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AS and A Level: Theatre Studies
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- Peer Reviewed essays 6
It needs long hours of study and intense concentration as well as discipline. I believe that one of the most important skills that an actor can obtain is to have a relationship or rapport with the other actors and the audience, and to make the audience believe that they are the character, if they can do that they have performed well. Obviously there are many other skills need to become a success in the industry, such as patience because often actor have to go sometime without work. Also perfecting vocals and movement is vital for a good performance, but not to over analyse the performance; as Michael Caine once said "less is more".
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What skills are required to become an actor? There are many necessary skills which are needed to become a 'successful' actor. These include: All these skills are key in becoming a professional actor and are significant when an individual wants to go out into the professional business. All these skills are vital when entering into a company and are what casting directors look for when casting actors. The environment in which a professional actor works is very intimate and especially during rehearsal periods it is vital that the employed actor shares an enthusiasm and maintains a level of commitment.
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As 'Burbage' continuously ignored 'Shakespeare's' script I would enter his space, stubborn and powerfully, to correct him. The role was also in stark contrast to the role of 'Isobelle' and it was therefore suggested that I play two characters of complete difference. As for the other character of a classroom child and 'Queen Elizabeth's' waiting lady, they were created to present a sense of busyness and fullness to the scene. The role of 'Isobelle' called for elements of fear, desperateness and anger and this was communicated in my soliloquy in the 'Prison Conditions' scene.
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Realising the lover's temptation run away was the result of the pressures of society made us realise how many pressures we have in our lives, often the feeling of being pulled in different directions as sons/daughters, sisters/brothers, students, Catholics, friends etc. Practitioner During the preparation of the piece we used the methods of Bertolt Brecht. Brecht defined his Epic theatre as challenging this dream world as he wanted the spectator to be awake and alert. His theatre would pose problems and, far from solving them, was designed to leave the spectator with a task to be accomplished in the real world.
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I found how many different kinds of people a person like Sophie can meet in the internet and that probably many of them would frighten and discourage her. The internet language is very specific, allows using emote-icons and sound-like words, people also quite often make grammatical mistakes, which will be amusing for audience if we use it in the right way, staying truthful. When I logged on for the first time I found that "new members" are bombarded with (sometimes really strange)
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My personal aim is to present a truthful picture of the world and make the audience face it. Through my roles I would like to encourage the audience to think rather than becoming over concerned with the plot, invite them to identify with the issues faced by my characters and not the characters themselves, to make a play a form of debate rather than an illusion. I aim to take emotions out of the production, disengage myself from my roles, so that I cannot be identified with my characters, in order to make the political and social truth easier to comprehend.
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When each woman says their word (or sound) it goes around again from the beginning and they kept repeating it over and over and faster each time that it started to make a beat and that's when the song started. This influenced us into doing many things for our play such as having an unrealistic scene where we could have music and dancing and also if we had the female characters that have had the injustice done to them if they each had one word to describe them and then like in Chicago have them repeat it in a climax of a scene.
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This was a highly Brechtian technique. He wanted his plays to alienate the audience and be a bit strange. The audience know it is not real life, and Brecht wanted them to about why the scenes were happening rather than what was happening; he wanted them to look further than the aesthetic value of it all. As a result of this, we decided to use various Brechtian techniques such as Gestus, song and dance, Verfremdungseffekt, breaking down the fourth wall, direct audience address, thematic representation instead of character representation and so on, so that the audience would question the scenes
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I requested to play the character of Kate because her sexuality and attraction to Caroline would create powerful moments of dramatic tension, and having to express sexual attraction towards another character was a challenge we had not attempted in any performances our group had undertaken before. When first pondering a plot for our devised piece, the first decision we made was to base our scene in a surreal, abstract setting. We also knew we wanted our characters to be confused as to their whereabouts, and decided that in the end one should have a moment of realisation, while the other remains trapped and lost.
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During the staging of this sequence I had to deliver my monologue whilst struggling through a figurative maze. As a performer I was sensitive to my characters claustrophobic feelings allowing me to successfully communicate her anxieties to the audience. Throughout the staging of this monologue the remaining group members concentrated on the performing space I was given. Although it was frustrating for me to be contained to a very small performing area, it allowed me to sympathise with my characters feelings of confinement and eventually resulted in a very successful portrayal of Pamela.
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* Arts administrators may start at around 13,000 to 18,000 pounds a year * With experience, salaries may be around 20,000 to 30,000 pounds a year * For some senior positions, salaries may be over 50,000 pounds a year I am now going to go more in depth. * Salary on entry may begin at around 11,000 for trainees and assistants * Experienced arts administrators could get a salary ranging from 18,500 to 28,000 a year * Salaries for a senior management or a chief executive level could be anything from 25,000 to 50,000 pounds a year * Freelance consultants
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The letter is filled with descriptive facts that we could incorporate to our piece and we found, when reading it, ideas about how to make our piece share some of the themes from our set text "A Midsummer Night's Dream" quickly formed. The body language, movements, accent and projection of voice in Trevor Nunn's adaptation of "My Fair Lady", which i saw at the Liverpool Empire 23rd March 2006, have aided me in my own portrayal of my character, Mrs Bright.
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Blushing: If I was to blush whilst performing then I will lose self-assurance. An excellent dancer would conquer this by trying to concentrate on their own performance rather then the audience and what they think. Embarrassed: Embarrassment could cause the performer to forget the dance routine and then the performer may put their head down. This would make the dance look unfinished and of a lower quality. Stage Fright: Stage fright could lead to several other unconstructive effects. You may forget the dance that you rehearsed and therefore the whole performance may go wrong.
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This shows that people became lazier and did not attend church and their work. This is a huge threat to the church because less and less people will attend it. Those people were drawn from religion as in source D it says that it was "profanation of religion" which meant that people didn't follow religion as it caused them to commit crimes in the theatre. For this reason the theatre was seen as very sinful and ungodly so it was a threat because some people thought that it brought the Plague as in Source F it says "plays are banished for a time out of London, lest those going to see them should get the plague."
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Budget allocation for a piece depends entirely on the theatre or production company concerned. Some are voluntary in which case the budget will be limited and perhaps donated. On the opposite end of the spectrum some major production companies and theatres have very large budget allocations as they have a large turnover. The budget allocation covers a whole spectrum of costs some of which are listed below. Costume dept costs Performers pay Lighting, props and technical crews pay The budget allocation is an important factor in considering scripts for production because certain pieces would only worked in a certain production style which may only be possible to represent with the appropriate set and costume this may require a budget that you cannot stretch to and therefore you may have to review your choice.
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of the actors and audience. One of the actor's main defences previously in conventional theatre was not being able to see the audience's faces. With this new site-specific theatre this defence was shattered. Peter Brook felt that this newly created relationship between actor/audience was key in the shared experience of the theatrical performance, so rather than the audience being alienated by the space, the audience sharing the auditorium and the actors the stage, suddenly both parties were sharing exactly the same space.
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Whilst the Stephen Joseph theatre is famous for its comedic plays they are more than willing to show any type of play as long as it is up to standard. 2.1 Market Summary The theatre has always had a good relationship with the local university, especially English students, and the local community enjoy the world-wide fame the theatre has. Whilst Scarborough may only have a small population the theatre is situated across the road from the local train station meaning is has very easy access especially to the people of York who live close enough to get the train to Scarborough and enjoy a show.
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Theatre of the Oppressed Theorised: Who, How, and What Comprises Forum Theatre's capacity to liberate?
This presentation of techniques mimics Boal's categorical style of recording, as seen in his book 'Games for Actors and Non Actors'. Throughout the chapter I refer to various activities in the workshop to realise and illustrate my theoretical propositions. Image of the word: illustrating a subject with the body The model The model can be developed in one of two ways. First Method: Actors form a circle around one central character and with particular attention to details they mirror the actor's every change of expression and movement; they experiment with tempo, pace and sound.
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Yours faithfully D. Brown Clerk to The War Office Fig R.1 I shared my response to this telegram with many other people in my class. It was such a harsh way to put the fact across; at first, I couldn't believe that this was a real telegram. It was extremely blunt, cold and it got straight to the point. It said 'Your son has been shot' and it gave no more justification than 'cowardice', as if that explained everything. It was hard to comprehend that a telegram that was informing a family of a loved one's death was only one and a half lines long.
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However, probably the most widely used technique for creating mood and atmosphere in the theatre (apart from acting!) is lighting. Lighting can turn a happy bright meadow into a dark, dull forest at the flick of a switch. It can place a character into an imaginary cage, or switch action from one place to another in seconds. In my opinion, it is probably one of the most versatile tools available for the theatre. In this piece of work, I will attempt to explain the different types of stage lighting and how they are used to create dramatic effect.
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As we thought more about exploring the theme of racism, we started coming up with many ideas as to how it could be portrayed on stage. We started brainstorming ideas for a very basic plot and eventually decided on a 'past, present, future' type piece, meaning there would be an act set in the past, an act set in the present and an act set in the future to show that racism occurs throughout the world and throughout time. The 'past', we decided, was to be based loosely on the situation in the southern states of America in the 1950's and 60's, i.e.
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The System is composed of these main elements: Action, Emotion Memory, If, Units and Objectives, The given Circumstances, The super objective and Imagination, the through-line of action. Circles of Attention, These elements are the basis to what Stanislavaski thought of as "a whole way of life"; " the System is not a hand me down suit that you can put on and walk off in, or a cook-book where all you need is to find your page and there is the recipe.
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The director tries to symbolise that life has come to halt for Ken. Even if not a complete halt but his options are seriously limited, he represents this, for example on page 9 Nurse Sadler has to feed him his coffee sip by sip, this show Ken as being an invalid. He can not do even the simplest tasks by himself. Another problem, which the director opposes, is that Ken doesn't have the ability to move nor do anything aside from use his voice.
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Temptation piece. We were asked to think about temptation, and discuss what we were thinking. This was a very suitable way to start the topic off, because it helped us to see all the different kinds of ways you can be tempted.
Then we did a story about finding a wallet, stuffed with cash in the street. This was a brilliant story to choose as it showed us how overpowering temptation can be and how easily you could give in, if you thought you wouldn't get caught. I was severely tempted, but unless I was in desperate need of money, I don't think I would keep the wallet, as it could be really important to the person who lost it and I would feel guilty about taking what I didn't need from someone who couldn't afford it.
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