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AS and A Level: Plays
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We then performed this at the end of the lesson fully. Because we focused on singing and dancing, I would say this was more of a musical theatre based lesson. What Health and Safety considerations did you make? Before we did the workshop I did a check on myself, to make sure I was holding any items that could become dangerous items. As a collective group we scanned the floor for bottle caps or something else just to make sure there was nothing that would harm anyone and make them fall over or something.
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His wife, Linda, also did not help the situation any. She was constantly making up excuses for Willy and why he was the way he was...caught up in his fantasies. She did not help Willy see that he was suffering from psychosis. She, in a sense, hid it from him, and blinded her sons to the seriousness of the situation in the process, as well. All of this put a lot of pressure on Biff, which led him to be very confused about what he was "supposed" to want, and do with his life.
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Laura and Tom are dreamers, but they cannot act on their dreams and desires. Amanda lives in the past and is separated from her children by this. The family composes a collection of a strange mixture of personalities that cannot incorporate themselves into the world. For example, Tom describes Jim as his "best friend at the warehouse," but the audience later questions this, as he is unknowing of his friend's engagement. "Glass is something that you have to take good care of," and similarly a family must be taken care of to flourish. The members of the Wingfield family all strive for what they personally believe will be best for them or the family, without really understanding what that means.
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There are never more than two characters talking to each other at any time, with the chorus offering commentary. There are often long monologues contrasted with curt dialogue, showing a lack of communication between characters, especially Jason and Medea. The chorus speeches almost combine the two, being lengthy but with shorter lines than the monologues. Language As any version of the play we see is a translation from the original Greek, the language can vary from version to version. In the edition we have used, the language is often fragmented by punctuation, with short sentences.
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The house is a "big old-fashioned but newly redecorated and converted mansion". Sound/music/light (p.9) drum roll: the use of sound keeps the audience attention. In this case the sound of the drums is like in a circus, this shows how farcical the situation is. (p.10) George and a telephone in a spotlight: the use of sound effects captures the audience attention. (p.12) the music has stopped: emphasise what happened Split stage The stage is split into 3 parts: Left: study Centre: front door Right: bedroom Whilst the point of action is in one side on the stage, the other parts
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Scene one is a parallel of scene nine with a similar ending. Scene one shows max and charlotte breaking up after an argument, and the future is bleak for both of them. Scene nine shows the same thing, and as a reader or watcher, you would recount scene one and foreshadow the result. However, in scene nine, it doesn't stop where scene one ends, it continues. The anticipation of the result, after realizing what was supposed to happen, but isn't ending in such a way, is even greater and grabs the reader's attention and makes the play more enjoyable and interesting.
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Dance essay on all three works This essay looks to discuss the works of Alvin Ailey and Christopher Bruce. Revelations 1960, Cry 1971 and Swansong are the three works to be conversed.
how the slaves had to travel to the riverside to get water each day; in terms of movement, Ailey has used unison to show that these people were all in the same position and were all after the necessities; it represents the idea that the queue for the water each day was huge. 'I wanna be ready' is another song used by Ailey to set the mood and signify an overall message; it stresses just how strong these individuals were to have survived and soldiered through such terrifying and retching conditions.
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are needed for this use and a ladies toilet door that was turn around to reveal the inside where private and intimate girl talk took place. There was an epic effect where the set opens right in front of the spectators to show a back wall that was used for the street fight scene. The set was really realistic and quit modern The costumes the performers were wearing are contemporary and very casual; they wore tract suits, trainers and jeans, although they did dress Othello in a smart shirt and jeans to show his statues.
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and a blue tea dress, was very visually effective and immediately after she entered the stage I as an audience member was aware the production was not of a naturalistic genre. Neilson wants us to find answers for questions we may not have thought about before, such as why do patients with mental illness often refuse to take their medication? This would increase our understanding of these conditions and the way they are handled. In order to do this effectively we needed to fall in love with Dissocia and its magic so we could sympathise with Lisa for not wanting to leave it.
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Indicate how the influences and ideas of other playwrights and/or directors, designers and performers have been used.
This helped us how to use the space effectively and use to our full advantage and still make the performance effective. The music within the musical 'Chicago' gave us ideas of what sort of music and themes to focus on and research, as we didn't want to use the exact same music as Chicago because the music is fairly popular and we didn't want the audience to compare our performance to Chicago, which is why we included a major twist within our story, so people wouldn't compare both performances.
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How a memory takes a role within a character and even so, his work still defies easy categorisation, it is not always essentially northern nor is it ever entirely realistic although it is sometimes domestic and universal. Cartwright's target audience at the time when he first wrote 'Two' was focused in the north of England. The characters within Two symbolised what life was actually like in the 1980's in the north of England. The different types of relationships were used so that the audience can really relate to their own lives with the lives of the characters within the play.
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With characters interacting with each other and are doing a duologue you get to see what there relationship is really like even though the audience are only seeing a small glimpse of their life. For example Mr and Mrs Iger or Roy and Lesley. The sections build up anxiety, suspense or curiosity within the audience. The Rondo form of this play is 'A B A C D A'. After the first few scenes the audiences gets to grip with the sequence of the form of the play and the way it is progressing.
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In this essay, I am going to compare and contrast Blue Remembered Hills and The Flint Street Nativity. I will write about the social context, themes, style of presentation and genre.
The themes which are shown throughout blue remembered hills are childhood, status abuse and war. Childhood is shown through how the characters respond or react to act other. Status is used when the characters are arguing about who is going to be number two after Wallace Wilson. Although we don't see Wallace, the other characters make it certain the Wallace is known as the best and highest, therefore being number one. Child abuse is shown when Donald is abused by his mother, we don't see this but the other characters talk about Donald's misfortune.
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Hedda would wear dark coloured satin dresses. She would speak with a slow pace and leave pauses, so as to keep the other characters waiting on her words. Her wit would be dry. The actor who would play Ejlert L�vborg would be 33 years old. He would be quite slim, with short dark hair, bright green eyes, and a short beard. He would be dressed in a dark, fitting, three piece suit, "quite new," with a matching top hat. He would be pale, with definitive cheekbones.
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and influence many people's life today and the desire and content need for drugs dominates and has become a major problem of 21st centaury life. Bourne chose realistic themes, situations and circumstances and uses his choreography to create a hard-hitting and dramatic performance, illustrating his theme through his narrative technique; we will use this technique throughout our choreographing process as the aim of our piece is to successfully demonstrate the theme of drugs to our audience. At the beginning of the performance Dorian has little importance, which is evident from the body language and movement Bourne has chosen for the
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The final thing I really enjoyed was the final sequence where it was orchestrated by a man and was done so realistically to an actual orchestra. I also liked the way he linked the audience into the performance making sound as if we where part of the performance. This I feel was one of the best pieces of the show which ended with the massive 'choir' on the top 'floor.' The piece itself is contemporary because the style of performance is new; they are trying out new things with a physical theatre edge.
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With the play seamlessly flowing from present to past and future, the time changes are made easier to understand with placards held at the start of each scene, something Brecht championed in the theatre circle. This ensured that the audience remained focused on the action rather than spending time trying to work out where the action was taking place on the timeline. I believe the main difference between the two plays is the style of writing. "The Woman Before" is very naturalistic and follows the ebbs and flows of natural language whereas "Blood Wedding" is a lot more surreal, with characters that symbolise death etc.
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I believe this is true because when I have to do the 'WOW' section of the dance I am aware of what is around me and what I am going which I believe is strength on my spatial awareness. I found a weakness although in my performance, the sections were me and jade are doing the box slide I nearly bump into Jade which was a accident on my behalf. From this weakness I must make this a target for the future that I must be aware the space around me and what is going on at the time of the performance or dance or any type of movement otherwise the performance will not work.
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I think I played the role of 'Electra' very well as I used as much authority as I did have over Electra's sister and also showed that she was very strong willed, and that nothing that anyone could say or do was going to get in the way of her wanting revenge. The stage for this play was an open ended stage, this was a very minimalistic set as all the furniture we used was a garden bench, and this was as we set our pre 1900 play in modern day settings.
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In "Mother Courage" the characters that are higher class like the Chaplain are shown as slimy and pompous. Brecht created the Verfumdungseffekt or distancing effect. This was created to stop the audience getting emotionally involved in the play, instead they were supposed to think about the issues addressed in the play. Brecht did this so the audience didn't suspend their disbelief and would leave the theatre thinking about how they could apply the messages in the play to their own lives and not how upset they were when a character died.
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How Does Wertenbaker use visual, aural and spatial elements to create such an effective and consciously theatrical play?
The audience can see that their relationship is unstable. The way Wertenbaker positions her characters on the stage is important in communicating status and character such as in Act 1 scene 11 when Major Ross and Captain Campbell enter, the convicts "slink away and sink down." This shows that the convicts are afraid of the officers and they try and get as far away as possible from Robbie and become inconspicuous. The beginning scene has important use of positing, the convict are "huddled together in semi-darkness."
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How does Brecht develop the plot of Mother Courage and Her Children to communicate character and their situation?
This gives Eilif the chance to sneak off with the recruitment officer. Scene 2 is set in 1626 in Poland. Mother Courage is haggling with the general's cook over a small capon. She is offering an outrageously high price but the cook pays it as he needs the food. This shows that food is the currency of war and Mother Courage takes advantage of this so she can make a larger profit. Also in this scene Mother Courage hears her son Eilif being congratulated for killing some peasants and taking their cattle, however instead of praising him, Mother Courage slaps Eilif because he didn't run away when he was being attacked.
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The bewildering collapse of Betty arouses intense suspicion of witchcraft amongst the villagers although Abigail refuses to admit to anything but dancing in the forest. The topic of conversation between the Reverend and Abigail diverts as to why she was released from the services of Villagers John and Elizabeth Proctor; he hints at an indignity of rumours which had circulated around the Village regarding this release. In this beginning of the act the audience is introduced to the bases of the play, as well as giving them an introduction to some of the characters, mainly Reverend Paris.
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We become known to Miller's use of narration through the first couple of pages of the play where he does not cease to establish the setting of the first scene, specific words are used to make the setting clearer to the audience such as instead of simply describing a window to the left he writes' There is a narrow window to the left'. The history of Salem is also described within these pages to make sure that the reader has background knowledge of the plot and the events which lead up to them.
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It can be seen that the song sets the tone of the play with a menacing feeling, which is contrasted by the crude jokes made about Macheath's crimes that are entwined within the lyrics. Instantaneously the audience are thrown into the world of the play just by listening to the song and are left to question what is right and wrong almost immediately. Brecht wastes no time in introducing the alienation effect, in the opening he sends the audience into an unfamiliar setting, unfamiliar to a modern audience but unrecognisable to the intended German audience of 1928.
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