Looking at the trial and execution of Sir Thomas More, how do Robert Bolt's stagecraft, language, and symbolism create emotional and dramatic intensity in the inevitable climax of
"The Greatest Englishman" - G.K. Chesterton Looking at the trial and execution of Sir Thomas More, how do Robert Bolt's stagecraft, language, and symbolism create emotional and dramatic intensity in the inevitable climax of "A Man For All Seasons"? A Man For All Seasons was written about Sir Thomas More and his relationship with the more powerful members of the country in the sixteenth century. It is a recreation of history, dramatised to enhance the experience. Written in the 1960's in a world coming out of global depression, a time of peace, love and drugs, it was a thorn amongst the rose coloured glasses. When people were used to a more relaxed establishment, with much more equality than the decades leading up to it, A Man For All Seasons confronted an immoral, strict and spineless monarch that was Henry VIII. The play was a strong study of moral integrity versus corruption and selfishness, which both contradicted and enforced what the world was like in the 1960's. Bolt's intention was to influence the present by portraying the past. A Man for All Seasons has a slow build up; the first three quarters of the book lays the foundations of the plot in a linear fashion before gradually advancing to a much more meaningful climax. This climax is split into four main sections: "In The Tower", "More Sees His Family", "The Trial" and "The Execution". I will proceed to analyse
"Schadenfreude" means 'taking pleasure out of someone else's misfortune.' Both "Rosencrantz and Guildenstern are Dead" and the "Comedians," both use Schadenfreude in the creation of humour in the play. Compare its use in the two plays and it's success at
"Schadenfreude" means 'taking pleasure out of someone else's misfortune.' Both "Rosencrantz and Guildenstern are Dead" and the "Comedians," both use 'Schadenfreude' in the creation of humour in the play. Compare how Schadenfreude is employed in the two plays and it's success in creating humour Both of the plays "Rosencrantz and Guildenstern are Dead" by Tom Stoppard and "Comedians" by Trevor Griffiths are extremely humorous and farcical plays. In order to generate the humour present throughout both of these plays, the writer's have used an array of techniques. However, whilst using a diverse range of these techniques, 'Schadenfreude' habitually is paramount in the writer's manufacturing of humour. Schadenfreude means acquiring gratification and amusement from someone else's misfortune. Schadenfreude is employed perpetually by both writers in these plays, where we the audience benefit from some of the characters infelicity. The play "Rosencrantz and Guildenstern are Dead" by Tom Stoppard, is a comedy burdened with sadness. It is a play based around two comical, perplexing and entertaining characters, which as the title insinuates are called Rosencrantz and Guildenstern. The plot is linked into the famous play 'Hamlet' by William Shakespeare, and it is the job of Rosencrantz and Guildenstern to find out why he is behaving so strangely and in such a threatening
Champagne or sparkling wine, is it worth the extra £10?
HND HOSPITALITY MANAGEMENT CHAMPAGNE OR SPARKLING WINE, IS IT WORTH THE EXTRA £10? INTRODUCTION Champagne is a sparkling wine produced by a traditional method (Known as "Method Champenoise") in the Champagne region around Reims and Épernay in north-eastern France. The word is derived from the Latin campagna, meaning countryside, a name given to this area of France since the Middle Ages. Although other French wine-producing regions claim to have made sparkling wine earlier, this was the first place to produce it in any significant quality or quantity. The primary aim of this seminar is to act as a suitable means to educate the audience on the subject of Champagne, while also identifying cost effective alternatives available to the consumer in the United Kingdom. The seminar intends to provide a comprehensible definition of Champagne as a product by examining a number of sources and consolidating the information into one succinct description. The seminar should then analyse the Champagne market both from a national and international perspective with reference to consumer trends, market leaders and consumer demographics. Following this, the seminar shall construct a benchmarking criterion using reputable Champagne available to the UK consumer. Reviews of the product shall be consulted in an effort to get a greater insight into its properties and characteristics, and
Does Clark present arguments for and against 'assisted suicide' without prejudicing the audience in 'Whose Life Is It Anyway'?
Harriet French Coursework Does Clark present arguments for and against `assisted suicide' without prejudicing the audience in `Whose Life Is It Anyway'? The central character in `Whose Life Is It Anyway?' is Ken Harrison who is a patient in the hospital, in which the play is set. The play sees Ken, who has been involved in a horrific car accident, recovering from various injuries, some of which will never heal. The accident leaves Ken paralysed from the neck downwards permanently, which results in him having to stay in hospital for the rest of his life. Throughout the play Ken fights for the right to die, as he sees the situation he is in as one that is not worth living. After many struggles and set-backs, Ken is allowed to die, but against the doctors' will. The play was written in the 1970's when euthanasia, a form of assisted suicide, was not a subject commonly discussed. An audience watching the play in the 1970s would be far more shocked at some of the events that take place than a present-day audience. In the 1970s most people did not fully understand euthanasia and the effects of it and it was certainly not talked about openly. An audience thirty years ago would be quite shocked and possibly offended by the language used by Ken and some of the hospital staff. Also Ken's behaviour in general would be quite different from the sort of behaviour
For our A2 brief we have to film a 5 minute section of a television documentary. we decided to go with the idea of doing a one about Rude Boys which is equivalent to the modern term Street Gang.
MEDIA CRITICAL EVALUATION INTRODUCTION For our A2 brief we have to film a 5 minute section of a television documentary. This genre differs from our AS brief which was to film a 2 minute opening sequence of a thriller film. A thriller film is totally different from a documentary which has different conventions. I feel the A2 brief is a more challenging brief than the AS. This is because we have to plan the whole of the documentary and then choose a section which we want to present and film which gives us a more sense control over the brief whereas the AS brief wanted us to film a specific section. This makes the planning process longer and harder than the AS. PART 1 - THE PROCESS Our brief is to film 5 minutes extract of a television documentary talking about any topic. At first, we watch a range of different types of documentaries during our lessons such as "Nanook of the North" directed by Robin J Flaherty which was a silence documentary concentrating on the starvation of working class people. Another was called "Hoops Dreams" directed by Steve James, Fred Mark and Peter Gilbert which was about high school boys who dreamed of playing in the NBA. This was more of an observational mode documentary. After this, each student was given a title of a specific documentary to research and then present their findings. The documentary I had to research was called Koyaanisqatsi
How research material was gathered and used within the process of writing a play.
How research material was gathered and used within the process The research material which was gathered within the process have been used in many ways to develop our plot ideas and characters, we have used newspaper articles, pictures, postcards videos and the use of the internet to influence and develop ideas. Newspaper From the newspaper articles this gave us a starting point for our devised piece. We used the articles to create frozen images, which led us to other ideas for opening scenes and other scenes within our play. These articles were of events, which had occurred recently, majority of them were of older people who were attacked on their way home but also they were stories of children who had also been beaten and assaulted. Postcards/pictures We used the pictures to give us ideas for plots and sub-plots within the play. Also from the pictures we were able to think about what message we want our audience to gain from watching our devised piece. The main pictures were of old people who had been beaten up. This stimulated the idea of using the criminal mind. These images were also used in our final piece as Over Head Projector images. Monologues In our group we all created a monologue on a character of our choice. We then got together and tried to link our characters in some way. This gave us all a very clear idea of what our basic character would be
Being "Lost" in Lost has multiple meanings. Lost by the physical meaning, literally means what the premise of the series is, group of survivors from a plane crash lost on an uncharted island. It could also be lost in terms of
The word "Lost" is heavy with meaning and mystery. It defines both physical disorientate and psychological states of defeat and despair" p10 Lost Chronicles, Mark Cotta Vaz Transworld Publishers, (UK) (2004) Being "Lost" in Lost has multiple meanings. Lost by the physical meaning, literally means what the premise of the series is, group of survivors from a plane crash lost on an uncharted island. It could also be lost in terms of not knowing where your life is going. Lost in terms of physical things like addiction or not knowing who you are. It can mean lost in terms of losing your ethos/values or religion. In the context of contempary, it can mean being lost in terms of loss of traditional TV programme style. The creators of "Lost have taken the plurality of meanings to create a text, which offers multiple meanings to cater for heterogeneous audience with a variety of need. Lost offers a variety of levels to satisfy a wide variety of audience needs. One of the ways in which the series satisfies audience needs is through narrative. Which is an aspect of being lost is lost because it contains a vague mysterious plot, which subverts traditional narrative structure by not exhibiting a linear style. As it jumps back and forwards through time. "It's an unusual occurrence a smart show where the story is the star" (Mark Cotta Vaz 2004-p73) the show as a star aspect is apparent
Compare the ways media techniques are used to create the fairytale genre in "Edward Scissorhands" and "Hook."
Compare the ways media techniques are used to create the fairytale genre in "Edward Scissorhands" and "Hook." A famous director once said; "I remember growing up and feeling there is not a lot of room for acceptance. You are taught at a very early age to conform to certain things. It is a situation that is very prevalent and starts from day one at school: this person's smart, this person's not smart, this persons good at sport, this ones not, this person's weird, this ones normal. From day one you are categorized." This is the vital and strongest impulse that Tim Burton used to create, "Edward Scissorhands." "Edward Scissorhands," is a story about a character who wants to touch, but can not a character that is creative but destructive. "Edward Scissorhands," was produced, directed and written in 1990 by Tim Burton, and marked the point in his career where he had earned the influence to be able to make the projects he wanted. On its release, however, "Edward Scissorhands" was an instant box office smash hit everywhere, much to joy of Tim Burton and to the surprise of Warner Brothers. The promotional angle, so to speak, was the technique of contrast, the contrast between good and evil, the creative and destructive. This contrast is strongly apparent on the VHS cover. The consumer is presented with an image of Edward's "scissorhands," with a beautiful butterfly perched
Drama Portfolio - Too much Punch For Judy
Drama Portfolio - Too much Punch For Judy Introduction During the past few drama lessons we've been studying a real life tragic play called 'Too Much Punch For Judy'. It is a play about two sisters (Judy & Jo) who decide to go for a drink one day. They meet two guys who buy them drinks. When they are ready to go, Judy suggests to Jo that she should drive home as she has had less to drink than her (however she is still over the legal limit). After some persuasion Judy agrees and throws Judy the car keys. As they drive back Jo pleads to Judy to slow down. However, Judy suddenly loses control of the car and crashes. Judy survives the crash, her sister Jo who is in the passenger seat dies. A man who has heard the crash from his house runs down to the scene, he rings the police. The police arrive and call for two ambulances. When two ambulances arrive Jo and Judy are taken away separately. At this stage, Judy is unaware that Jo is dead. At the hospital Judy consistently asks to see her sister, until the policeman finally tells her that her sister is dead. After reading the play, I immediately felt angry with Judy. I felt sorry for Jo and her family and perhaps almost for Judy. As the play was a true story the moral of the play 'don't drink and drive' struck me harder. The moral definitely gets across to me, and made me aware of the effects of drinking and
“All My Sons”: Examine the Dramatic Power of Act 3.
Susan Martin 10KR 16th July 2001 "All My Sons": Examine the Dramatic Power of Act 3. "All My Sons" explores ideals. It argues the rights and wrongs of the American Dream. Arthur Miller plays a series of battles between the characters and in the audience's minds. The play considers trust, truth and blame and where the limits of a person's responsibility lie. As the play develops, so does the conflict over where to place the blame for the death of twenty-one service men. Once the truth is known Arthur Miller attacks the problem of responsibility. He delays revealing important information, keeping the audience interested, expecting more to come and forcing them to be more involved with the play. The play is made up of two parts. One is Chris's and Ann's attempt to persuade Kate that Larry is dead so that they can marry. Joe would like to support their wishes but recognises that he can not. The other part is the attempt by George and then by Chris to find out the truth about what happened in Joe's factory during the autumn of 1943. By the end of Act 3 both these narratives and all the conflicts have come together to reveal the mystery and create a climax. The focus is on the morality of Joe Keller, who places his narrow responsibility to his family above his wider responsibility to the men who rely on the integrity of his work. The most prominent dispute by