Chapter 1: The Misunderstood Theatre Degree

A theatre degree is often seen as less valuable than it truly is. In our society, individuals involved in theatre—actors, dancers, and other performers—are frequently dismissed as lacking real-world skills, merely capable of "pretending." This perspective is not only misguided but also disheartening.

Those immersed in theatre are resourceful, hardworking, empathetic, and skilled in collaborating with other creative minds on significant projects, often bearing substantial responsibilities. From early on, theatre students learn that they are essentially their own brands. They must invest considerable effort into self-promotion and enter audition rooms exuding confidence, all while preparing for the likelihood of rejection.

This resilience nurtures a strong entrepreneurial spirit, provided they don't become jaded or disillusioned. Sadly, many theatre practitioners are unaware of their inherent potential. Upon graduating, I observed that many individuals struggle with communication and teamwork.

In philosophical terms, collaboration is referred to as Dialogos. While its modern definition is simply to converse, its origins reflect a deeper meaning—an interaction aimed at uncovering truth through shared effort. Effective theatre ensembles embody this principle, honing this essential skill at every level of performance and production, a skill often overlooked in traditional education.

While "group projects" exist in academic settings, they tend to be undervalued, treated merely as a means to achieve a grade. For theatre professionals, the stakes are much higher; their reputations hinge on each performance. They have a singular opportunity to create a memorable experience for both the audience and fellow performers, some of whom they may wish to collaborate with in the future.

Creating is not just a task; it’s an intrinsic part of their identity as artists. Theatre practitioners possess an innate drive to produce. In contrast, many business or entrepreneurship students often end up in administrative roles, lacking the hands-on experience that theatre individuals gain by running local non-profits or creative ventures.

I learned more about the practicalities of business through direct involvement than through textbooks. This reflects a broader issue within modern academia: we often focus on studying others' theories instead of engaging in action ourselves. The Stoic philosopher Seneca cautioned against excessive reading, stating, "A multitude of books only gets in one's way."

Unlike many fields, theatre demands immediate application of knowledge. Students frequently transition from classes to rehearsals, dedicating themselves to their craft, sometimes juggling multiple responsibilities, including jobs outside of theatre.

There is no typical 9-to-5 existence for those in the theatre world. While some may work in box offices or ticketing, the core of the industry—actors, directors, stage managers, musicians, and dancers—immerses themselves fully in their art. They embody their work, living and breathing their personal brands.

Theatre imparts these lessons from the very beginning, emphasizing the importance of valuing the arts, which enrich our lives. As Robin Williams poignantly stated in Dead Poets Society: "Medicine, Law, Business, Engineering, these are all noble pursuits necessary to sustain life. But Poetry, Beauty, Romance, Love, these are what we stay alive for."

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Chapter 2: The Entrepreneurial Spirit in Theatre

In this video titled "Why Did I Study THEATER at YALE? | Should You Get a Theater Degree?", the speaker explores the numerous advantages of pursuing a theatre degree, emphasizing the skills and experiences that can shape a successful career beyond the stage.