posted by
owlfish at 12:11pm on 06/10/2007
When I was in elementary school, I took classes at The Playhouse, the local theater-and-school. That's how I met
mutabbal, my friend of longest standing. Each class culminated in a show we'd developed over the course of the class, performed for family and friends. The year I met
mutabbal, we performed "The Practical Princess".
Presumably it was this fledgling theatrical experience which led me to write a play in fifth grade. It was a musical. It was science fiction. It was called The Rocket Vehicle. My fifth grade glass performed it. My early inclinations - musicals, science fiction - were already going strong, although I have never written another play since.
My entire theater career culminated the following year with my musical theater debut in London, as a singing, plague-carrying sewer rat, part of a student chorus in a semi-professional performance called Flo of the Fleet. It was a history of London, told via the history of the river Fleet, now a sewer, and best known for Fleet Street, which crosses it not far from its outlet into the Thames. My involvement was a by-product of being involved in Drama Club at my secondary school. (Our drama teacher played one of the two lead rats.) And I haven't been in another piece of theater since.
I teach, though, which involves a certain amount of theatricality, performing for an audience, and requiring a clear speaking voice. For the first semester I taught my own full-fledged class, I had butterflies in my stomach every day before lecture. I have yet to figure out how to incorporate musicals sensibly into history of technology, however. (There are non-sensible ways. I bet I could put together a whole course based on "history of tech as portrayed in musicals", but would there really be an audience for it?)
Presumably it was this fledgling theatrical experience which led me to write a play in fifth grade. It was a musical. It was science fiction. It was called The Rocket Vehicle. My fifth grade glass performed it. My early inclinations - musicals, science fiction - were already going strong, although I have never written another play since.
My entire theater career culminated the following year with my musical theater debut in London, as a singing, plague-carrying sewer rat, part of a student chorus in a semi-professional performance called Flo of the Fleet. It was a history of London, told via the history of the river Fleet, now a sewer, and best known for Fleet Street, which crosses it not far from its outlet into the Thames. My involvement was a by-product of being involved in Drama Club at my secondary school. (Our drama teacher played one of the two lead rats.) And I haven't been in another piece of theater since.
I teach, though, which involves a certain amount of theatricality, performing for an audience, and requiring a clear speaking voice. For the first semester I taught my own full-fledged class, I had butterflies in my stomach every day before lecture. I have yet to figure out how to incorporate musicals sensibly into history of technology, however. (There are non-sensible ways. I bet I could put together a whole course based on "history of tech as portrayed in musicals", but would there really be an audience for it?)
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And I think I might pay to see a history of tech portrayed in musicals!
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Its been decades but finally I've put the envy to rest - thanks in no small part to the two rats I was unhappily hosting in my apartment earlier this summer :P
I think often about the theatricality of teaching - especially the opening bit. Actors who come on and convince the audience immediately of the character that they play - so that the audience sees the character and doesn't keep looking for breaks and wobbles on the actor's part - have much more freedom, I think - and the same goes for teachers. I find that when I act as if my presence at the front of the classroom is exactly where I belong - not arrogantly, not nervously, but at ease with my command of the material - my students are more than willing to see me in the same light.
It makes me less anxious about the overall project of teaching - and it seems to convince students to see anything I don't know or forget (like the relationship between the early Ottomans and the late Byzantine Empire, which someone asked me about on Thursday :() as a small thing, rather than as something that makes them question my competency overall :).
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How about the history of technology *for* the stage? If you look at the development of theatrical sets, from things like swinging lanterns and manually moved lazy-susans to a mechanically involved show like Wicked or Mary Poppins, there has to be some fodder there.
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And sci-fi musicals? Two of my very favourite things too.
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**
For some reason, Into the Woods teaches extremely well in tandem with epic.
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One of the musicals I was in in school was Alice in Wonderland. Guess who I played?!
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I've tried to think of technology integral to a musical's plot (so that you could YouTube a relevant clip from a given musical to your students). But I haven't thought of anything yet.
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I am very open-minded when it comes to just what qualifies as a technology. If it's a tool or technique of any sort, I'll willing to count it. So technologic plot-hinges might include...
The Wizard of Oz: ruby slippers, Oz puppet, hot air balloon
Wicked: hat, same as above, (also bubblemobile)
Annie Get Your Gun: Guns, skin-lighening techniques
Sweeney Todd: razors, barbar chair (I haven't seen it in ages, so can't be more specific. Pie-making techniques?)
Hairspray: see title; also, t.v.
For a whole more obviously relevant musical, Take Flight which premiered (I think?) this summer in London. It's about the history of flight.
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Everyone would leave the theater humming such show stoppers as "The Revolution Industriale" and "Riding through the internet tubes with my baby"