Skip to main content
2012-2013 Season

Only in Theater...

by Ariel Mitchell, dramaturgy

One of the things we want to explore with Gone Missing are the special qualities of theater. We will be using a lot of projections and mixed media, including many technologies that we’ve “lost.” Is theater a lost art? Has film made it obsolete? What can theater do that no other art form can?

Here are some thoughts from our Performance Writers:

“Unlike other performing arts, theater directly engages in a discussion specific to people–their culture, thought and story–as well as the emotional connection of performance. The best theater marries textual discussion along with emotional appeals and connection of performance-specific mediums: the actors, the audience, set, music, lighting and others.” –Alizabeth Leake, Actor and Performance Writer

“I don’t know much about theatre theory or anything like that but there is something about theatre, the fact that it is live, that something could go wrong at any moment, and things do or don’t go wrong, that is exciting. It doesn’t matter how many times you rehearse or how well you know a script but something might go wrong, but you can’t let the illusion falter for the audience. Theatre can be formally interesting and create a feeling that film and other mediums can’t.” –Chelsey Roberts, Costumer and Performance Writer

“Film is bound to realism. Storytelling uses simplicity. Dance performs without words. On stage can you tell a complex story using all bodies, words, music, costumes, and props in a way that can weave stories together to make meaning, tension, or juxtapositions stronger than other forms. In a film you can cut from one shot to another to show a relationship between the two stories or two points in time. On stage you can have an actor representing the past or the other story and they can actually affect the other. They can move their things, invade their space. In life, other people and their stories are constantly affecting our own story, and on stage you can really show that relationship– in many forms.” –Hannah Kroff, Props Mistress, Actor, and Performance Writer

Related Articles

data-content-type="article"

A 1930s Dramaturgy "Soiree"

May 29, 2024 10:15 PM
The world of Noel Coward’s Blithe Spirit is a rather far cry from the world that we are familiar with today. As such, a dedicated portion of our dramaturgical work for this production focused on helping the creative team become more comfortable and familiar with this brief look into the 1930s.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

A Swing for the Supernatural

May 28, 2024 09:16 PM
If you will see, or have seen, the BYU Theatre production of Blithe Spirit this June, you may notice that there are two names in the cast list who are not given a character role, but simply the role of “Swing.” Just what is a swing, and why are they important for a production? As dramaturg, I interviewed our two swing actors to get their perspectives - and definitions - of this important role.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

An Easter Egg Hunt through The Tempest

April 03, 2024 03:10 PM
Our production of Shakespeare’s The Tempest is a new adaptation by director Teresa Love.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=