Theatre for Young Audiences

A Short History

Childhood is relatively new

Until the last century, most children received only a 3rd grade education and then were placed in the work force, either as farm hands or in industrial environments. With the 20th century came the push for K-12 education for the public, creating the demographic of childhood and teens.

Theatre for Youth is new

Plays have existed since Classical Greece (400 B.C.) but have only been developed for children within the past century. Children were grouped with adults in public entertainments and most entertainment now considered for children, was originally for adults. Puppetry, pantomimes and melodramas attracted family audiences.

th 20

Century Developments

People produce plays because they will make money. Children did not have money and were not considered a viable audience. Once adults felt it was important to provide entertainment for children and families, plays for young audiences began to emerge.

1878-1903

New York Theatres began to produce adaptations of fairy tales that were very popular with family audiences Cinderella Aladdin The Crystal Slipper Little Red Riding Hood

Frances H. Burnett

Little Lord Fountleroy ushered in a period of active play production. Also wrote A Little Princess Broadway produced an average of one play for children per year for the next 30 years. Plays were not original works, however, they were adaptations of traditional stories and books.

J.M. Barrie

Credited with writing the first original play for young audiences Peter Pan was written for the stage, not adapted, in 1905. The play is still produced today.

Recreational Theatre Grows

Alice Minnie Hertz established the Childrens Educational Theatre as a means of exposing immigrant children to literature and theatre. Mostly performed adaptations. Did not spur the development of original works. Development of creative dramatics begins. Plays were developed for amature productions and focus became narrow.

1920-1950

Community Theatre movement begins and spurs the development of plays for Young Audiences. In 1928 over half of the outstanding community theatres produced at least one production for young audiences.

1920-1950
Recreational Drama takes the place of professional theatre in the lives of young people. Plays are developed for children to perform in, rather than see as an audience. Most scripts written by amateurs which sacrificed character and plot development for large casts to be performed by children.

Claire Tree Major Childrens Theatre

1924, the theatre established a network of touring plays for young audiences that traveled across the U.S. Theatre exposed children to the art form but did not expand the repertoire of available plays since most were written by Mr. Major herself. As a result, they were never performed anywhere else.

Charlotte Chorpenning

Goodman Childrens Theatre Chicago 1932-1952 Chorpenning wrote over 40 original plays and collaborated on several others. She held workshops on writing for the youth audience an mentored writers, thus inspiring other serious playwrights to create shows for young audiences. Most plays dramatizations of folk or fairy tales with specific structure and designed to be presented in a realistic manner.

Childrens Theatre Press

Begun in 1935 by Sarah Spencer, the publishing company, now known as Anchorage Press, was the first publisher of plays for young audiences. Now writers were inspired to write for young audiences because there was a way to encourage other producers to buy their plays.

Federal Theatre Project

During the depression the Works Progress Administration (WPA) formed the project to create jobs for theatre professionals. Professional actors and directors were also collaborating with acrobats and magicians and other variety performers. Over 50 plays were developed for young audiences, and over half were original works.

1920-1950

Community programs filled the void left by the departure of professional productions. The majority of plays were still fairy tale adaptations. Standards were growing in playwriting and production that would gradually raise the standards of what Theater for Young Audiences should be.

1950 - 1980

The development of professional theatre companies solely dedicated to performing for young people. New theatre companies often had resident writers and used improvisation to develop new plays. Experimentation led away from fairytales and created modern plays of different styles.

Childrens Theatre Company

Founded in 1961, the theatre still serves as the leading Theatre for Young Audiences in the US. Minneapolis, MN theatre company dedicated to high production values, a strong theatre school and creating new adaptations for the stage. They are know for bringing the book to life. Plays adapted from famous story books look just like the illustrations in the story.

Forces behind new works

British and European influences set the standard for what American writers wanted to create. Plays were written to reflect the times and became based upon modern issues, themes and settings. Plays began to run the gamut in style, subject and quality.

Aurand Harris

Most prolific American TYA writer. Over 30 plays including adaptations and original works. The Arkansas Bear Once Upon a Clothesline Androcles and the Lion The Pinballs

Susan Zeder

Prolific TYA writer and dramaturge. Well know for writing plays of social significance and expert style. Wiley and the Hairyman Ozma of Oz Doors In a Room Somewhere

Y. York and James Still

Relevant plays of social themes. The Snowflake Avalanche The Afternoon of the Elves

Hush: An Interview with America Tales from the Suicide Mountains

Present day TYA

Almost every major city in the US has a resident Theatre for Young Audiences. Several professional organizations for TYA professionals for research and journals. Several publishers of plays for young people.

Challenges for the Future

Creating relevant plays for a changing population. Keeping theatre vital in a technological world. Advocating the validity of TYA as an important part of education and community. Increasing the profile of TYA so that more people support and demand TYA for current and future children.