Wednesday, March 10, 2010

Godspell: Audience Response

We arrived at the theatre fairly early, so there was a lot of talking going on amongst the people that would eventually make up the audience. When we got into the theater, the energy of the crowd was pretty high, even for the older people. There was even a girl next to us that was singing random songs. The theatre filled up pretty quickly, and then the show started.

Throughout the show, the audience remained really into it. Even my dad was pretty into, which is a victory for theatre. The audience clapped along when they were prompted to clap, and even sometimes when they weren’t. This type of response didn’t really surprise me that much, as other shows I’ve gone to have had people who clap along and participate when prompted.

What did surprise me, however, was intermission. First, it surprised me because I’d never seen anything like that before. Second, I was surprised by how many people just jumped right on up and went onstage and interacted.



Free juice aside, it was a really cool experience. I mostly played a passive role, choosing to observe rather than participate, but it was still fun to watch. In my opinion, the best part was watching the reactions of the smaller kids as the interacted with the cast. It was cute how they got all excited about getting autographs and giving hugs. I guess it just seemed different to me because I’d never seen anything quite like it before.


After everyone was full of juice and intermission was over, the second half of the play proceeded pretty much the same as the first half did. The audience was still really into the show and they were still clapping along and enjoying themselves.

When the show ended, there wasn’t a butt left in any of the seats, as everyone was giving a standing ovation.

As fast as the theatre filled up, it cleared. I did hear some people talking about trying to see the cast in the lobby afterward, and the overall mood of the crowd was pretty upbeat.

My parents and I discussed the play both while leaving the News Journal Center and at Popeye’s afterward for dinner. My dad liked it a lot¾ again, a victory for theatre¾ and said that it was really funny. My mom also liked it, telling us how she used to have to sing some of the same songs when she was in catholic private school. Personally, I’m not a really super religious person or anything, but I still understood the context of the play and really enjoyed it. Overall, it was a really good experience.

Using what I learned from Chapter 2 in the textbook, I feel that some of the audience traditions and conventions were broken through this production. For example, the audience got to clap and participate a little, instead of having to remain stoic and passive throughout the play. Also, these “rules” were broken when the audience was allowed to come onstage and have juice during intermission, which is something that usually doesn’t happen. But the whole thing worked really well and, I would say, enhanced the whole experience.

Monday, March 8, 2010

Ensemble and Collaborative Creation: Pig Iron Theatre Company

Collaborative or Ensemble Creation (also known as Derived Theatre) is a form of theatre where the productions are created by a group of people (which usually includes the performers) rather than a writer or writers.


Pig Iron Theatre Company


Pig Iron Theatre Company has been creating ensemble productions for fifteen years. Since 1995, they have produced 23 original works.

Pig Iron’s mission statement is to "create original performance works which test and break the boundaries of dance, drama, clown, puppetry, music, and text; to experiment with form while staying accessible; to develop a physical, theatrical performance technique that draws from many performance traditions; to re-imagine "classics" with both irreverence and a desire to make them relevant; and to reach out to new audiences by redefining theatre as an interdisciplinary art form; to form and maintain an international ensemble of theatre artists that are flexible and forward-thinking; and to pose the difficult questions of our difficult times."

I would describe Pig Iron’s body of work as eclectic. Not a lot of plays involve things like interactive sets and shadow puppet dessert-theatre.

I found short descriptions of each of the plays after our presentation. Here’s a brief list of that:

The Tragedy of Joan of Arc (1998) was a recounting of Joan of Arc’s story, billed as “Greek chorus meets red-nosed clown.”

Mission to Mercury (2000) was “a cabaret-ballet inspired by the rock band Queen.”

Come to My Awesome Fiesta, It’s Going to be Awesome, Okay? (2008) was a “skewed coming-of-age party” that pulled inspiration from quinceƱera parties.

Yeah, it’s a really short list…

In addition to the main productions, Pig Iron also does an annual cabaret fundraiser, called “For the Love of Pig Iron.”

Additionally, on their website right now, they’re advertising the Pig Iron Summer Session 2010, a three-week intensive in physical theatre.

Through my research for this project, I think that seeing a Pig Iron production would be pretty cool. Probably highly unusual, but still pretty cool.
Works Cited
"Devised Theatre -." Wikipedia, the Free Encyclopedia. 26 Jan. 2010. Web.
http://en.wikipedia.org/wiki/Collaborative_creation.
Pig Iron Theatre Company. Web. http://pigiron.org.
"Pig Iron Theatre Company -." Wikipedia, the Free Encyclopedia. 21 Oct. 2009. Web.

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I'm a cosplayer, a writer, a designer, an artist, a student, a dancer, a video gamer, and a movie and history buff. In a nutshell, of course... :)

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