Conclude the following essay

Question

INTRODUCTION
“Life is a stage, and we are all just players.” This well-known quote by William Shakespeare perfectly sums up the exciting and emotional experiences I had while being part of Jabulani and the tangerine dress play. When I first stepped onto the stage, I felt a mix of excitement and nerves that made the experience memorable and helped me learn more about myself and my creativity. The busy rehearsals, the friendships I formed with other actors, and the final performance ignited a deep passion for the arts in me. I also learned important lessons about teamwork, perseverance, and the power of imagination.

In reflecting on my transformative experience in the theatre for young audience production of "Jabulani and the tangerine dress," where I portrayed the character of Lelethu, I will explore the complexities of embodying a character that initially felt out of my depth, yet ultimately allowed me to grow immensely through collaboration with my peers and the technical team, sharpening my performance skills and fostering a deeper understanding of the drama industry; this journey not only challenged my perceptions of character portrayal and audience engagement but also unveiled newfound insights about my own creative potential and adaptability, highlighting the invaluable role of live performance in personal and artistic development.

SYNOPSIS
Morris is a young boy with a vivid imagination, and his favourite thing to do is wear the tangerine dress from his classroom's dress-up chest. However, his classmates don't understand his love for the dress. They insist that dresses are only for girls and make it clear that he isn't welcome in the spaceship they are building, arguing that astronauts don't wear dresses. One day, feeling isolated and hurt by their teasing, Morris's mother allows him to stay home from school. While at home, he dreams of an extraordinary space adventure. Inspired by this dream, Morris paints a breath taking scene and decides to bring it to school with him. Determined to share his vision, he constructs his own spaceship, decorates it with his painting, and invites two of his classmates to join him on an adventure in outer space.

I portrayed Tiger and the character of Lelethu, an 8-year-old girl who believed that dresses were only for girls. She teased Jabulani for wearing a dress, but her perspective changed when Jabulani brought his spaceship to school. Subsequently, she became his friend. I loved the energy my character brought to the story, as well as her confidence and reactions to various situations. However, I found her exaggerations at times to be unappealing. There isn’t much about Tiger because it’s just a dream and there wasn’t any characterisation made except for the voice and the walk.

I was dressed in all black and had colorful ribbons in my hair, but I wished I could wear a dress and have moments when I carried a backpack, like when we entered the school bus. It was the perfect setting for carrying backpacks. Otherwise, everything else was beautiful, and I loved it. I really appreciated how, as a cast, we supported each other when someone was struggling. It was great that we knew each other's lines well enough to prompt one another. Our directors were very patient with us throughout the process.

However, I felt that we placed more emphasis on reactions in the first half of the play, which caused the energy to drop after the nightmare scene. Additionally, our technical team consisted of our classmates, and I sensed that there was some undermining happening towards them from our group. During performances, a few cast members did unrehearsed staff that were of course acceptable as long as they didn't disrupt the rest of us. However, when those actions began to affect our performance, it became a huge issue.

I believe that theatre for young audiences is much more impactful when the audience is engaged. We anticipate their reactions at certain moments in the play, and if they don't respond, it can throw us off balance. Additionally, it could be due to the fact that we didn't get to perform for the intended audience. I have learned that children’s productions often explore innovative ways to capture and maintain young viewers' attention, such as interactive elements and relatable characters and that characters are often more exaggerated. Rehearsals require collaboration among diverse roles, such as directors, actors and technical team.
Directors must make specific choices about pacing, tone, and staging to suit the sensitivities and understanding of young spectators. Being open to immediate feedback from the audience, especially from children, is vital and that it’s theatre for young audience frequently utilizes physicality and movement to engage younger audiences. The process of engaging with themes that are relevant to children’s experiences encouraged to think critically about storytelling, character development, and the emotional impact of my performance. This production significantly enhanced my understanding of child development and audiences and I gained insights into what captivates young viewers, learning to connect with them on emotional and intellectual levels.

This experience deepened my empathy and awareness of different perspectives, as I embodied characters and a story through the eyes of children. Furthermore, this opportunity did boost my confidence and public speaking abilities, as I learned to engage with an audience that responds immediately and energetically.

Answer 1

CONCLUSION

In conclusion, my journey with "Jabulani and the tangerine dress" has not only been a journey into the world of performance but also into my own personal growth and understanding of the complexities of human expression. From the exhilaration of stepping onto the stage as Lelethu to the challenges of collaboration in rehearsals, every moment has taught me invaluable lessons about artistry, resilience, and empathy. The process of engaging with such a meaningful narrative, one that dares to challenge societal norms and embrace individuality, has profoundly enriched my understanding of the impact theatre can have on young audiences.

Through my interactions with my castmates and the technical team, I learned the importance of support and teamwork in overcoming obstacles. Though we faced our share of frustrations and miscommunications, we ultimately emerged stronger, having gained mutual respect for each individual's contributions. The beauty of theatre lies not only in the performance itself but in the shared experience of creating something greater than ourselves.

Moreover, embodying a character like Lelethu allowed me to explore the nuances of identity and acceptance, underscoring the value of understanding and compassion in our interactions with others. The lessons I drew from this experience will undoubtedly inform my future endeavors, both on and off the stage, guiding me to approach challenges with an open heart and mind.

As I step away from this production, I carry with me a renewed sense of purpose and passion for the arts. I am inspired to continue exploring the theatre's limitless potential for connection and communication, particularly in narratives meant for younger audiences. Ultimately, my experience has reaffirmed my belief in the power of storytelling to effect change and foster understanding, and I eagerly anticipate the next chapter of my artistic journey, armed with the insights gained from "Jabulani and the tangerine dress."