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Easy Cultural Diversity in schools
Teacher and student interaction
Easy Cultural Diversity in schools
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There are many things people hate about high school. In fact, there were many things that I hated about my high school, De La Salle North Catholic. For example, I hated the low student and teacher retention rate. I hated being required to buy uniforms from a retailer that had limited plus size options. I especially hated how the administration treated their staff and faculty members like second class citizens. But the building itself made much more of a positive impact on me than some of the negative people inside it did. It was what the building stood for that helped me develop into a more confident woman of color. De La Salle’s mission was to provide a quality education to young adults whose families were not well off enough to send their …show more content…
I went to church every Wednesday and read my Bible as a “good Christian should.” I never thought that when I left high school that I would consider myself more spiritual rather than religious. This was mainly because of the monthly masses my school would have in the auditorium. During my freshman and sophomore years, the auditorium chairs were wooden and blemished from the building formerly an elementary school. The windows frames were horizontal and rectangular. The glass let in the sunlight like God’s blessing was raining down upon us low income city kids. The stage was unpolished and had its fair amount of abuse over the years, but we made the best of it. Cultural dances, controversial plays, and speeches were made on that chipping, old …show more content…
It had a beautiful sky blue background along with trees, splashes of red, and our popular TriMet bus system. By my junior year, there was a brand new grey couch with a soft plush grey blanket. However, one could never see the couch or use the blanket because so many students would leave their bags, purses, homework, and clothing on the it. But Ms. Maher never minded because it was the evidence that the students who brightened her days decided to come to school that day. Her office housed the Lasallian Youth Ministry, which was simply called LYM among the school population. During all of my years at De La Salle, LYM was bustling with students who needed to get work done and sign up for service trips. There were times when the two white tables were dirty with crumbs of chicken burritos from lunch time and when the tables were unusable due to paint splatters of blue, grey, and orange. The many days I spent in this room managed to change my perspective on the terms “religious” and
Theatres and How We Had Fun." Little, Brown, and Company. (Boston, Toronto, London); 1991. P. 139, 144.
On September #, 2001, the lush ruby-red curtain was drawn and music by (person) began to fill the theater. Each of the 2200 seats was filled as they listened in awe and gazed around the French Renaissance-styled room. The finale of the evening’s program featured a prideful rendition of America the Beautiful by the audience and led by Mayor (X). Just days before then, the infamous September 11th attacks had happened on the east coast. The shock was still fresh, but this night was not a night of mourning, but of celebration. After an estimated $12 million and a decade long renovation project, the Orpheum Theater of Sioux City, Iowa was back to its original 1920’s grandeur.
“Lecture, concert will tell State Theater History.” Bay City Times 7 Oct. 2010: C1: Print. LaLonde, Pati. “Out with the old.”
I did not have a religious upbringing, excluding the few half-hearted attempts at taking my sister and I to church and the local church preschool, my parents largely left us to ourselves when it came to religion. My preschool experience was soured by the concerned teachers who wrongly assumed that I was drawing devils on my papers, when in fact, they were obviously vampires. My grandma cried when my parents did not baptize me, and my grandpa has called more than once, worried that I did not “know Jesus.” Regardless, religion has always been an interest of mine, probably because it is something so foreign and unknown. I have been to plenty of church services with friends after sleep overs, Catholic, Baptist, Methodist, even one of those churches that speak in tongues. My parents never let me stay over there again. In “The Year of Living Biblically,” by Jacobs, a similarly agnostic man, attempts to gain some sort of insight by living a year of his life according to the Bible. He
Biner, Pierre. The Living Theater. Takin' It To The Streets: A Sixties Reader, pp. 288-293. ed. Alexander Bloom and Wini Breines.
Zirkel, P. A., and I. B. Gluckman. "Religion in the Schools." NASSP Bulletin 66.455 (1982): 143-46. Print.
Angels in America is a play by Tony Kushner exploring themes of identity, power and stasis versus change in the setting of McCarthy era San Francisco. The play looks at homosexuality and homophobia, race, ethnicity and the AIDs crisis through exploring motifs of religion (especially Judaism and Mormonism), politics and law. This essay will explore how these themes could be examined and expressed through stage magic and circus arts in the context of a production inspired by Part One: Millennium Approaches of the two part play. A circus interpretation of Angels in America raises issues of casting skills and practical stunts performed live, demands consideration for set requirements and digital effects, music, and for style of process devising work. Kushner’s playwright’s notes for Angels in America describe “moments of magic”, referring to the appearance and disappearance of characters on stage, hallucination sequences and the dramatic conclusion of the play featuring an angel crashing through the ceiling of a small New York apartment. He states that “the moments of magic are to be fully realized, as bits of wonderful theatrical illusion – which means it’s okay if the wires show, and maybe it’s good that they do, but the magic should at the same time be thoroughly amazing” (Kushner, 1992, p11). It was this statement of aesthetic that inspired me to apply the themes of the play to creating circus and classic stage magic.
The authors discuss the impact of access, power, and equity. Their data was collected in Mississauga territory. They wish to make their readers aware of the issue in the Canadian Theatre Review. The authors are campaigning for action, “A number of the commentaries consider the need for marginalized people to be the contributors, performers, and creators of their own representations on stage. Equity in theatre is not simply an acknowledgment of oppression; it is a rectification of misrepresentation.” (Burton and Newman
As the curtain came down, the audience roared. The same little girl is now twenty years old. She gets out her cell phone and quickly sneaks a picture of the beautiful golden curtain. Captioning the photo as “the best spectacular on earth”, she posts it to Instagram and hits over one hundred “likes” within minutes. She walks outside and looks up at the marquee. With a smile on her face, she walks to the subway dreaming of the day she will be on that stage. This celebrated theatre has found a place in her heart, creating an eternal love for New York and an eternal love for the beautiful landmark that is Radio City Music Hall.
Every theatergoer may consider the question: What is it about performance that draws people to sit and listen attentively in a theater, watching other people labor on stage and hoping to be moved and provoked, challenged and comforted? In Utopia in Performance, Jill Dolan “argues that live performance provides a place where people come together, embodied and passionate, to share experiences of meaning making and imagination that can describe or capture fleeting intimations of a better world (p.2)”. She traces the sense of visceral, emotional, and social connection that we experience at such times, connections that allow audience members to sense a better world, and the hopeful utopic sentiment might become motivation for civic engagement
Ladies and gentlemen, boys and girls, there was a time in history, when a brand new style of entertainment swept the nation. It changed the very way that Americans would perform in theaters, while illustrating the creativity of people with an eagerness to entertain.
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Before Theater 10, I viewed theater on the surface level: cheesy plot lines with dramatic scenarios for entertainment purposes. Throughout the course, I have learned what it means to appreciate theater, such as understanding Brechtian and Chinese theatre; however, I believe understanding theater’s ability to convey crucial historical and social messages, such as in the production of RENT, is more relevant and important for theater appreciation.
In the seventies, we could do anything. It was the rainbow coalition, anti-Vietnam, all of those elements. And then we morphed over to where it became extremely straight-laced and non-risk taking. I think we are beginning to take risks again but within those societal norms.” Theatre only goes so far as society will allow it, as showcased by the Conservatory and it being influenced by the culture surrounding it. The mirror that is theatre reflects a culture and what it may want or not want to know, depending on how far it is allowed to
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.
A mere mention of the term theatre acts as a relief to many people. It is in this place that a m...