Theater Education Quotes

You know, I do believe in magic. I was born and raised in a magic time, in a magic town, among magicians. Oh, most everybody else didn’t realize we lived in that web of magic, connected by silver filaments of chance and circumstance. But I knew it all along. When I was twelve years old, the world was my magic lantern, and by its green spirit glow I saw the past, the present and into the future. You probably did too; you just don’t recall it. See, this is my opinion: we all start out knowing magic. We are born with whirlwinds, forest fires, and comets inside us. We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow and told to be responsible. Told to act our age. Told to grow up, for God’s sake. And you know why we were told that? Because the people doing the telling were afraid of our wildness and youth, and because the magic we knew made them ashamed and sad of what they’d allowed to wither in themselves. After you go so far away from it, though, you can’t really get it back. You can have seconds of it. Just seconds of knowing and remembering. When people get weepy at movies, it’s because in that dark theater the golden pool of magic is touched, just briefly. Then they come out into the hard sun of logic and reason again and it dries up, and they’re left feeling a little heartsad and not knowing why. When a song stirs a memory, when motes of dust turning in a shaft of light takes your attention from the world, when you listen to a train passing on a track at night in the distance and wonder where it might be going, you step beyond who you are and where you are. For the briefest of instants, you have stepped into the magic realm. That’s what I believe. The truth of life is that every year we get farther away from the essence that is born within us. We get shouldered with burdens, some of them good, some of them not so good. Things happen to us. Loved ones die. People get in wrecks and get crippled. People lose their way, for one reason or another. It’s not hard to do, in this world of crazy mazes. Life itself does its best to take that memory of magic away from us. You don’t know it’s happening until one day you feel you’ve lost something but you’re not sure what it is. It’s like smiling at a pretty girl and she calls you “sir.” It just happens. These memories of who I was and where I lived are important to me. They make up a large part of who I’m going to be when my journey winds down. I need the memory of magic if I am ever going to conjure magic again. I need to know and remember, and I want to tell you.

What grinds me the most is we're sending kids out into the world who don't know how to balance a checkbook, don't know how to apply for a loan, don't even know how to properly fill out a job application, but because they know the quadratic formula we consider them prepared for the world` With that said, I'll admit even I can see how looking at the equation x -3 = 19 and knowing x =22 can be useful. I'll even say knowing x =7 and y= 8 in a problem like 9x - 6y= 15 can be helpful. But seriously, do we all need to know how to simplify (x-3)(x-3i)?? And the joke is, no one can continue their education unless they do. A student living in California cannot get into a four-year college unless they pass Algebra 2 in high school. A future psychologist can't become a psychologist, a future lawyer can't become a lawyer, and I can't become a journalist unless each of us has a basic understanding of engineering. Of course, engineers and scientists use this shit all the time, and I applaud them! But they don't take years of theater arts appreciation courses, because a scientist or an engineer doesn't need to know that 'The Phantom of the Opoera' was the longest-running Broadway musical of all time. Get my point?

In my world, you don’t get to call yourself “pro-life” and be against common-sense gun control — like banning public access to the kind of semiautomatic assault rifle, designed for warfare, that was used recently in a Colorado theater. You don’t get to call yourself “pro-life” and want to shut down the Environmental Protection Agency, which ensures clean air and clean water, prevents childhood asthma, preserves biodiversity and combats climate change that could disrupt every life on the planet. You don’t get to call yourself “pro-life” and oppose programs like Head Start that provide basic education, health and nutrition for the most disadvantaged children...The term “pro-life” should be a shorthand for respect for the sanctity of life. But I will not let that label apply to people for whom sanctity for life begins at conception and ends at birth. What about the rest of life? Respect for the sanctity of life, if you believe that it begins at conception, cannot end at birth.

Sin in the theater, I can observe now, is comparable to education in a university: it is there for those who wish to take advantage of it, but fewer do than you might suspect.

I spent most of my life trying to specialize myself. I went to theater school, film school, music school, mime school ... Finally, I was able to gather enough knowledge to build the confidence to create my own work, that goes utterly against the sense of specialization.

One can use standard principles and textbooks in educating people for law, medicine, architecture, chemistry or almost any other profession—but not for the theater. For, in most professions, every practitioner uses the same tools and techniques, while the actor’s chief instrument is himself. And since no two persons are alike, no universal rule is applicable to any two actors in exactly the same way.

You are the stuff of which consumer profiles – American Dream: Educated Middle-Class Model – are made. When you're staying at the Plaza with your beautiful wife, doesn't it make sense to order the best Scotch that money can buy before you go to the theater in your private limousine?

...the deliberate application of the techniques of theater to politics, religion, education, literature, commerce, warfare, crime, everything, has converted them into branches of show business, where the overriding objective is getting and satisfying an audience.

Communication is not only about words and numbers. Some thoughts can’t be properly expressed in these ways at all. We also think in sounds and images, in movement and gesture, which gives rise to our capacities for music, visual arts, dance, and theater in all their variations.

I discovered that night (in his college's student politics) that an audience has a feel to it, and, in the parlance of the theater, that audience and I were together.

To do exciting, empowering research and leave it in academic journals and university libraries is like manufacturing unaffordable medicines for deadly diseases. We need to share our work in ways that people can assimilate, not in the private languages and forms of scholars...Those who are hungriest for what we dig up don't read scholarly journals and shouldn't have to. As historians we need to either be artists and community educations or find people who are and figure out how to collaborate with them. We can work with community groups to create original public history projects that really involved people. We can see to it that our work gets into at least the local popular culture through theater, murals, historical novels, posters, films, children's books, or a hundred other art forms. We can work with elementary and high school teachers to create curricula. Medicinal history is a form of healing and its purposes are conscious and overt.

Since most sexual abuse begins well before puberty, preventive education, if it is to have any effect at all, should begin early in grade school. Ideally, information on sexual abuse should be integrated into a general curriculum of sex education. In those communities where the experiment has been tried, it has been shown conclusively that children can learn what they most need to know about sexual abuse, without becoming unduly frightened or developing generally negative sexual attitudes. In Minneapolis, Minnesota, for example, the Hennepin County Attorney's office developed an education program on sexual assault for elementary school children. The program was presented to all age groups in four different schools, some eight hundred children in all. The presentation opened with a performance by a children’s theater group, illustrating the difference between affectionate touching, and exploitative touching. The children’s responses to the skits indicated that they understood the distinction very well indeed. Following the presentation, about one child in six disclosed a sexual experience with an adult, ranging from an encounter with an exhibitionist to involvement in incest. Most of the children, both boys and girls, had not told anyone prior to the classroom discussion. In addition to basic information on sexual relations and sexual assault, children need to know that they have the right to their own bodily integity.

Theater gives them what a computer takes away, what no classroom teacher can teach. They learn to work with other people. They learn patience and tolerance and how to be deferential to each other. They learn to be good citizens. It’s unifying. It has an impact on kids that can’t be quantified. Educators don’t know how to measure it.

There’s no telling what kind of cavorting takes place in that theater,” he said. “It’s probably a den of adulterers and fornicators.

Educated bourgeoisie like to admire someone who’s escaped the bourgeois trammels—reminds them of their college ideals.

Getting a lousy education, then spending a lifetime pitted against your fellow workers in the gladiatorial theater of the free market economy does not make for optimism or open mindedness, both hallmarks of liberalism. It makes for a kind of bleak coarseness and inner degradation that allows working people to accept the American empire's wars without a blink.

They curtailed the education of the people as needless and too expensive. When the people complained, they placated them by abolishing all grades above the primary and turning the schools into dance halls and free moving-picture theaters.

to use the theater as an institution for the moral education of the people, is already reckoned among the incredible antiques of a dated type of education. While the critic got the upper hand in the theater and concert hall, the journalist in the schools, and the press in society, art degenerated into a particularly lowly topic of conversation, and aesthetic criticism was used as a means of uniting a vain, distracted, selfish, and moreover piteously unoriginal sociability.

He told me that, in fact, he had always imagined me as a producer-director, beholden to nobody and immune to the constant rejection that all actors must endure. If you must go into the theater, he advised, be the person in charge and acquire the skills to do it right.

Finally, the work of the minister tended to be judged by his success in a single area - the saving of souls in measurable numbers. The local minister was judged either by his charismatic powers or by his ability to prepare his congregation for the preaching of some itinerant ministerial charmer who would really awaken its members. The 'star' system prevailed in religion before it reached the theater. As the evangelical impulse became more widespread and more dominant, the selection and training of ministers was increasingly shaped by the revivalist criterion of ministerial merit. The Puritan ideal of the minister as an intellectual and educational leader was steadily weakened in the face of the evangelical ideal of the minister as a popular crusader and exhorter. Theological education itself became more instrumental. Simple dogmatic formulations were considered sufficient. In considerable measure the churches withdrew from intellectual encounters with the secular world, gave up the idea that religion is a part of the whole life of intellectual experience, and often abandoned the field of rational studies on the assumption that they were the natural province of science alone. By 1853 an outstanding clergyman complained that there was 'an impression, somewhat general, that an intellectual clergyman is deficient in piety, and that an eminently pious minister is deficient in intellect.

We must first begin again to learn "'learning" and to know standards of measure. Cultural dissolution will not be abated by the mere introduction of newer and more convenient "textbooks." The youth must not wait until more fundamental acquaintance and actual contemplation are demanded of them from above, for it is precisely the other way around. It is the prerogative of a true and wakeful youth to develop exhortations to knowledge from out of itself, and to cling to these exhortations for itself, in order to construct the future. Whether one occasionally "reads a book" is a measure for the petite bourgeoisie. It does not ask whether today's man, who gets his "education" from "charts" and "magazines," from radio reports and movie theaters. whether such a confused, dizzy, and purely American man still knows, or can know, what "reading" means.

The Theater resides at the intersection of education and the arts. The arts are seen as a set of media with a potential for promoting profoundly educational experiences. They can allow for everyday concerns, so close and yet so distance, to be freshly apprehended… problems that must be addressed

The NBC University Theater combined superb drama with college credit. Its productions were fully the equal of any commercial radio series and better than most, though it got stuck with the “education” stigma early in its run and never attained much more than its targeted academically motivated audience.

had traveled to London to study acting, pricked on by the sense that classical English acting was the high-water mark in English-speaking theater. I would soon learn a surprising truth: I came from America, home to an acting tradition that my new English friends envied, to an even greater degree than I envied theirs.

people astray and into potentially horrific acts. Both of these views relate to the world that is delivered to us by our senses. There is a third way that Buddhist practitioners know as “Emptiness.” This is the unseen, formless energy that extrudes itself as the myriad forms of the world, creating and then retrieving them back to the source. Suzuki Roshi suggested that we think of it as the white screen in a movie theater, the unseen background against which the shimmering movie of

We’re going on strike,” I announced. “And we’re not coming back inside until Joey Harrington is suspended. I don’t know what else because I’m too angry to think!” Mr. Feinman stuffed his hands in his pockets. “Huh.” He looked at the other students. “Is that what you all want?” “Man!” Clyde exclaimed, shaking his head. “I’ve got some demands, all right.” “Are we going to get in trouble for missing class?” asked Samantha Klinger, one of the gamers who kept pink streaks in her hair. Mr. Feinman shrugged. “I’d say yes. The real question is what if you win?” “We need an anti-bully committee,” said Bryce Smith, a theater kid with thick glasses. “Made up of students and teachers so bullies have to answer to someone other than the principal. So there’s no favorites.” The class murmured an agreement. The students behind me seconded the motion. “So go,” Mr. Feinman said. “Go and fight for your education, then.

We are born with whirlwinds, forest fires, and comets inside us. We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow and told to be responsible. Told to act our age. Told to grow up, for God’s sake. And you know why we were told that? Because the people doing the telling were afraid of our wildness and youth, and because the magic we knew made them ashamed and sad of what they’d allowed to wither in themselves. After you go so far away from it, though, you can’t really get it back. You can have seconds of it. Just seconds of knowing and remembering. When people get weepy at movies, it’s because in that dark theater the golden pool of magic is touched, just briefly. Then they come out into the hard sun of logic and reason again and it dries up, and they’re left feeling a little heartsad and not knowing why. When a song stirs a memory, when motes of dust turning in a shaft of light takes your attention from the world, when you listen to a train passing on a track at night in the distance and wonder where it might be going, you step beyond who you are and where you are. For the briefest of instants, you have stepped into the magic realm. That’s what I believe. The truth of life is that every year we get farther away from the essence that is born within us. We get shouldered with burdens, some of them good, some of them not so good. Things happen to us. Loved ones die. People get in wrecks and get crippled. People lose their way, for one reason or another. It’s not hard to do, in this world of crazy mazes. Life itself does its best to take that memory of magic away from us. You don’t know it’s happening until one day you feel you’ve lost something but you’re not sure what it is. It’s like smiling at a pretty girl and she calls you “sir.” It just happens.

some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare’s life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an “important” person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good “grammar-school” education and a life of experience in London and in the world of the London theater. (Folger Shakespeare)

He does not tell her how. He never does. It is the essential aspect of his genius as an educator. The world is full of people who cannot wait to tell you what they know. What animates Volpe is creating moments for his kids to figure it out for themselves. His ego, though not small, allows for great patience. Very few high school directors could be more versed in theater, more knowing about what the finished product should look like. But he lets his kids find their own way there. His

One part of the study looked specifically at the impact on students involved in theater. Between ninth and twelfth grades, their reading levels increased at a rate of 20 percent more than a cohort of similar students—as measured by academic ability and socioeconomics—who were not getting arts education. The authors theorized that the theater students benefited by spending time “reading and learning lines as actors, and possibly reading to carry out research about characters and their settings.” In 2011, the President’s Committee

All socioeconomic activity in cities involves the interaction between people. Employment, wealth creation, innovation and ideas, the spread of infectious diseases, health care, crime, policing, education, entertainment, and indeed, all of the pursuits that characterize modern Homo sapiens and are emblematic of urban life are sustained and generated by the continual exchange of information, goods, and money between people. The job of the city is to facilitate and enhance this process by providing the appropriate infrastructure such as parks, restaurants, cafés, sports stadiums, cinemas, theaters, public squares, plazas, office buildings, and meeting halls to encourage and increase social connectivity.

Friedrich Schiller took up this thought in his theory of tragedy and developed it further. Already the title of his text, The Theater as a Moral Institution, makes clear that for him tragedy becomes an educational institution.20

I can talk to him about anything. We have the same kind of education and—” “What kind of education?” Clay asked. “We enjoy the arts. Music, literature, theater, art. My degree is in classical studies.

Well into my teaching career, I learned that good and bad play are usually a matter of having a script that works or one that needs to be rewritten. Once you begin to depend on storytelling and story acting, you start looking at your classrooms as theater. The children are constantly imagining characters and plots and, when they have a chance, with each other, acting out little stories. You can look at the children and yourself as actors. "Well, this hasn't worked. We'd better think of a better way to pretend this story." What seems to be a chaotic scene, one we might call bad play, is simply a scene that lacks closure for one or more characters. The teacher's role is to help the children make up a new scene. The children become used to the teachers - or even other children - saying, "This isn't working. We need to tell the story of what were doing with each other. What characters are we playing? And what needs to be played in a different way so that the play does not have to stop?" (via a Meghan Dombrick-Green interview with Vivian Paley 2001)

Finding Favor in God’s Eyes Noah found favor in the eyes of the LORD…. Noah did everything just as God commanded him. —GENESIS 6:8,22     One way to find favor with God is to love His little children. In the New Testament we read where Jesus loved the young children and warned us as adults to be careful not to harm the little children. As a grandparent, I can gain favor with God by being kind and gentle with the little ones in our family. What an honor to be a part of the spiritual development of any child. In government, sports, business, medicine, education, theater, and music—there are those who rise to the top of their professions and are honored because they find favor through their actions, personalities, efforts, or sometimes just because of their social connections. They might be known for very amazing and noble accomplishments like running a nonprofit, discovering a new cancer drug, teaching those thought unteachable, or singing the most beautiful aria the world has ever heard. These are all remarkable reasons to have favor among men. But have you ever thought how much richer life would be to have God find favor with you as a parent, a grandparent? I stand in awe when I think of God finding favor with me, but He does. Noah lived in a world much like today’s, a world full of sin. Humanity hasn’t changed much over the centuries—we just give sin a different name. Yet through all this wickedness, Noah was a person who lived a godly life. His life was pleasing to God even during those evil days. Noah didn’t find favor because of his individual goodness but through his obedience to God. We are also judged according to the same standard—that of our personal faith and obedience. Even though Noah was upright and blameless before God, he wasn’t perfect. God recognized that Noah’s life reflected a genuine faith, but not always a perfect faith. Do you sometimes feel all alone in your walk with God? I know I do. Noah found that it wasn’t the surroundings of his life that kept him in close fellowship with God, but it was the heart of Noah that qualified him to find friendship with God. It isn’t important to find favor from our fellow humans. God’s favor is so much more rewarding. Somehow God’s favor with me is passed down through the favor from my grandchildren. As we live in this very difficult time of history, I might ask, “Do I find favor in God’s sight?” God gives us grace to live victoriously: “He gives us more grace” (James 4:6).

Benefits of Improv To the Editor: Re “Inmate Improv,” by Anna Clark (Op-Ed, Dec. 31): It was not surprising to me that an improvisational theater workshop would help a prison inmate adjust to life after his release. Pretend play has been shown to improve the executive-function skills in preschool and school-age children. These skills include the ability to control emotions and behavior, resist impulses, and exercise self-control and discipline. As poor executive-function skills are associated with high dropout rates, drug use and crime, it would behoove all adults involved in child-rearing to encourage role-playing or “improv.” STEVEN ROSENBERG Fairfield, Conn., Dec. 31, 2014 The writer is director of the Elementary Reading Program at the University of Bridgeport School of Education.

We do not use writing exclusively to attain perspective upon our self-referential human existence. We dedicate our essayistic existence to witnessing the variegated acts of life. Our craniums serve as a personal planetarium, a full-dome personal theater where we can replay video and audio educational films documenting our scented and tactile observations. We feature recollections of evocative experiences, vivid daydreams, and frightful nightmares. A vast array of scientific visualizations and artistic depictions supplement our personal slideshow, knowledge we employ to frame our evolving self under the celestial sky and navigate our earthy existence.

By culture, Emerson does not mean official culture—what the Germans call Kultur, of museums, theater, and symphony performances—but self-development, education, Bildung. As always, Emerson is the philosophical idealist, but now he is at pains to emphasize the practical side of idealism, which he pointedly defines not as the pursuit of the best but of the better: “That Better we call the Ideal. Ideal is not opposed to Real, but to Actual. The Ideal is the Real. The Actual is but the apparent and the temporary.

When Aristippus is asked in what way the educated are superior to the untutored he answers, “as broken horses are to the unbroken”; and Aristotle to the same question replies, “as the living are to the dead.” At least, adds Aristippus, “If the pupil derives no other good, he will not, when he attends the theater, be one stone upon another.”19

The muezzin’s call to prayer punctuated the days, weddings and funerals followed the faith’s prescribed rituals, activities slowed down during fasting months, and pork might be hard to find on a restaurant’s menu. Otherwise, people lived their lives, with women riding Vespas in short skirts and high heels on their way to office jobs, boys and girls chasing kites, and long-haired youths dancing to the Beatles and the Jackson 5 at the local disco. Muslims were largely indistinguishable from the Christians, Hindus, or college-educated nonbelievers, like my stepfather, as they crammed onto Jakarta’s overcrowded buses, filled theater seats at the latest kung-fu movie, smoked outside roadside taverns, or strolled down the cacophonous streets. The overtly pious were scarce in those days, if not the object of derision then at least set apart, like Jehovah’s Witnesses handing out pamphlets in a Chicago neighborhood.

white. “This morning, your education will be in the viewing room.” She spins on her heel, her habit swirling, and walks back to the front of the line. “I expect each of you to give these films your full attention. The Prophet has handpicked them for your edification.” We follow her to a new room, one with three risers, like a movie theater, and a motley assortment of chairs on each. “Sit,” she instructs and presses a button on the wall that lowers a white screen at the front of the room.

Dad didn’t stop me from auditioning for the next play, or the one after that, even though he worried about me spending so much time away from home. “There’s no telling what kind of cavorting takes place in that theater,” he said. “It’s probably a den of adulterers and fornicators.” When the director of the next play got divorced, it confirmed Dad’s suspicions.

there is another pet peeve as a theater major there in the ’80s, it’s this: Educational theater should be just that. College should not operate like a Broadway or regional theater whose main goal is profit. Educational theater is for the training and preparation of the student actor. Its purpose is to give them the tools to be able to operate on a professional level. It’s why we pay tuition. There are and were theater majors who have never done a main stage production. How do you learn if you don’t do?

1. ,)"Never try to look into both eyes at the same time. Switch your gaze from one eye to the other. That signals warmth and sincerity." 2) "Good conversation can leave you more exhilarated than alcohol; more refreshed than the theater or a concert. It can bring you entertainment and pleasure; it can help you get ahead, solve problems, spark the imagination of others. It can increase your knowledge and education. It can erase misunderstandings, and bring you closer to those you love." 3) "One difference between a conviction and a prejudice is that a conviction can be explained without getting angry." 4)"A good rule for discussion is to use hard facts and a soft voice.

Cubans all had free universal health care, which was the best in the Latin American world, and free education all the way through college. They are the most educated people in the Latin American world. The literacy rate is almost 100 percent. In addition, they are the most sophisticated moviegoers. The average Cuban sees more than six movies a year, while the average American goes to the theater just under two times a year.

A decent signal an industry is vulnerable is the presence of pseudo innovation—the addition of features that add no real value to the product; membership clubs that don’t deliver any real savings or convenience; movie theaters whose online ordering is more of a hassle than buying the ticket at the venue; colleges investing in luxury accommodations instead of educational resources. Those are the home remedies of a management team that knows the patient requires surgery but doesn’t want to endure real cost and pain.

It was as if, when I sang, Dad forgot for a moment that the world was a frightening place, that it would corrupt me, that I should be kept safe, sheltered, at home. He wanted my voice to be heard. The theater in town was putting on a play, Annie, and my teacher said that if the director heard me sing, he would give me the lead. Mother warned me not to get my hopes up. She said we couldn’t afford to drive the twelve miles to town four nights a week for rehearsals, and that even if we could, Dad would never allow me to spend time in town, alone, with who knows what kind of people. I practiced the songs anyway because I liked them. One evening, I was in my room singing, “The sun’ll come out tomorrow,” when Dad came in for supper. He chewed his meatloaf quietly, and listened. “I’ll find the money,” he told Mother when they went to bed that night. “You get her to that audition.

East Side High became well known some years ago when its former principal, a colorful and controversial figure named Joe Clark, was given special praise by U.S. Education Secretary William Bennett. Bennett called the school “a mecca of education” and paid tribute to Joe Clark for throwing out 300 students who were thought to be involved with violence or drugs. “He was a perfect hero,” says a school official who has dinner with me the next evening, “for an age in which the ethos was to cut down on the carrots and increase the sticks. The day that Bennett made his visit, Clark came out and walked the hallways with a bullhorn and a bat. If you didn’t know he was a principal, you would have thought he was the warden of a jail. Bennett created Joe Clark as a hero for white people. He was on the cover of Time magazine. Parents and kids were held in thrall after the president endorsed him. “In certain respects, this set a pattern for the national agenda. Find black principals who don’t identify with civil rights concerns but are prepared to whip black children into line. Throw out the kids who cause you trouble. It’s an easy way to raise the average scores. Where do you put these kids once they’re expelled? You build more prisons. Two thirds of the kids that Clark threw out are in Passaic County Jail. “This is a very popular approach in the United States today. Don’t provide the kids with a new building. Don’t provide them with more teachers or more books or more computers. Don’t even breathe a whisper of desegregation. Keep them in confinement so they can’t subvert the education of the suburbs. Don’t permit them ‘frills’ like art or poetry or theater. Carry a bat and tell them they’re no good if they can’t pass the state exam. Then, when they are ruined, throw them into prison. Will it surprise you to be told that Paterson destroyed a library because it needed space to build a jail?

That everyone in the corporate food chain, up to Price and even Bezos, was convinced of the need to work with theaters on their terms and not put their movies on Amazon Prime until five months after they debuted on the big screen proved the company was all-in on art-house movies. It was, in fact, the core of Amazon’s strategy. Rather than serve everyone everything they might want, as Netflix was doing with its mix of Adam Sandler comedies, Will Smith action flicks, and some indies, Amazon wanted to build a distinct identity for its Prime Video service. By making a particular kind of movie, everyone at Amazon figured, they would build an identity for their service, one that made it noticeably different from what almost everyone else in Hollywood was doing. Sure, many people wouldn’t be interested in the weird, depressing, or simply outré works that it was releasing, but at least those who were into it would love it. Amazon executives distinctly didn’t want a studio that was as bland as the company’s selection of USB cables. “We don’t want something that 80 percent of the audiences eventually gets around to watching,” said Hope. “We want the thing that 20 percent of the audience is so passionate about, they’ll break up with you if you don’t feel the same way. We want to inspire an urgent need to see.” In addition, the people who go to art-house movies tend to be upscale, well-educated people who live in cities and who like to shop online. If the ultimate goal of Amazon’s movie business was to attract, retain, and engage Prime subscribers, it only made sense to draw people who would buy the most computers, books, and Kindles online. “They are often very good retail customers,” Price said sheepishly. “So that’s not a bad thing.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

Yet here she was, not with Clara in a theater or a nice hotel in London, but on a bleak prairie, with not even one house within a hundred miles, caring for an old killer who wanted her to cut his ruined leg off so he could get well and kill again. She had studied and educated herself, but she had not escaped.

His training was nil: he matriculated on the stages of vaudeville; his education ended in the sixth grade. Winchell was born April 7, 1897, in New York City, By 1910 he was working at the Imperial Theater, where he, Jack Weiner, and George Jessel formed a trio of singing ushers. Gus Edwards took them on as part of his “Newsboys’ Sextet,” an act he worked for two years. He continued in vaudeville until 1917, when he joined the Navy, and he returned to the stage when his hitch was up.

When teachers participate in a literary experience with a professionally presented children's play, they are offering their students a text quite different from anything that they will experience within their classrooms. Within this literary experience, teachers join as equals with their students, and each, as audience members within the darkened space of the performance, create their own poems to hold within themselves or share with others.

Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.

Our ongoing Hollywood education included the lesson that moviemaking is not finished once you actually make the movie. After that, you have to promote the movie, because if the audience doesn’t show up, all your hard work is a bit pointless. But before we could sell Crocodile Hunter: Collision Course to audiences, we had to sell it to the theater owners who were going to show it to the public. So the first stop for our promotional efforts was a gathering of movie theater exhibitors called Show West, in Las Vegas. We would team up there with Bruce Willis, who had an interest in producing our movie. Bindi and I had been in Oregon for a few days, visiting family, and we planned to catch up with Steve in Las Vegas. But she and I had an ugly incident at the airport when we arrived. A Vegas lowlife approached us, his hat pulled down, big sunglasses on his face, and displaying some of the worst dentistry I’ve ever seen. He leered at us, obviously drunk or crazy, and tried to kiss me. I backed off rapidly and looked for Steve. I knew I could rely on him to take care of any creep I encountered. Then it dawned on me: The creep was Steve. In order to move around the airport without anyone recognizing him, he put on false teeth and changed his usual clothes. I didn’t recognize my own husband out of his khakis. I burst out laughing. Bindi was wide-eyed. “Look, it’s your daddy.” It took her a while before she was sure. Our Show West presentation featured live wildlife, organized wonderfully by Wes. Bruce Willis spoke. “I sometimes play an action hero myself,” he said, “but you’ll see that Steve is a real-life action hero.” Bindi brought a ball python out on stage. Backstage, she and Bruce hit it off. He has three daughters of his own, and he immediately connected with Bindi. They wound up playing with the lion cubs and the other animals that Wes had organized there.

I sometimes envy Dan his ability to teach *onstage*; for the theater is a great emphasizer--especially to young people, who have no great experience in life by which they might judge the experiences they encounter in literature; and who have no great confidence in language, neither in using it nor in hearing it. The theater, Dan quite rightly claims, dramatizes both the experience and the confidence in language that young people--such as our students--lack. Students of the age of Dan's, and mine, have no great feeling--for example--for *wit*; wit simply passes them by, or else they take it to be an elderly form of snobbery, a mere showing off with the language that they use (at best) tentatively. Wit isn't tentative; therefore, neither is it young. Wit is one of many aspects of life and literature that is far easier to recognize onstage than in a book. My students are always missing the wit in what they read, or else they do not trust it; onstage, even an amateur actor can make anyone *see* what wit is.