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AS and A Level: Theatre Studies
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- Peer Reviewed essays 6
Developmental Process. To explore the different aspects of city life, we all came up with various ideas which incorporated this stimulus provided for us. The ideas which each of us came up with were a fantasy situation, school life, the London undergroun
We decided to try this situation out along with the 'Alice in wonderland' theme in which a person falls down a manhole into another world and they'd go through a similar situation as Alice in which they encountered various representations of people or objects in their current life. The idea we came up with we all felt that the storyline would've worked and could've made an effective piece. However when it came to trying to piece it together we found that it was difficult to do so with the lack of people in our group and the limitations of theatre which we were faced with.
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The real mother chose to instead give the whole baby to the other woman to prevent the baby's death, and it was in this manner revealed to Solomon that the true mother was she who wanted the baby to survive. It's also believed that the life of Azdak the drunken judge parallels the story of Christ, which is just one of the play's many subtle anti-religious connotations. Brecht's communist ideas landed him in trouble with a paranoid McCarthyist American government in 1947, when he was forced to appear before the House Un-American Activities Committee in Washington.
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The majority of the devising work was worked on as a collective, although some individuals could have been more involved with the process, but we all wanted to make sure that everyone agreed on the direction we were taking the piece and aspects of the scene. Our piece was a mixture between ensemble and individual based. For the wise man scene there was a section in which we all had to act out the story of the crash moving into images of everyday occurrences surrounding work, partying and resting.
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Explain how you would want your audience to respond to Tesman in Hedda Garbler. Explain how you would perform the role
Condoning her self-deprecation, or actually being that oblivious to her concerns that he doesn't realise that Hedda being ashamed of her would hurt her feelings or that patting her check may seem patronising. Tesman is a scholar and relatively institutionalized, he's not a very practical man and doesn't seem to know what to do in certain social situations. He seems more in love with the idea of loving Hedda than actually loving her herself, and quite child-like, as when his Aunt asks him if he has any prospects (obviously enquiring weather him and Hedda have thought about children), he replies
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In addition to Britain and North America, there are vibrant musical theatre scenes in many countries in Europe, South America and Asia. There have been a lot of musicals that have been created and left a mark in the world these include some of the following... * Blood Brothers * Oklahoma! * West Side Story * The Fantastic's * Hair * Les Miserable's * The Phantom of the Opera * Rent * The Producers. * Wicked * Hair Spray * Cats * Grease * Oliver * Annie * Carousel * South Pacific * The King and I * The Sound of Music * Oklahoma!
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'Jesus if I go to the bathroom for 5 minutes he thinks I've been hijacked'. Wine by the sea buy one get one free Joe says wine is a 'posh way to get pissed' whereas Shirley ventures to the culture of the substance and dreams of drinking wine in the 'land where the grape is grown'. We perceive the absence of culture and interest in Joe through his detestation of travelling. He gets jetlagged travelling to the Isle of Man. It's 'logical' that she should go to Greece if she wants to, but marriage and logic don't seem to go hand in hand.
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How did your role emerge, how was it communicated, and in what ways was the stimulus material developed through the drama process?
I saw Helena as someone with very low self-esteem, and particularly selfish at times. She will give anything to be with Demetrius, even betraying her best friend: "I will go tell him of fair Hermia's flight", and there is a sense of real desperation. I portrayed this physically by even grabbing hold of Dan, who played Demetrius, on the line "I will fawn on you". When he then pushes me away, I wanted to make Helena look surprised, to emphasise her naivety. I rarely made eye contact with the Dan, to portray a sense of low self-worth, "Unworthy as I am to follow you" which was an evident contrast to Dan's staring, intimidating body language and eye contact.
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Explain how you would direct your cast in two or three scenes of the play, Our Country's Good, in order to reveal the civilising effect of the theatre upon the convicts
To show the civilising effect of the theatre upon the convicts in Our Country's Good, I intend to explore a few scenes which are the following:- 1. The First Rehearsal 2. The Second Rehaersal 3. Backstage. I feel these three scenes are key within the play to show the progression of the convicts from being ill mannered to more humane human beings but also how the attitude of Ralph Clarke, the second liuetennant changes toward the convicts. At first he sees them as nothing more than convictst but proportionally to their progression he begins to see them as people with a little bit of worth and potential.
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However, this was probably more out of necessity than choice, as in 1901 a new theatre was purpose built for the company. While remaining a proscenium arch, the performance space eschewed the melodrama of convention, having no orchestra pit; emphasising a formal, fourth wall between actors and audience. This style, pioneered by the 19th century French practitioner Andre Antoine, conducted the play as if the audience were hidden voyeurs on the action. Of greatest importance was that the actors not acknowledge their awareness of the audience, or of the theatricality and fiction of the play they are immersed in.
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aristocratic house with authentic architecture and powerful, serene, imposing colours such as the deep blue of the gauze curtains and black door and floorboards. The way that the floorboards were placed, going toward the audience felt very inviting and made it feel very intimate because the stage was so close to the audiences' seats. The seriousness of the set seemed to contrast with the continual humour throughout the play. This is similar to Tartuffe's character because he appears on the outside to be very solemn and proper but then he actually has a rather rude and arrogant character on the inside.
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On first entering the theatre itself, the mood of the play was created. The hall was small and compact with a simple stage and rows of seats that were placed one behind another rather than in levels. The racy 90s dance music that blared from the speakers gave the audience a taster of what they would expect. Four solemn-looking men greeted us at the door, their smart black tuxedos making it clear that they were bouncers. They sternly told some people off for being so informal as to appear in sneakers...but when the lights dimmed, we were in for a surprise: the bouncers climbed onto stage as the actors themselves!
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The huge door opens and the set changes to a living room style setting. It is around Christmas we can tell this, as there is a Christmas tree in the corner of the stage. The characters are dressed in green and red which are the colours of Christmas. In the days were the musical is set they did not have coloured televisions the television starts to go colour and the music starts to be multipurpose as if there is a fire. Throughout the play the use of humour is quite big. The three children are now obviously in their Christmas suits the oldest girl showing off all dressed up whilst the other is quiet and dressed in pink different from the rest, she is overlooked by people very sensible and very shy.
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Geste was the technique that Brecht wanted actors to use when portraying a character, I will examine what geste is and what may have influenced Brecht to use it. Music for Brecht was a vital part of theatre and I will look at what interested him about using music and the role of music in his Epic theatre. I will consider Brecht's ideas of what stage design should be like and how he viewed it as something separate to the text and the music.
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How Far Did Historical Influences Affect The Development Of The Theatre Royal Bath In The 18th And 19th Century?
The Orchard Street Theatre opened in 1750 and was a largely successful theatre; in 1768 it was granted a Royal Patent, and became the first Theatre Royal outside of London, only the third in the whole country. It became so successful that in the year of 1805 it closed down and re-opened on a new larger site, to accommodate the increasing audience sizes. It moved form Orchard Street to Beufort Square in the new more popular, modern, area of Bath.
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This image is built intertextually, not only from their films, but the other media texts that a star encounters such as interviews, trailers and newspaper articles. Using this approach Dyer found that a stars image is a collection of signs that are prone to change with time, thus making it polysemic. As a result the spotlight was brought onto how the stars ideals can either complement or contradict within the star image. 'In some cases, the various elements of signification may reinforce one another...In other cases, the elements may be in some degree in opposition or contradiction, in which case
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Sometimes as you walk around the school early in the morning, you sometimes see people in economic. Alert Alert is the more neutral level. It feels like normal behaviour. Not too much tension and energy is involved. As I walked around the room I could have a normal conversation with someone. You are also very familiar with your surroundings. Suspense My character which I created for this level was very upset. I was showing I was upset in a very over noticeably approach which I usually wouldn't do in public. I had more than normal tension in my body, especially in my legs, arm and face.
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How do you think that Peter Brook has employed the ideas/techniques of the practitioners detailed in Mitter's study? With reference to Brook's own writings, particularly The Shifting Point.
In Mitter's introduction at first, I felt a sense of criticism towards Brook; "Brook seemed to me more a mimic than an inventor" (Mitter, 1992:30) and he mentions the extent of Brook's 'debt' to each of the above directors. Although in the latter part of Mitter's introduction, he goes on to say that it is 'extraordinary' how Brook showed such a likeness with such completely different directors: "I began to feel that his ability to absorb the influence of vastly dissimilar theatres could only be seen as an achievement."
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It is an interesting subject with much scope for contact improvisation, or non-contact, as the sufferers would prefer. The stimulus for the dance, Obsessive Compulsive Disorder, is a condition that affects approximately 2.5% of the UK population. More common in females than males, the sufferer has an irresistible impulse to perform relatively meaningless acts repeatedly and in a specific manner. Compulsive persons do not enjoy their ritualistic behaviour and view the activity as foreign to their personality. They are unaware of the absurdity of their behaviour and yet are unable to stop it.
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Live Theatre Review - The actors and director of The "Woman In Black" had complete power and control over the audience's reactions and emotions.
I thought that the first half of the play was quite slow, tedious, and we weren't drawn in so there wasn't any control over us whilst watching it. However, when the play reached the second half the pace started to pick up, and tension was created, which drew us in and gave the actors control over our reactions. It was remarkable how far people in the audience were willing to go with their imaginations. They seemed to be really involved with the performance; I think that to a certain extent we all were.
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"Taking a range of plays studied on the course show how the play texts are affected by the particular style and cultural context of the theatre from which they are drawn."
Plautus made adaptations of Plays by the Popular Greek playwright Menander. However the refined work of Menander would hold little interest for a rowdy Roman crowd. So Plautus' plays are, as the Romans would have loved to watch, full of debauchery and brashness. This can certainly be seen in The Menaechmi, from the very beginning of the play. The Prologue in its entirety encourages the audience to pay attention, with the rhyming language appealing to all classes and making the play very easy to listen to and understand.
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After some controversy, the final building comprised a main auditorium with 980 seats around three sides of a thrust stage and a smaller Studio Theatre with 250 seats (now increased to allow up to 400). The Playhouse completed its last season in 1970/71 and the Crucible opened in a blaze of publicity. The most notable difference between the Crucible and the Playhouse was the range of activities which were undertaken. Apart form the two stages, there was a restaurant, coffee bar, shop and licensed bar.
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How do you explain the reaction of those who booed Pirandello and called him a "clown" after the first performance of Six Characters in search of an author?
The first, most striking thing about Six Characters is that it is a play within a play, but at the same time so much more. This is a very difficult thing to try and explain because there are so many things that are meant by this. There is the fact that Six Characters is about a separate play that is literally being written before the audience's eyes. Ignoring the beginning, before the characters enter, the whole play is being written there and then, and somehow Pirandello manages to act out both the script between the characters, director, actors and all
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The idea of the set began as realistic but then changed because the idea of flash backs were not real. To make the set less realistic I used ideas of hanging photos on laminate sheets from the ceiling all round the theatre and using tree and bush shaped collages to create a park like feel that was not real. The set which I decided on would be the stage split up into four different sections. I used the street for the caf� scene.
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There is an escape for Spud from the blue carpet to a thick beige border around the edge of the icy blue, however his seat is placed on its own in the centre of "the sea". The interviewers however are situated at the edge of the blue carpet in a "safe zone". This "zone" becomes apparent when we see from Spuds eye looking to them, they are close together as if there is strength in their numbers. The whole interview is very impersonal, however the room introduces a powerful image, a large mural on the wall of a beach and
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With detailed textual references discuss, analyse and review the key but cinematic features displayed in
Pleading with the repairman to transport them back, he gets upset and leaves them in. Because of this they have to stay stuck in the roles of Bud and Mary-Sue, two of the shows characters and have to continue in their characters lives. "The Truman Show", as mentioned before, is also a major film in the last decade. The general overview of the plot is simple for viewers to recognise throughout the film. Set a few years into the future, a fictional television company called Omnicom adopt an unwanted pregnancy in order to produce a television show.
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