My honors thesis project explores and analyzes the Microtheatre movement as a new theatrical experience for the next generation of spectators as well as producing two nights of Microtheatre on Emory’s campus. A study conducted by the National Endowment for the Arts found that the three greatest obstacles affecting attendance to performing arts events are limited leisure time, inconvenient event locations, and costs associated with participation[1]. The Microtheatre movement in Spain has revolutionized the spectator experience by addressing these challenges and reinvigorating the performing arts. Recognized this year by the preeminent American Theatre Magazine[2], Microtheatre has taken Spain and South America by storm. While no academic definition exists for Microtheatre, I have composed the following working definition to embody this movement: Microtheatre is a form of theater originating in Spain, categorized by its intimate short plays performed for small audiences in flexible spaces and informal performance formats. Microtheatre possesses the necessary elements to engage audiences who are already accustomed to immediate forms of entertainment: in-home and hand-held devices. The comfortable setting provides a low risk evening of entertainment and socializing. Tickets are inexpensive, performances are fifteen-minutes or fewer and audience members can eat and drink in the performance spaces, breaking down barriers of formality often associated with the performing arts.
Thanks to the independent research grant I received, I was able to make a site visit to the only Microtheatre in the United States, Microtheater Miami. This experience proved invaluable as I met with the professionals operating Microtheater Miami and learned more about how they create an immersive social and artistic experience for patrons. The purpose of this visit was twofold: the first part was to receive a history of Microtheatre Miami’s work and influence in the Miami community, and the second part was to participate in two evenings of Microtheatre shows to improve my own Microtheatre productions at Emory.
Jorge Monje, brought Microtheatre to Miami from Spain and in 2012 he founded Microtheater Miami in partnership with Miami’s Centro Cultural Español (CCE Miami). During its early years, Microtheater Miami produced shows a couple times a month in several different locations, such as various rooms in office buildings, until they found their more permanent home in the outdoor patio of CCE Miami. After increasing demand, especially from the “Anglo” market Microtheater Miami was able to expand. With the help of a generous grant from the Knight Foundation, Microtheater Miami was able to purchase large traditional shipping containers that transformed into their now famous performance spaces. Today, no more than 15 audience members at a time pack into these shipping containers to see the exciting collection of shows running each week. The shows are all 15 minutes or less and range all genres. While most shows are in Spanish, Microtheater Miami produces English shows too and is actively working on expanding their English-speaking audience base.
This opportunity to visit Microtheater Miami provided me with valuable information about how Microtheatres are managed and a clear picture of how Microtheatre creates community. This semester I aspire to create a more seamless and memorable night of Microtheatre on campus after all I have learned. I have also found a way to facilitate opportunities for playwriting students at Emory to share their work with Microtheater Miami. This will help Microtheater Miami have access to more English material and offer Emory students a chance to have their plays produced by a professional theater company. I look forward to seeing how this new relationship between Emory and Microtheater Miami helps both of our institutions.
Visit the Undergraduate Research Programs website to learn more about applying for Independent Research Grants.
I was lucky to meet with the theater coordinator at Microtheater Miami, Marlen Munoz. During my meeting with Mrs. Munoz I was able to learn the technical details on how Microtheater Miami operates; how shows and directors are selected, how they handle ticketing, how shows are scheduled and staggered, and how Microtheater Miami supports the local community. One of the most beneficial parts of this meeting was sharing my experience producing Microtheatre at Emory this past fall semester and receiving advice on how to improve my overall work. For example, one of the most difficult parts for me with producing Microtheatre was figuring out how to schedule and stagger shows. At Microtheatre Miami there are usually 7 shows running about eight times each night and then a late-night transition for shows more suitable for adults. Mrs. Munoz shared one of the master schedules (see tickets photo) with me so I can see how audiences can see as many shows with as few breaks as possible. Each ticket buyer receives one of these tickets and can decide at any point in the evening to see another show (if there are any openings still available). Throughout the night, an usher announces when shows are about to start and leads audiences to their designated shipping container/theater space. This may sound straightforward, but it was so helpful to go through how so many shows were managed.
The cherry on top of my time in Miami was seeing two nights of Microtheatre. I had visited a Microtheatre in Salamanca, Spain during a summer study abroad experience, but nothing could compare to the amount of people and energy at Microtheatre Miami. Hundreds of people flowed from the street and adjacent parking garage throughout the night. There was such a rich mix of various Spanish-speaking cultures as well as English-speaking locals and tourists. I was fortunate enough to attend the opening of the new circus themed season and see six shows. I briefly met many of the actors as they mingled with friends before and in between shows. Everyone there, patrons and staff, was friendly and thrilled to be a part of this festive atmosphere. With such a variety shows, I left Microtheater Miami with wonderful memories of the experiences I had and a newly inspired drive to make the spring Microtheatre shows I produce more interactive and engaging for the Emory community.
This opportunity to visit Microtheater Miami provided me with valuable information about how Microtheatres are managed and a clear picture of how Microtheatre creates community. This semester I aspire to create a more seamless and memorable night of Microtheatre on campus after all I have learned. I have also found a way to facilitate opportunities for playwriting students at Emory to share their work with Microtheater Miami. This will help Microtheater Miami have access to more English material and offer Emory students a chance to have their plays produced by a professional theater company. I look forward to seeing how this new relationship between Emory and Microtheater Miami helps both of our institutions.
Visit the Undergraduate Research Programs website to learn more about applying for Independent Research Grants.
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