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AS and A Level: Theatre Studies
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- Peer Reviewed essays 6
Nora plays with Helmer, and behaves as a Victorian woman would, using feminine endings to words such as "sweetly" and at the beginning of Nora's conversation with Mrs. Linde, she is polite, and sympathises with her "No, it was bad of me Kristine. You poor woman, you've gone through so much." Ibsen uses commas and short sentences to break up the passage and emphasise that Nora is genuine, in contrast to her long, complex sentences when she talks only of herself "Kristine, do believe me, I meant so often to write to you then, but I kept putting it off and something always got in the way."
- Word count: 1498
As an actor using Stanislavski's system, how would you use his ideas on 'imagination', 'units and objectives' and 'emotion mem5 star(s)
The easier it is for the actor to use their 'imagination', the richer their characterizations will be when preparing for and acting a role. The 'imagination' should be focused and based on observations the actor has made so it will not wonder and become unrealistic. The 'imagination' fills in the blanks that the author has missed and so they need to be very precise and use their 'imagination' to provide extra detail to what has happened to the character not only on stage, but before and after as well.
- Word count: 744
the complexities of Dr Ranks condition, however, I didn't really understand the under tones about the promiscuity with relation to Dr Ranks father, and as a result of my misunderstanding I do not feel that, that part of the scene was executed quite so well because I kind of brushed it off. After watching my performance I also realised that some sentences that I said were not said in the right tone that was fitting to the intensity of the scene I felt that I almost threw always some of my lines.
- Word count: 485
His time in the Great War opened his eyes to chaos and instability, which paved for his theoretical theory. The manifesto for the "Theatre of Cruelty" and "Theatre and It's Double" set out his theory that the stage should voice the inner turbulence of the human spirit. Theatre should be a mirror of life but enhanced and taken to an extreme; there should be no limits in achieving an emotional response. The experience of theatre should, according to Artaud, include the audience as part of the experience and places an equal emphasis on all five human senses: sight, sound, smell, taste and touch. The actor's body should be highly-trained in order to achieve a variety of positions with ease.
- Word count: 709
The change of an irresponsible, silly 'child' of Act 1 to the unafected, stable character seated at the table with Helmer in Act 3 seemed unimaginable. The energy of the play lies in her self-discovery. She is a very affectionate person showing this by kissing Helmer affectionately and playing with her children (as clothing in ninteenth-century is extremely extravigant and restricting, this would suggest that Nora is quite athletic).
- Word count: 554
Indicate how the influences and ideas of other playwrights and/or directors, designers and performers (i.e. practitioners) have been used.3 star(s)
So in the next scene we wanted to change that emotion, by letting them feel involved. Laura walked around the audience helplessly, and handing out leaflets to them. We used the theatre of cruelty again in the abuse scene. We wanted to intimidate the audience and make them feel trapped an insecure, and momentarily make them feel like that had done something wrong. We did this by shouting at them a scenario in which we believed they had done us wrong. The subject I used was cheating. I made the audience members I was abusing believe that they we're my partner and had cheated on me.
- Word count: 869