Schofie

Meagan Ingersoll

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Meagan Ingersoll has theatre experience that ranges from musicals (assistant director of Fiddler on the Roof) to classic Shakespeare (understudy for Queen Margaret in Richard III), designing (costume designer for The Miracle Worker) and directing (of a new laboratory play The Fine, Fine Line). Meagan has also interned on two feature films in the art and production departments (of Hero and Alone, Yet Not Alone). She is currently studying Theatre Arts at BJU. 

           Something captivates you. Some people love to play sports. Others devote many hours to music. But I have always been drawn to the stage. I was one of those kids who spent free time in imaginary lands, writing stories, researching (perhaps more like stalking) my favorite films and of course in rehearsals. I was cast in my first principle role that I auditioned for when I was five. Something happened in that production. I became captured. From then on, I immersed myself in everything I could that involved a production. From church plays, local college theatre, my university’s productions and even independent film projects, I have jumped in with both feet. Through growing in, musing over and learning about theatre, I have discovered that this art form has a rather unique power. It captures.

          I believe that theater is not just a place where plays are performed and an audience goes for an evening of entertainment. “Theater is a pulpit which is the most powerful means of influence.” (Moore, 3) However, this pulpit of influence captures all those touched by it, not just the audience. Why does a designer spend months sketching, erasing, and developing costumes or sets? He was captured. How could someone climb three stories above ground to hang a light over a stage? She was captured. Why does a writer pour his soul into characters and their lives? He was captured. I believe that this ability “to capture” needs to be utilized to its ultimate potential. “Truth and virtue are so rare in almost every area of our society.”(Bruder, 7) As theatre artists we will be better equipped to create honest art with this power if we have broad view of stories other artists are telling and how they are (or are not) truthfully capturing their audiences.

          My desire through being a part of The Green Room is to present ideas from the theatre arena objectively through a creative lens so that the reader will have more tools to wield when they use the power of captivating. I believe that God calls for my best in whatever I do and He deserves all the praise for what I accomplish. I want to serve my God with a life that is captivated by His majesty and I can display this through an honest and Biblical perspective of art.

References

Bruder, Melissa, et al. A Practical Handbook for the Actor. New York: Random House, 1986. Print.

Moore, Sonia. The Stanislavski System: The Professional Training of an Actor. New York: Penguin Books, 1984. Print

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