predetermined action, such as an
entrance, sound effects, scenery change, or lighting change, is
required. Also used by actors to mean the line immediately before
Curtain Call: An
opportunity for the actors to acknowledge the audience.
Opening announcements that inform the audience of pertinent
information such as safety protocol and audience etiquette.
spoken by the characters in a play to communicate their thoughts,
feelings, and actions.
process of guidance, both external and internal, incorporating the
development of leadership skills; the unification of a production
from its basic interpretation through all the acting and technical
phases up to the time of performance.
Literature written in dialog form and intended for the theatre.
Although plays can be read for enjoyment and instruction, they come
most alive when acted on stage. The term drama also refers to any
serious, as opposed to humorous, play.
Such activities as pantomime, creative movement, improvisation,
creative drama, storytelling, choral speaking, story dramatization,
theme oriented drama, story theatre, readers' theatre, role playing,
theatre games, and puppetry.
Drama: Six major elements of drama according to
Aristotle: plot, character, theme, dialogue, music, and spectacle.
Recall (Memory): Emotional perceptions elicited
from past experiences which can be used in understanding, portraying,
and reflecting on the human condition and human behavior.
The dynamic interaction and harmonious blending of the efforts of the
many artists involved in a dramatic activity or theatrical production.
Everyone works together!
Any space in which a play can be performed other than a theatre (i.e.
gymnasium, cafetorium, outdoors).
The concept of guiding the attention of the players and audience to a
particular place or person at a given moment.
A spontaneous scene or episode created by an actor or actors without
The illumination of the stage by means of artificial light.
A diagram of the location of lighting instruments and their areas of focus.
used to change the appearance of the face and other exposed surfaces
on the body in order to emphasize characteristics appropriate to a role.
A speech within a play delivered by a single actor alone on stage.
The actor's justification for doing or saying something; answers the
Communicating without words using facial expression, gestures, and
A character's goal; answers the question, "What does a character want?"
a story through body movement, gesture, and facial expression;
action without words.
A play from an earlier time played in the style, costumes, and sets
representing the period it depicts.
The act of creating the plot, theme, characters, dialogue, spectacle,
and structure of a play and organizing it into a script form.
The structure of the action of the play; it is the arrangement of
incidents that take place on the stage as revealed through the action
and dialogue of the characters. Plot structure usually includes a
beginning, a middle, and an ending with a problem, complications, and
of loudness so that even those in the last row can hear and
understand every word in the play.
Speak up so everybody can hear!
The stage manager's copy of the script in which the blocking and
technical cues are noted.
Properties; objects used by actors on stage (e.g., fan, wallet) or
objects necessary to complete the set (e.g., furniture, plants, books).
stage in which the audience sits in front as if looking in a picture frame.
animation of objects, ranging from hand puppets to marionettes,
creating characters in dramatic situations.
Response to stimulus presented by character, event, or environment.
A performance in which a play is read aloud with expression rather
than memorized off book.
session in which the director and actors prepare a play for performance.
A part in a play; the character played by an actor in a play.
The division of an act or of the play itself; the division may be
dictated by a change of time or place in the play.
written dialogue, description, and directions provided by the playwright.
the scenery, backdrops, set pieces, and props used to create a stage
environment for a dramatic performance; the performing area created
by those elements.
Paint something wonderful
or just go with a black drop!
time and place in which the dramatic action occurs.
Movements made to strengthen the personality of a character the
actor is portraying including props and/or costumes.
The unspoken meaning or intention behind the actions and dialogue of
a text or performance, which is implied largely by nonverbal behavior
and subtleties in vocal qualities.
A branch of theatre that includes scenery, costumes, special effects,
sound, lighting, and props.
Group acting exercises frequently used for warm-up, motivation, and
exploration of character and subtext.
The administrative aspects of theatre (e.g., stage management,
budgeting, public relations, box office, house management).
central thought or idea of a play.
A stage surrounded on three sides by an audience.
An activity in which the student focuses attention on limbering up
the body, voice, imagination, or intellect.
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