Theatre for Young Audiences (TYA) has a rich and varied history spanning global traditions rooted in entertainment, education and the fostering of imaginations. Yet TYA in the western world is deeply rooted in the social and cultural acceptance of youth as a group in need of control, protection and didactic cultivation. Centuries of prejudice have resulted in dividing professional and amateur theater on the basis of age—underpinned by images of young people as less than capable beings. When TYA is written off as less than, are we watching the effects of adultism materialize to shield projected innocence? If we are going to allow children to hear just “any tale” as Plato wrote, what better story to hear than one created by their peers?
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As more and more time passes, the future of theatre appears to shift farther from shows that are flashy or shows that carry the most star power and closer to that which will draw the biggest audience. A prime example of this phenomenon is TYA, or theatre for young audiences. As this article explains, Chicago, a breeding ground for new types of theatrical experiences, has taken the TYA bull by the horns and opened up many avenues for Children's Theatre. The Chicago League even goes so far as to produce full seasons of children's shows, national children's theatre conferences, and ways for children to get involved in theatre across their communities. Social motivation and a growing desire by children to engage in theatre also helps support the fact that TYA will be around to stay.
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