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Thursday, May 9, 2013

ARTING ABOUT...? "Why We Tell the Story"

by BRIAN BOZANICH, MFA



Why We Tell the Story







In my third year running the theatre program at my current school, I was slated to direct my first musical. I decided to give myself plenty of time to prepare and announced a title a year before auditions, Once on This Island (OOTI) (Ahrens and Flaherty).  I chose the show because it played to my strengths. It was a story about stories, about community, and a culturally based folk tale. I started preparing in summer 2003. Having never seen a production, I decided to mount the show in the round with an ensemble of sixteen serving as minions to the four central gods of the show.



Spring 2004

Knowing my casting pool, I had expectations as to who might take on the lead role of Ti Moune, the peasant girl caught between the gods of Love and Death. In a surprise, a senior Vanessa landed the role. She was not whom I expected, but her audition captured the hope and vulnerability needed for the role. As a director, sometimes you get all the right people, at the right time, with the right material, and it is art. The rehearsal process was filled with all the work, joy, fear, and stress needed to temper the work. Vanessa grew in the role and the whole cast knew we had the potential for transcendence. On opening night on the floor of a converted gym in Southern California with sixteen lights the story of Ti Mourne resonated with every audience member. Vanessa embodied the role.  I watched audiences lean in toward the stage and saw football players cry. A teacher offered this one word review. Catharsis.




The entire team shared in the credit. Music, dance, design, acting had unified to create something more. Vanessa graduated a few months later. In the next few years, I saw her a few times and thanked her for helping me, a novice director, do something beyond what I thought was possible. The 2004 cast of OOTI stayed in touch and connected through the years and we all talked of that production as a significant life event. 


January 2011

One Thursday, passing the Activities Director’s office, I heard a snippet of a conversation, “car accident, class of 2004, I think.” Over the next hour I would learn that Vanessa had been killed by a drunk driver the night before and left behind a young daughter. I was devastated. We had not talked in years, but the shared experience made the sense of loss overwhelming.  I announced the death to the school and spent time with her friends and family in mourning. At the funeral, over half the cast attended, we all shared stories. Vanessa’s mother told me that Vanessa’ daughter often watched the recording of her mother in OOTI.



June 2011

I have never known what to say in times of grief. As someone who is typically good with words, I am rendered mute when I try to console. After a few months thinking, what can I do to help the community heal? I thought of OOTI, its themes of love, death and redemption. I decided to enlist my current students’ talent for a project. We would mount a revival of the OOTI and set aside one night as a benefit for Vanessa’s daughter. It was something I could do. In addition to the show we would invite the 2004 cast and crew to the stage to sing the closing number “Why We Tell the Story” after bows. My student jumped at the chance to help. We began planning.



Spring 2012

With my cast set, we began rehearsals.  Nicole was cast as Ti Moune and she felt the necessary responsibility of the role. Over the course of rehearsals, the original visited the theatre. Current students met their 2004 counterparts. They shared stories and helped the cast find the sense of community needed to make this project work. Last March, on a Friday evening, we raised over $4000 for Vanessa’s daughter.  The cast was amazing, the performance incredible. The tears started with the first song and ended long after bows. The sixty students from eight different graduating classes sang, “And she stands against the lightning and the thunder, And she shelters and protects us from above, And she fills us with the power and the wonder Of her love.” We offered up the song in the memory of our absent friend Vanessa.






May 7, 2013

I have been trying to write this post for weeks. To organize the experience and help give context to the posts about my teaching philosophy. Monday, I received a call from Vanessa’s sister saying she had something to drop off for me. We missed connecting, but when I went to pick up what she left, this was the gift.


A decade later, we are still community. Thank you, Ness. This is why we tell the story.




Brian Bozanich, MFA
Visual and Performing Arts Coordinator
Saint Joseph High School
5825 Woodruff Avenue
Lakewood CA 90713
bbozanich@sj-jester.org theatreboz@yahoo.com
562-925-5073 x 193




Please visit: Twitter: @FilmRobin for up-to-date info on where I am travelling for ART. LinkedIn: LinkedIn.com/in/robinscottpeters for complete resume & work history. Smashwords.com and look for Dr. Robin Scott Peters Ebooks now available. YouTube: Youtube.com/user/robinscottpeters for all my video work.

Thursday, May 2, 2013

ARTING About...? The 4 Ways to Advocate for Theatre Education

by BRIAN BOZANICH, MFA


The 4 Ways to Advocate for Theatre Education

Over the last twenty-five years I participated in many discussions about drama education, some of them were, shall we say, highly animated. In an atmosphere of common core, standardized tests, and authentic assessment, we are often asked to justify our existence as part of the curriculum and school community.

The opponents of theatre classes will say that arts classes have no career potential. They point to unemployment figures for those with theatre degrees. Anecdotally, I was told not to study theatre and to live in the real world by my parents. My family gradually came to accept, if not support, my course of study. Another adult, when they learned I taught high school theatre, told me I was "preparing kids for a career at the drive through window." This struck a nerve with me and I started to think of high schools as merely a place for career training. Should students be judged simply by their employment prospects? If a student wants to take AP Chemistry, adults never quote the failure rate of undergrad Organic Chemistry students. They are allowed to explore their limitless potential. Similarly, if a teacher looked at a student and said “law school is hard, you should have a fall back career” parents would, rightfully, question the teacher’s counsel. The teacher might even be accused of crushing that young person’s dream. If a child dares to aspire to a creative career, parents have encouraged me to discourage such ideas.

How should we speak about arts education in a digital age? Here are the four things I have found to be effective counterpoints to opposition to theatre education.


11.)  Do not make the argument to those who agree with you.
Many drama teachers focus on the emotional benefits of arts participation. It helps the outcasts, it gives an outlet for students who have different learning modalities, or it helps emotional growth. All of these are true but, they are not persuasive to those who want to marginalize arts ed. Opponents will dismiss those points as touchy feely. 



22.) Focus on the soft skills theatre teaches.
I decided to change the way I speak about the value of a theatre education. I now stand in front of parent groups and tell them that drama will teach students to work with others to communicate an idea on a deadline. If they can name any job that does not require those skills (communication, collaboration, and time management) I will consider my class simply playtime and give all students A’s just for participation.



33.) Look at the successes in athletic programs.
In an environment of limited resources, arts programs often fight for time and money with athletic programs. I have not heard of a single successful campaign to redirect athletic money to the arts. That energy would be better spent examining where the athletic program is successful. At my school, athletics announces the scores and news daily. I instituted a plan where the arts PR person announces auditions, community appearances, and upcoming performances.  Just as the coaches meet the parents at the start of each season, I hold a parent meeting for the cast to outline the rehearsal schedule and talk about the show. School pride is a core value of my program. A program that sets itself as an island apart for the rest of campus should not be surprised when the campus community does not support the work. 



44.) Do outstanding work
The single best advocacy for arts education is to make good theatre. I have had many parents ambushed by the quality of the shows. They walk in with painfully low expectations and leave amazed at the students work. When they continue to attend I make sure to show a breadth of talent and material, so they realize the students’ capacity for achievement.



The benefit of these arguments, besides their accuracy, is they open those who might oppose the arts as frivolous. The process of understanding the skills and impact of a theatre education can lead to parents who become vocal advocates for your program.


Brian Bozanich
Visual and Performing Arts Coordinator
Saint Joseph High School

Please visit: Twitter: @FilmRobin for up-to-date info on where I am travelling for ART. LinkedIn: LinkedIn.com/in/robinscottpeters for complete resume & work history. Smashwords.com and look for Dr. Robin Scott Peters Ebooks now available. YouTube: Youtube.com/user/robinscottpeters for all my video work.