• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Explore the impact of social, cultural and or/historical conditions on the work and indicate how the influences and ideas of other playwrights and/or directors, designers and performers (i.e. practitioners) have been used.

Extracts from this document...


Explore the impact of social, cultural and or/historical conditions on the work and indicate how the influences and ideas of other playwrights and/or directors, designers and performers (i.e. practitioners) have been used. It was important that our production appealed to a wide range of ages and styles as we performed to students within the school as well as teachers, friends and parents. If we had only used Shakespearian language, it would have lost the attention of younger students, and conversely, the use of only modern texts would have meant little to older audience members. By researching back as early as the 16th century, it showed that blind love affects everyone, and has always been part of love and relationships. If we had only portrayed blind love from one historical context, it could have seemed like a purely outdated or a purely recent thing. We wanted the audience to recognise this in from their own experiences. The interaction between Helena and Demetrius in 'A Midsummer Night's Dream' would seem unacceptably rude in today's society "I am sick when I do look on thee", yet was not so in Shakespeare's day. ...read more.


Nora in Ibsen's play, and Roger in De Angelis' both leave relationships due to sexuality, frustration and repression. Love is not meant to restrict, and these two plays emphasise this. The context definitely shaped how we used the different texts; 'Hedda Gabler' was one clear example of this. Because their discussion on their affair was obviously littered with sexual innuendo, Josh, Steph, Nicole and Sam over-exaggerated this as it seemed so amusing in hindsight. There was almost a sense of mocking the very strict attitude of the time, particularly with our own version of that scene placed later in the production "Will you shag me now?" Beauty and the Beast' shows a fictional example of someone seeing below the surface of a relationship. The idea of a woman falling in love with a beast, despite their grotesque physical appearance is a classic, though improbable example of our concept. Written in the 18th century, the play aimed, similarly to ours, to strengthen the audience's understanding of shallow beauty. An audience now is less likely to immediately be inspired and change their perspective on love, and although the strong moral element is transparent, it shows the most clear, extreme example of open eyes "See with more than your eyes". ...read more.


It also allows us to compare time periods and tone, like in Keatley's play, the scenes are not in chronological order, nor increasing or decreasing in emotional intensity. This unpredictability means the audience are constantly engaged, as every scene is different, and can either contrast or complement the next. We fortunately had the opportunity to take part in a Berkoff workshop run by a touring theatre company which was hugely beneficial. "His fierce and unrelenting exploitation of all the elements of theatre, especially with regard to the physicality of the actor in all its manifestations"; the exaggerated characterisation and use of body language typical of Berkoff was a definite influence, and used particularly in scenes such as Hedda Gabler, Time and the Conways and Beauty and the Beast. In order to successfully communicate our concept of blind love to the audience, and the unwillingness to look closer, the characters' intentions has to be very clear. The Beast was physically formed by six members of the group, and in order to make the Beast really animalistic, we used all of our bodies and vocal skills. If any element or group member was not a hundred per cent committed to the role, we would have run the risk of appearing comic when it was not intended. Helen Fletcher 13A Structured Record ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Peer reviewed

    Indicate how the influences and ideas of other playwrights and/or directors, designers and performers ...

    3 star(s)

    I used a liverpudlian accent which is socially associated with the lower class, and therefore may help intensify the atmoshere of being trapped that we were collectively trying to create. Another way in which we enforced this vulnerability in the audience, was how we positioned the seating.

  2. Steven Berkoff - East. Social, Cultural & Historical.

    It did not stop there. He aligned himself with another Cockney criminal, the 'Great Train Robber' Ronnie Biggs. Although he clams in an interview that he wanted to do 'Hamlet not fucking Beverly Hills Cop', which may appear strange considering the type of reputation he was building up for himself.

  1. Discuss how historical stereotypes of Australian masculinity are confirmed or challenged in the film ...

    Scott is neither of these, and neither is Rico, so the challenge takes another form, that of dancing. But it is still a challenge with the stereotyped response, and therefore the film confirms that part of the masculinity stereotype. Scott practised very hard with Fran to be the best dancing partners.

  2. Performing arts skills

    in them being haunted would have been too difficult to portray to the audience, fight between two men for the love of a woman, again not long enough for the piece of music and kids pretending to be robbers. We decided on this idea because we could take it and make a good performance of it.

  1. A Doll's House - Form, structure, and social and historical context

    The Helmer's lifestyle was typical of a Victorian patriarchal household, this is evident from the fact that Torvald is referred to as 'Helmer' in the play, and not his first name. This implies that he is the head of the family, and more formal and important than the other characters, specifically Nora.

  2. How Far Did Historical Influences Affect The Development Of The Theatre Royal Bath In ...

    Money was spent on general improvements of the auditorium and a lofty dome decorated with statues of Apollo and Muses replaced the initial flat ceiling. However, when re-opened the renovations were far from satisfactory, and in 1775 the auditorium was again re-constructed, this time by the designs of John Palmer the architect.

  1. Developmental Process. To explore the different aspects of city life, we all came ...

    everyone being in the same setting and the snow fall around them being really heavy and therefore the characters would be trapped together in the same room. We also did some research into the soldiers who were returning from Iraq, Afghanistan and the impact which the wars within each location had on them.

  2. Outline and assess what you consider to be the most important aspects of one ...

    Occasionally an actor won't be able to summon a suitable emotion from their subconscious but there is always a certain emotion that can be emphasised and worked on to get close to the desired feeling. Having this realism in emotion is how Stanislavski's work stood out from the acting of his day.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work