theater day

  Ag is the art of portraying a character vingly on stage or s. It involves embodying the emotions, thoughts, and behaviors of a character to create a believable performance. Ag requires a bination of skill, talent, and dedication to effectively vey the character's iions aions to the audience.

  In many ways, ag does require ce. It's about stepping out of your fort zone, embrag vulnerability, and putting yourself in someone else's shoes. Actors often have to perform in front e audiences or in front of a camera, which be intimidating. They also have to take risks with their performances, expl plex emotions and situations.

  The middle school theater department has been w for half a year to plete the cssic Shakespearean py: Romeo and Juliet. During the audition for roles, Billy auditiowice, and on the sed try, he he role of Romeo's enemy, a Capulet ybalt. Due to his ag skills highlighted by the interpretation system, Billy could be sidered the cream of the crop, in terms of middle school standards, but his shyness was a trait that didn't go unnoticed. It was due to his limited participation in previous performahat he didn't have much attention from his teachers and was merely a backdrop.

  The teacher who directed the py, was Mr. s, a Spanish teacher in the final grade of middle school. The haughty attitude of the characters, as well as their Victorian postures of straight backs from English culture, about nobility and formal education of etiquette measured in small gestures, he attended froup etiquette csses to perfect this traditional baroque performance for a total of two hundred dolrs.

  An expense funded by his father! but ultimately provided by the sale of ics. Unnecessary, as Thomas Carson would say.

  The csses already adjusted to the tight schedule of a young man crossih grade and drawing almost four hours every day. He learned about the representative greetings that should be offered to gentlemen and dies, the courtesy titles, and some protocols to be observed at the table, postures, meanings, gestures, traditions, and how not to fail iempt.

  Billy woke up early, with the cloudy day on the horizon, but it didn't dampen his enthusiasm to tinue practig his usual lines.

  In front of a mirror, he observed his face, his features, and everything he showed to the camera.

  ...

  -Why are you drawing your swords? Benvolio, do you want to see your death?" BENVOLIO. - "I'm putting them to peace. Sheathe yours, and don't look for imaginary enemies."

  He hastened as he walked with short steps, instilling in his heart the feeling of a tiger, ready to spit out Benvolio's words, his brow furrowed. - thought Billy.

  -Speak to me of peace when I have a sword in hand! More hateful to me is such a word than hell itself, more than Montague, more than you. e, coward. -

  He tinued reg his lines oer another.

  His words were rough, and he imitated the gait of someone desperate for a fotten crusade, for an enemy, adjusting his tone of voice to be deep, although it wasn't allowed. He tried to align his feelings with the despair of a family feud, of a hatred born from the cradle instilled by his parents, a hatred that reminded him of the arrogant lords who sed their ehose of the lower css, the vagabonds. Billy immersed himself in the fn feeling of the ignorance of the noble of 1600, taking his path, for ag was iing.

  -By the voice he seems a Montague. (To the Servant.) Bring me my sword. How dare that vilin asked to disturb our feast? I swear by the bones of my lihat without a shred of guilt, I will take his life. -

  -He is surely a Montague, sworn enemy of my house, who has e here to mock our feast. -

  His words came out with anger and fury.

  I could only reread the lines until the moment they got out of the car; some words of encement from his father were heard in the distance as he ehe grand theater of the school, at least for about 300 people. They arrived just in time to ehe dressing room and prepare for their big night.

  -My dear Juliet, - he mentioo Hanna Parks, one of the main faces of the theater club. - Today, the voices will accim your beauty, - said Billy, as a soft bow gestured in his steps.

  Hanna only hummed softly. - You ftter me, - she said.

  She wore a green and gray e, the colors representing the Capulets, while the Montagues wore a brownish-red, emblematic of Romeo's passions.

  Exiting character, Hanna took a seat beside Billy.

  -It's o see you too, Bill. I'm nervous; it's the first time I have the lead role, and I'm afraid of messing up any lines, - Hanna replied.

  -You'll do great, - the young man added, sitting beside her. Seeing Hanna's watery eyes, he tinued his versation.

  -The teacher expihat no matter what if we make a mistake, the grace is not to step out of character, although I don't think it'll happen to you. You were perfe Friday's practice, - Billy cluded.

  -It's not that; it's just the shame that doesn't wash away. I'm afraid of bnking out, - Hanna ented.

  Not far from Billy's feelings.

  -I'll get a gss of water; I'll see you in a bit, - Billy said, exiting the dressing room, needing to have a gss of water.

  Among the theater club, two people boasted potential futures: Hanna and perhaps Mauricio Diaz, who pyed Friar John. He had a warm aura when perf, which gave him a certain air of talent that the other schoolchildren didn't possess, even though only ih grade, the difference was already apparent. However, it's not very on for many children to be supported in ag; the field is only loved from afar.

  Billy's ag career was built ohodical study and the points of the system, which gave him a talent that only years of practice achieved for other people. But it wasn't just the work; there was something deeper, his ability that stood out above ordinary people, like an athlete acquiring a deeper talent than his petitors, an ialent. The invaluable ability that a genius mao locate in just two hours takes others twice or three times as long to achieve the same result with a little effort.

  Billy's POV.

  The red curtain dispyed the children's faces; the gentle voice of the social studies teacher, who served as the off-s narrator for this py, sounded. She annouhe partits and the roles eae assumed in a sample. She positioned each se or star act so that the audience wouldn't get lost, as well as so that the children wouldn't lose the rhythm of each se.

  It was a fragrant night of pani the nervousness of the performances. In front of an audience, artistic capabilities were reduced trant fear imposed by the gazes; even with experiehe desires to give a good show were overshadowed by that inprehensible thing for our brains, in this case, the awakening of a new sought-after and yearned-for profession. It might have been the deep-seated fears marginalized in life that what was new tained a high value of learning difficulty. Or it was my soft character speaking, deep within my numerous falls.

  He stuttered his lines forcefully, the best he could; if there were a rec, people would mock it. anic to be in front of an audience everyone from afar.

  In one moment, it was the lines; in the , time passed like lightning. He only reacted to the red curtain closing. His jouro the car felt extinguished.

  -I think you did fine, son, -Thomas added.

  -Hmm... I was terrible. At least I could sustain the small dialogues between each se. I wouldn't say it erfect. I just feel like I could have doer than I expected, - the boy finished, feeling disced.

  -Well, in a few days, you'll get over it. I'm sure you'll make it. Watg E.T. isn't about getting disced; just keep doing what you're doing, - Thomas replied.

  It was my first se.

  1. Shakespeare introduced and popurized many words and phrases into the English nguage through his pys, and "Romeo and Juliet" is no exception. Some of the popur words and phrases introduced by Shakespeare in this py include "in love", "crossed star", "love is blind", and "winged departure".

  discimer: This is fanfi, nothing belongs to me.