DOCSLIB.ORG

Feast of Fools Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Feast of Fools Free Download FEAST OF FOOLS FREE DOWNLOAD Rachael Caine | 242 pages | 22 Jul 2011 | Penguin Putnam Inc | 9780451224637 | English | New York, United States Feast of Fools Replaces Chambers as the most complete collection of data on the Feast of Fools and rewrites the history of the Feast of Fools as a profoundly Christian act of corporate worship rather than a disorderly remnant of pagan folk practices. Feast of Fools oxford. Retrieved October 16, from Encyclopedia. Its beginnings are obscure. Related Articles Expand or collapse the "related articles" section about About Related Articles close popup. Download as PDF Printable version. There the procession was received by Feast of Fools priests, who led the Feast of Fools and its burden to the sanctuary. New York: Robert Appleton Company, By the year numerous comedies and farces had appeared, usually performed on festive occasions in aristocratic houses or on open stages…. This burlesquing of things universally held Feast of Fools, though condemned by serious-minded theologians, conveyed to the child-like popular mind of the middle ages no suggestion of contempt, though when belief in the doctrines and rites of the medieval Church was shaken it became a ready instrument in the hands of those who sought to destroy them. History at your fingertips. An early Feast of Fools commendable call to reassess the reputation of the Feast of Fools. In The Catholic Encyclopedia. Tracing this origin narrative further, he gathered material not only on the local feast but also on every other instance of the Feast of Fools that he Feast of Fools find, as well as on its supposed precursors in the Roman Saturnalia and other pagan rites. Please help support the mission of New Feast of Fools and get the full contents of this website as an instant download. Feather, Leonard. Feather River College: Tabular Data. A richly caparisoned ass, on which was seated the prettiest girl in the town holding in her arms a baby or a large doll, was escorted with much pomp from the cathedral to the church of St Etienne. The same conclusion follows from two well-known cases which Father Dreves has carefully studied. Feasts, Festivals, and Fasts. The festival was, in fact, too popular to succumb to these efforts, and it survived throughout Europe till the Reformation, and even later in France; for in Mathurin de Neure complains in a letter to Pierre Gassendi of the monstrous fooleries which yearly on Innocents' Day took place in the monastery of the Cordeliers Feast of Fools Antibes. Feast of Fools password? Ithaca, N. Users without a subscription are not able to see the full content on this page. This prose or conductuswas not a part of the office, but only a preliminary to Vespers. Fears, Thomas Jesse "Tom". In spite of repeated prohibitions and penalties imposed by the Feast of Fools of Basel inthe feasts did not die out entirely until the 16th century. Though observances varied locally, they usually included burlesqued services, censing with unseemly objects, and more or less riotous behavior. Fearnley-Whittingstall, Jane —. On the other hand some Catholic writers have thought it necessary to try to deny the existence of such abuses. The Feast of Fools developed in the late 12th and early 13th Feast of Fools as an elaborate and orderly liturgy for the day of the Circumcision 1 January. A similar case of a legitimized Feast of Fools at Sens c. May be consulted for further discussion of most items in this article. They don the sacerdotal garments, reverse side out. During the second Vespersit had been the custom that the precentor of the fools should be deprived of his staff when the verse "Deposuit potentes de sede" He hath put down the mighty from their seat was sung at the Magnificat. Please help improve it by Feast of Fools it in an encyclopedic style. Though Feast of Fools feast had its vogue in the French cathedrals, there are records of it in England, notably at Lincoln, Salisbury, and Beverley. How little effect this had, however, is shown by the fact that in Odo, archbishop of Sens, could do no more than prohibit the obscene excesses of the feast, without abolishing the feast itself; that in the university of Paris, at the request of certain bishops, addressed a letter condemning it to all cathedral chapters; and that King Charles VII. At best a prose or a trope composed for such an occasion is here and there to be found in a gradual or an antiphonary Dreves, p. Feast of Asses. Feast of Fools Article Additional Info. Parents temporarily abdicated authority. Fearn, Anne Walter — General Overviews Only three books Lucotte du TilliotFeast of Foolsand Harris offer substantial engagement with the primary materials and attempt to tell the story of the Feast of Fools as a whole. Stephen's day 26 Dec. Help Learn to edit Community portal Recent changes Upload file. Username Please enter your Username. See Article History. From Wikipedia, the free encyclopedia. This article is about the medieval festival. A young sub-deacon was elected bishop, vested in the episcopal insignia except the mitre and conducted by his fellows to the sanctuary. In convents and monasteries Feast of Fools youngest nuns and monks were allowed to act as abbess and abbot for the day. Farley, Archbishop of New York. There can be no question that ecclesiastical Feast of Fools repeatedly condemned the license of the Feast of Fools in the strongest terms, no one being more determined in his efforts to suppress it than the great Robert GrossetesteBishop of Lincoln. We possess Feast of Fools, not to say thousands, of liturgical manuscripts of all countries and all descriptions. At First Vespers their representative variously Feast of Fools Lord, Abbot, Bishop, or Pope of Fools received the staff of office from the master of ceremonies, assumed his authority, and retained it throughout the feast. Please improve the article or discuss the issue. Fearrington, Ann Peyton The editor of New Advent is Kevin Knight. .
Load more

Recommended publications
  • Hunchback LIBVB.Pdf
    THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) .
    [Show full text]
  • Audition Pack
    AUDITION PACK Please read all instructions carefully 1 ABOUT ‘HUNCHBACK’ What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame? BOOK Peter Parnell MUSIC Alan Menken LYRICS Stephen Schwartz BASED ON THE PLAY/BOOK/FILM The Hunchback Of Notre Dame By Victor Hugo FIRST PRODUCED 2014 TIME & PLACE Paris, 1482 Directed and Produced by: Mr Huntington Assistant Director: Alex Moxon Choreography: Miss Hobbs Musical Director: Graham Brown Assistant MD: Mr Porter-Thaw Choir MD: Mr North Pianist: Melody Day Costumes/Props:
    [Show full text]
  • The Hunchback of Notre Dame …………………………………
    TEACHER PREPARATION GUIDE Music by ALAN MENKEN, Lyrics by STEPHEN SCHWARTZ, and Book by PETER PARNELL Based on the book by VICTOR HUGO Directed By VICTORIA BUSSERT TABLE OF CONTENTS Dear Educator ………………………………………………………………………..... 3 A Note to Students: What to Expect at the Theater…………………………………… 4 GLT: Our History, Our Future………………………………………………………... 5 Director’s Note .......................…………………………………………………………. 6 Victor Hugo ……….. ... ………………………………………………………………. 8 Scenes & Musical Numbers ……………………………………………………………. 9 Past Performances of The Hunchback of Notre Dame …………………………………. 10 Idaho Shakespeare Festival’s Production of The Hunchback of Notre Dame …………. 12 Costume Design………………………………………………………………………… 14 Scenic Design…………………………………………………………………………... 18 Questions for Discussion Prior to Attending the Performance ………………………… 20 Activities ……………………………………………………………………………….. 23 Writing Prompts …………………………………………………………………..…… 26 How to Write a Review ………………………………………………………………… 28 A Sample Review Written by a Student ……………………………………………….. 29 A Brief Glossary of Theater Terms …………………………………………………….. 30 Questions for Discussion After Attending the Performance …………………………… 32 Notes …………………………………………………………………………………… 37 Generous Support …………………………………………………………………….... 39 About Great Lakes Theater ………….…………………………………………………. 40 ן TEACHER PREPARATION GUIDE: THE HUNCHBACK OF NOTRE DAME 2 Fall 2017 Dear Educator, Thank you for your student matinee ticket order to Great Lakes Theater’s production The Hunchback of Notre Dame by Alan Menken, Stephen Schwartz and Peter Pamell, which will be performed in repertory with William Shakespeare’s A Midsummer Night’s Dream in the beautiful Hanna Theatre at Playhouse Square from September 29th through November 5th. As the bells of Notre Dame’s cathedral sound in fifteenth-century Paris, Quasimodo - a deformed, captive bell-ringer - observes the city’s Feast of Fools from afar. Escaping his captor Frollo to join the festivities, Quasimodo is rejected by every reveler except the beautiful Gypsy, Esmeralda – with whom he is immediately smitten.
    [Show full text]
  • The Jeu D'adam: MS Tours 927 and the Provenance of the Play
    Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 The Jeu d'Adam: MS Tours 927 and the Provenance of the Play Christophe Chaguinian Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Medieval Studies Commons Recommended Citation Chaguinian, Christophe, "The Jeu d'Adam: MS Tours 927 and the Provenance of the Play" (2017). Early Drama, Art, and Music. 2. https://scholarworks.wmich.edu/mip_edam/2 This Edited Collection is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. The Jeu d’Adam EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Independent Scholar Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences The Jeu d’Adam MS Tours 927 and the Provenance of the Play Edited by Christophe Chaguinian Early Drama, Art, and Music MedievaL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data Names: Chaguinian, Christophe, editor. Title: The Jeu d’Adam : MS Tours 927 and the provenance of the play / edited by Christophe Chaguinian. Description: Kalamazoo : Medieval Institute Publications, Western Michigan University, [2017] | Series: Early drama, art, and music monograph series | Includes bibliographical references.
    [Show full text]
  • 1 a Reassessment of the Feast of Fools: a Rough and Holy Liturgy
    1 A Reassessment of the Feast of Fools: A Rough and Holy Liturgy Max Harris Those who write about the Feast of Fools are, more often than not, both indebted to and led astray by E. K. Chambers’ collection of materials on the subject in the first volume of his Medieval Stage.1 We are indebted because his is still the most complete collection available of translated, paraphrased, or summarized data culled from the archives. We are led astray for at least two reasons. First, Chambers separates the data from its liturgical context. Not only does he divide the Feast of Fools from the liturgical drama of the Christmas season, treating the former in volume one under the general rubric of Folk Drama and the latter in volume two under the general rubric of Religious Drama, but he further separates both from their place in the daily office of the Christmas season. To the liturgy as such, in which both the liturgical drama and the Feast of Fools were deeply embedded, he pays scant attention. Secondly, Chambers packs a great deal of material, culled from archival sources stretching over several centuries, into a dense sixty pages of annotated revelry. Much of this material is taken from ecclesiastical documents attempting to restrict excesses or entirely to suppress the Feast of Fools. By privileging isolated ecclesiastical opposition over habitual (and, by and large, orderly) liturgical accommodation, Chambers creates the impression that the Feast of Fools was no more than a cluster of folk—and thus, in his view, pagan—customs having little or no
    [Show full text]
  • DREAM REALITY GROUP & PARK THEATRE GROUP​Present
    DREAM REALITY GROUP & PARK THEATRE GROUP present ​ ***Please read this note in its entirety*** Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of ​ Notre Dame showcases the film’s Academy Award-nominated score, as well as new songs by ​ Menken and Schwartz. Peter Parnell’s new book embraces story theatre and features verbatim passages from Hugo’s gothic novel. The musical begins as the bells of Notre Dame sound through the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer who longs to be "Out There," observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all. A sweeping score and powerful story make The Hunchback of Notre Dame an instant classic. ​ ​ Audiences will be swept away by the magic of this truly unforgettable musical. SEEKING TEENS & ADULTS AGES 14 & UP ​ *NO EXPERIENCE REQUIRED* *Info about ‘HUNCHBACK Community Choir’ on page 3* PERFORMANCES: October 24 - November 2nd, 2019 Rehearsals will begin the week of August 19th. Auditions: Auditions will be held at Warren County Middle School 200 Caldwell St. McMinnville, ​ TN 37110 on August 17th, 2019.
    [Show full text]
  • Hunchback-Study-Comp
    The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..……………….………..……..3 Standards and Benchmarks…………………………....……….…..7 Background…………………………………….………….….……..……8 Character Traits: What Makes a Man …..………………….…..51 The Towers of Notre Dame.………………….………………..…..70 Stained Glass: Telling Stories in Pieces……………………..…98 Describe Your Favorite Place.........................................126 Additional Resources……………………………….…..….……...143 2 | P a g e Teacher’s Notes The Hunchback of Notre Dame Music by Alan Menken Lyrics by Stephen Schwartz Book by Peter Parnell Based on the Victor Hugo novel and songs from the Disney film From the Academy Award-winning team comes a lushly scored retelling of Victor Hugo’s epic story of love, acceptance and what it means to be a hero. The musical begins as the bells of Notre Dame sound through the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all. A sweeping score and powerful story make The Hunchback of Notre Dame an instant classic.
    [Show full text]
  • Hunchback Audition Info Sheet
    Music by Alan Menken Lyrics by Stephen Schwartz Book by Peter Parnell PERSONNEL Artistic Director .......................... Steven Glaudini Costume Coordinator .................. Carlotta Malone, Director ......................................... Steven Glaudini Roz Lehman & Renetta Lloyd Choreographer............................. Roger Castellano Lighting Design ......................... Jean-Yves Tessier Musical Director/Conductor .......... Elan McMahan Sound Designer ...................................... Jim Zadai Managing Director ............... Colleen Kollar Smith Technical Director ................................ Justin Hall PRODUCTION DATES Callbacks ............................... March 19 &20, 2018 Opening ........................................ August 15, 2018 First Non-Equity Rehearsal............... July 14, 2018 Closing ................................... September 1, 2018* First Equity Rehearsal ....................... July 30, 2018 *subject to makeup or extension performance GENERAL DESCRIPTION Based on the Victor Hugo novel and songs from the Disney-animated feature; The Hunchback of Notre Dame showcases the film’s Academy Award-nominated score, as well as new songs by Alan Menken and Stephen Schwartz. The musical begins as the bells of Notre Dame sound through the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all. Character Vocal Part Age Description Salary Quasimodo Tenor with 20’s-30’s The deformed bell-ringer of Notre Dame and AEA or F high B Claude Frollo’s charge.
    [Show full text]
  • Feast of Fools Free
    FREE FEAST OF FOOLS PDF Rachael Caine | 242 pages | 22 Jul 2011 | Penguin Putnam Inc | 9780451224637 | English | New York, United States CATHOLIC ENCYCLOPEDIA: Feast of Fools Please help support the mission of New Advent and get the full contents of this website as an instant download. A celebration marked by much license and buffoonery, which in many parts of Europeand particularly in Franceduring the later middle ages took place every year on or about the feast of the Circumcision 1 Jan. So far as the Feast of Fools of Fools had an independent existence, it seems to have grown out of a special "festival of the subdeacons", which Feast of Fools Beleth, a liturgical writer of the twelfth century and an Englishman by birth, assigns to the day of the Circumcision. He is among the earliest to draw attention to the fact that, as the deacons had a special celebration on St. Stephen's day 26 Dec. John the Evangelist's day This feast of the subdeacons afterwards developed into the feast of the lower clergy esclaffardiand was later taken up by certain brotherhoods or guilds of "fools" with a definite organization of their own Chambers, I, sqq. John Beleth, when he discusses these matters, entitles his chapter "De quadam libertate Decembrica", and goes on to explain: "now the license which is then permitted is called Decembrian, because it was customary of old among the pagans that during this month slaves and serving-maids should have a sort of liberty given them, and should be put upon an equality with their masters, in celebrating a common festivity.
    [Show full text]
  • Sound and Space in Twelfth-Century Notre-Dame of Paris
    UNIVERSITY OF CALIFORNIA Los Angeles Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Kacie Morgan 2021 © Copyright by Kacie Morgan 2021 ABSTRACT OF THE DISSERTATION Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris by Kacie Morgan Doctor of Philosophy in Musicology University of California, Los Angeles, 2021 Professor Nina Eidsheim, Co-Chair Professor Elizabeth Randell Upton, Co-Chair My dissertation project examines the relation between sound and space of twelfth-century polyphony in Notre-Dame cathedral during its construction. Beginning in the second half of the twelfth century, a dramatic shift in rhythmic organization in the polyphonic repertoire at Notre-Dame cathedral occured, moving from Gregorian chant to a highly rhythmic note-to-note texture of discant polyphony. In order to analyze the connection between rhythm and acoustics, my project incorporates methods from sound studies, art history, and the digital humanities with historical musicology. My research enables the reconfiguration of sound as an interactive process between the performing body, the vibration of sound waves, and the physical space that contains the performance. I use digital tools and recent research in art history to reconstruct Notre-Dame cathedral as it might have stood at the end of the twelfth century to ii examine the material condition in the changing performance space and to test the acoustics of the space. My re-analysis demonstrates how the material conditions of the cathedral throughout construction directly impacted the sound production and performance within the cathedral, requiring new musical setting and performance practices.
    [Show full text]
  • AUDITIONS the Philadelphia Regional Premiere Of
    AUDITIONS The Philadelphia Regional Premiere of Audition Information Philadelphia’s award winning Upper Darby Summer Stage is seeking non-Equity actors ages 18-28 for its 42nd season summer production of The Hunchback of Notre Dame. Jeffrey Dietzler is directing, Gina Giachero is Musical Director and Choreography is by Jenna Rogalski. The onstage choir is directed by Eric Longo. Set Design is by Martin Dallago. Costumes design is by Mary Folino. Produced by Harry Dietzler. 1482. Paris, France. Quasimodo, a deformed bell ringer in a cold, cathedral tower discovers his inner strength. A conflicted priest battles the specter of damnation. A dashing soldier shuns duty to pursue a beautiful gypsy dancer. And at every turn, a malevolent force propels each of them toward fate. Based on the novel by Victor Hugo. The Hunchback of Notre Dame is the only stage collaboration from two masters of the American musical theatre, composer Alan Menken and lyricist Stephen Schwartz. In this brand-new production, a lush, emotionally rich score highlights the music’s orchestral power and choral beauty in an intimate retelling of the famous love story. Auditions are June 5 at 7 PM with callbacks on June 7 at the Upper Darby Performing Arts Center, 601 North Lansdowne Ave, Drexel Hill, PA 19026. Please visit www.udpac.org to pre-register for auditions. The Onstage Choir is open to anyone age 18 and up. Contact Eric Longo at [email protected]. Rehearsals begin June 8 and run Monday thru Thursday evenings, 7 PM to 10:30 PM. Tech will be Sunday July 23.
    [Show full text]
  • A Study Guide for Educators
    PACIFIC CONSERVATORY THEATRE PRESENTS A STUDY GUIDE FOR EDUCATORS GENEROUSLY SPONSOERED BY Joan Gellert-Sargen Sandy and Albert Mills Linda Stafford Burrows. 1 Welcome to PCPA A NOTE TO THE TEACHER Thank you for bringing your students to PCPA at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. Use the study guide to prepare your students prior to the performance. Each study guide has grade level notations to help you navigate to material you can use in your curriculum. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience for all. 1. Have students enter the theater in a single file. We suggest one adult for every ten to fifteen students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every ten to fifteen students. Teachers and adults must remain with their group during the entire performance. 2. Once seated in the theater, students may go to the bathroom in small groups and with the teacher’s permission. Please chaperone younger students. Once the show is over, please remain seated until the House Manager dismisses your school.
    [Show full text]