What is a child?
What is a child? This was the main question of my first grad school assignment. The other questions were- What is TYA? What topics are appropriate for TYA? And what am I passionate about? I was pretty satisfied with my paper until our class discussion and I suddenly felt that it was terribly inadequate. Part of the overall arch of this course is to answer these questions on a quest to discover our own aesthetic. I’l probably wrestle with the questions quite a bit over the next few months.
One topic that come up that I thougth was pretty interesting was some people’s aversion to the word “child”. They felt that it came with very bad connotations. I can certainly see that through words like “childish” and the idea that children are “less” than adults. The way adults will often dismiss a child’s feelings. Such as when a teenager is freaking out and we tell them “It’s not that big a deal” or “You’ll get over it”. We don’t acknowledge that it is an important step in their development to feel that pain before they learn that the world will keep on turning. We also bully our children quite a bit and then turn around and coddle them as if they are too fragile to experience life.
While I’ve never had a negative reaction to the word its self, I do agree with the idea that we do not respect our children enough. Children’s theatre is also seen as “less than adult theatre”. The transition into using the words Theatre for Young Audiences is a direct reflection of that step towards being viewed as a more legitimate art form.
What is a child? As I’ve thought about it, I’ve come up with many contradictions. And have determined that there may not be one true definition that I can stick to- but I do want to try and narrow my thinking. Is there a difference between children and teenagers? Are children innocent? From the perspective that they are lacking the same experience as adults, then I suppose yes. But just because one child has been through abuse or drug problems, does that give he or she more life experience than an adult who has not had those issues to deal with? I think they could be just as innocent or inexperienced in other ways. Does the word child have to apply to people under the age of 18? Does “child” mean someone who is always learning or is that a definition for “student”? Do children need the influence of their elders? How would a child describe themselves? What would come out of a list of children describing what an adult is?
The whole topic is mind boggling. I’m cutting myself off so as not to overload.
I think the one thing that I can totally agree with is that children are people. Not “people in progress” or any other phrase indicating that the development they are going through makes them less human.
So, I’m beginning my pondering on this subject as well as the other questions. It can get pretty intense, but I’m excited to discover these things about myself and my thinking.
CommunityWalk ‘Theatre for Youth’ Map
I have begun creating a map of children’s theaters, theaters with children/family programming, and theaters or organizations with educational drama programming. It’s only a baby map right now, but then again, there are only so many professional children’s theaters out there. I think the ” theaters with children/family programming” will take the most time to compile.
http://www.communitywalk.com/tya
I’m not sure why I feel the need to do this, other than to just really get to know Theatre for Youth in the US. Knowing where they are and what the programming is like is a good place to start.
Assistantships
I received my assistantship assignments today!
First semester I will be TA for a Theatre Survey class and Assistant to the Artistic Director for the Orlando Rep. Second semester I will be full time with the Development Director of the Rep. I am super stoked about them. I’m going to learn so much it kinda boggles my mind.
I haven’t had a meeting with my advisers yet- so I don’t know much specifics, but I just thought I would share the good news!
The Misdaventures of Robot Boy and Crazy Girl
I love my siblings!
20 Years of Paul Pierce
This is an article about the Artistic Director of The Springer Opera House. It is a place that is dear to my heart. While I never was a student here I certainly developed as a teacher and had some of my first professional experiences here. Paul is a great man who cares so deeply about this community and the theatre that it is inspiring!
20 years of Paul Pierce
Springer artistic director shares the struggles and joys of his career
BY SANDRA OKAMOTO – sokamoto@ledger-enquirer.com —
Even the ever-optimistic Paul Pierce admits his first two years as artistic director at the Springer Opera House were tough.
The search committee knew that the new artistic director would have to overhaul the Springer. At that time, in 1988, there were separate boards, bylaws and checking accounts for the Mainstage, Studio Theater and the Children’s Theater as well as other “wings” of the theater like the Springer Ballet Co. By the time his interview was over, Pierce knew that changes had to be made. “I told the search committee that the only way I would agree to come to Columbus was to have one board and one director,” he said. “While they agreed, they made it clear that it would be hard.” In fact, one of the board members told him he would make lots of enemies. “They asked me if I was ready to be in the middle of some controversy. I said, yes, without knowing exactly what I was getting into,” he said.
One of the reasons the board found him so attractive is that the Wayside Theatre in Middletown, Va., where he was the managing director, called him “P.R. Pierce.”
“I was good in public relations,” Pierce said.
He was in his new office in the Springer Opera House by November of 1988.
First, he disbanded all the boards and consolidated them into one board. Then he announced that he would hire actors in roles that needed a certain experience and expertise that local actors could not fill.
Trouble was on the horizon.
A rough beginning
Some people in the theater community started an anonymous letter-writing campaign. Several experienced Springer staff quit, citing differences with Pierce. Others accused Pierce of allowing then-wife Dona Pierce, an experienced and accomplished costumer, of “ruining” the costume shop.
Still others said he didn’t really have a degree from the University of Georgia. He did.
By the summer of 1990, on the night of season auditions, there were almost 100 people picketing the front of the Springer Opera House. Placards included “Say No to Semi-Pros,” “We Can Act Too,” “No to the Pro” and “It’s a Community Thing. Paul Pierce Wouldn’t Understand.”
Actors crossed the picket line to audition.
Steve Valentini has been on all of the Springer’s stages and remembers that day well. He was at the audition.
“What was a clique down there was gone,” Valentini said. “There was a complete turnover of actors. Opening the theater up for more talent to be brought in helped the theater considerably. It increased the quality of the productions.”
And Valentini said local actors still have the same opportunities as professional actors to audition.
“Paul gave us the combination of both the community actors and professionals,” Valentini said. “People get training from the professionals and the professionals get training from the community. If an actor comes in with an attitude, he’s not asked back. Paul has had the good of the Springer in mind from the beginning.”
Another frequent Springer actor, Raymond Campbell, said he sided with Pierce and the theater.
“That faction that broke off, I felt were wrong,” Campbell said. “Paul was hired legitimately and went through the whole process.”
What made Campbell an even more ardent Pierce supporter was that some people who picketed later decided to come back to the Springer.
“I admire Paul because he didn’t hold it against them,” Campbell said. “I always say Charles Jones (the beloved original artistic director of the Springer) saved the building and Paul saved the theater. I’m just a big fan of Paul’s.”
Even with the support of the Springer’s executive board, “barely a day went by that heading into work I’d think that this could be the day,” he said. “I dusted myself off and focused on staying here. I only have small memories of that time. After I bled and wept, I wasn’t willing to let someone else reap the benefits of what I started.
“Something I didn’t know then is that the Springer is a great, big battleship with a little bitty rudder,” Pierce said. “You can start turning and you can’t expect anything to happen now. It is a great organization and its history can be a burden.
“It (the Springer) is very large is what I’ve learned.”
It all blew over. Dona Pierce is still at the Springer, in charge of props. His diploma from the University of Georgia is framed and hangs on his office wall. And many of the people who picketed have returned to the Springer.
“I am so grateful producing theater,” Pierce said. “And the people I have had the honor and privilege to work with. I could write a book about those people. People like Rick Todd and Roger Mays, who are really great and understood that selling theater to the world is a street fight.” Todd was the production manager when Pierce got to Columbus and Mays was the artistic associate he hired. Todd now lives in Delaware, Ohio, and Mays is a theater professor at Chadron State College in Chadron, Neb.
Community first
Each season, Pierce keeps community members’ desires in mind when choosing plays.
“Theater typically grows based on the demands of the community,” he said. “It’s not on the ideas of the artistic director. It’s the community that will push you. We’ve just responded to what Columbus is demanding.”
And what Columbus demands are well-known titles, which leads to season with shows like “Sound of Music,” “Oklahoma!,” “The King and I” and “Peter Pan.”
He still hires professional actors to fill in roles that aren’t filled by local ones.
When the RiverCenter for the Performing Arts began booking national tours of Broadway shows when it opened in 2002, people were ready for a fight for patrons.
“I welcomed the comparisons and contrasts,” Pierce said. “Before the RiverCenter even opened, we were doing good work. The work was getting better all the time. We have a brand.” Highs and lows
In his 20 years in Columbus, Pierce points to two incidents that count as the highest points in his career. One is the complete renovation of the theater that was started in 1997 and finished in 1999. The other was hiring Ron Anderson to be the director of the Springer Theater Academy.
“The day Ron Anderson came to work here was a huge turning point for this organization and my career,” Pierce said. “What he’s done with the children’s program …”
Anderson was a friend of Pierce’s at the University of Georgia, where they were both students. They worked together then and kept in touch through the years. In 1996, Pierce brought Anderson to Columbus.
The low point in Pierce’s 20 years is a sad one.
“One definite low point was the night that Fairfield Glade, Tenn., actor Jean Curley had a stroke onstage during a performance of Edward Albee’s ‘Three Tall Women’ in 2000,” Pierce said. “Strangely, Jean was actually playing a character who had had a stroke so it took her fellow actors (Andrea Krahn and Lynna Schmidt) some time to figure out that Jean was truly having an emergency medical episode.
“It took even longer for the audience to realize it and some patrons thought the play was still going on even as the EMTs were arriving to administer first aid. Jean passed away at the Medical Center about two weeks later and we held a memorial service that week. A loom was put on stage and actors, technicians, Springer staff and audience members took turns weaving colorful fabric into a tapestry that still hangs at the foot of the stairs to our dressing rooms. Many actors know why that tapestry is there and you can often see them touching it as they move to the stage on performance nights. It has become another Springer ritual and part of theater lore here.” A legacy
“I think Paul’s legacy is that he made the Springer not only a great community theater, but a great regional theater,” Campbell said. He did have a difficult time and overcame it. Paul has done wonders for this whole town.”
All in all, Pierce said he’s had a great 20 years at the Springer.
“I am the luckiest artistic director because of all the great people who work here,” he said. “Things are really good. We’re operating in the black. We have no debt. Our audience has grown. I have a fantastic board and a fantastic staff. I’ve got the best job in the world.”
So You Think You Can Steve Dance?!?
Every morning we do the Steve Dance as a fun warm-up to start the day. Last session the oldest groups challenged each other to a dance off and it was spectacular…but no one had a camera. Today in the F session there was another and I was sure to have mine available! They competed for the “So You Think You Can Steve Dance Trophy” which is a bowling pin with the title written on it with marker, HA! The winning group gets to carry it around all day.
THE TEACHERS WON!!!! YAY!!!!
Cow Appreciation Day!!!
So, amid all of this summer business that I hope to update here ASAP, teachers have got to eat…and have a little fun. So, we dressed up for Cow Appreciation Day at the Chik-fil-a. If you dressed up like a cow you could get a free meal. We made up the song for fun, but ended up getting free ICE CREAM!! Yay!!
Skills and Drills Pt. 2
Here are some more of the activities I’ve been doing in my skills class.
SUPERSTITION RACE:
Students are divided into teams and given a number. This number corresponds to a number on a paper in the hallway. One student is the scribe and the others are runners. One at a time a person from each team runs to the hallway and reads and memorizes as much as they can and then comes back and dictates to the scribe. The objective is to get all of the information from one paper to the other as accurately as possible. The paragraphs on the papers are descriptions of various theatre superstitions…saying break a leg, calling Macbeth “the Scottish play,” leaving a Ghost light on the stage at night, ect. Once the paragraphs have been transcribed the groups switch papers and are graded. Just for a special twist the final award goes to the group with the MOST typos. Then they get their original paper back and create a scene or presentation of the material. Sometimes it will be a poem or rap, others will create a legitimate scene. The team work that it requires is the bonus to this lesson. Sure, they could just read the superstition and then make up a scene about it…but then its not as fun!
TWO CIRCLES:
This is a great first day game. The students create an inner and outer circle and pair up with a person across from them. They are given a simple task to perform and then given a limited amount of time to complete it. Then each group presents their creation. After all have presented- the inner circle rotates and they have a new partner and new task. I like doing this on one of the first days because it helps me see who is naturally a leader, what the class dynamics are, and EVERYONE has to work with EVERYONE ELSE. It’s a nice way to get them to know each other without making a point of actually talking about themselves which can be daunting when you first meet a new group of people..
Skills and Drills Pt.1
Skills is going fairly well so far. The curriculum is definitely growing as the days go by. Here’s a little taste!
FRUIT BASKET STAFF: We adapted the good old fruit basket game into a way to learn about the people who work in the theatre. After introducing the job titles and responsibilities we create two lines of students. Then assign jobs to pairs sitting across from each other on opposing teams. We start the game by just calling out the job titles and if that is the title you were assigned, then you must get up and run around your team and sit back down. The fastest person wins a point for their team! After we get the words going I will begin calling out responsibilities. They have to recognize who I am talking about and that person must jump up and yell out their job and run around the team. They really get into it and yell out the answers, cheer each other on and I’ve had a minimum of casualties –so far 
The thing that is great is that I can change the list as many times as I like and the kids really have to keep thinking.
CALENDAR RACE: After looking at a few different kinds of rehearsal calendars we do a calendar race. We gave them a rehearsal schedule written out in list form rather than on an actual calendar- one from this past year’s season actually. Then, in teams, they had to transfer to information onto a calendar on the wall. They are given a specific character to follow and must note the time of the rehearsal and scene they are working. Only one person can cross the start line at a time and they cannot take the schedule with them. They must either remember what they need to write or rely on their teammates to call out to them. I play some fast racing music and it is a lot of fun. We started out using just two teams but quickly added a third team so that more kids were engaged more often. It is awesome how much teamwork is happening and they don’t even realize it- which is good because if they knew it was teamwork they would be so super conscious of it it would get in the way of just playing the game!
More to come!
Skills and Drills Classroom
The Springer Theatre Academy has started and it is even more amazing than usual! I love teaching here- the teachers are inspiring, the kids are inspiring, the building is inspiring- everything is just so darn inspiring that I can hardly stand it!
Here is the way my classroom is set up. These are a couple different views of the space. I LOVE having these windows!
In each of the classrooms at academy, the teachers designate a “stuff box” which is basically a place for the kids to put their things when they come to class which keeps everything out of the way for classwork. Above the stuff box in my classroom is a copy of the academy rules and class rotation schedule. Also, there is a poster of “the model academy student”. The kids (and teachers) have a kind of uniform- which they are constantly pushing the limits of. Students want to alter their t-shirts or wear short little shorts that they think are really cute. Which results in teachers not being able to read the built in name tags AND in some indecent exposure when students have to move, dance, sit on the floor, and generally use their bodies expressively. It would be awesome to have some embarrassing pictures of how these these tiny little shorts look when they are moving around- they would be so indecent that the girls would quit wearing them all together!
This is the wall of behavior contracts- the kids made up their own set of “challenges” for each class. They challenge each other to do things from “Give infinity % everyday” and “Not to use sassy backtalk”, to “Be Creative” and “Be an amazing ensemble.” It’s really interesting to see what matters to them and then to see how they feel about following those rules through their session. Each kids agreed to the “challenges” and signed the contract and all the teachers are given a copy so that they can be enforced throughout the day. I also keep an updated Objectives list for each class on the wall.
I hope to update some of my lesson activities soon. I’m pleased with how the class is going so far and really want to share!
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