A Doll's House - Language
A Doll's House - Language Towards the end of the 19th century, Henrik Ibsen set out to write a play which represented a realistic society, a play without melodramatic language in unbelievable situations, and a play which attempted to show the realities of modern life. The result was unsurprisingly controversial, yet Ibsen sacrificed audience appeal for the naturalistic language he wanted to portray. The effect of this kind of dialogue meant that audiences were able to relate to the characters they were seeing on stage, and the familiarity of the situations was compelling. People were being shown situations that were possible, and realistic, and for many who preferred to see only the traditional Victorian values society, it was shocking. Unlike many other plays of that time, Ibsen used natural speech patterns and mannerisms appropriate to that time period, but didn't take realism too far that the dialogue was incomprehensible and overlapping. Throughout the play, Ibsen uses pauses to create a sense of awkwardness as well as using interruptions in the dialogue, in an attempt to portray more realistic conversations. Nora If you wanted to give me something, could you - could you - Helmer Say it, say it. The most naturalistic feature of the language is its ability to change within the play, and within characters. There is a clear difference between the styles of language Nora
As an actor using Stanislavski's system, how would you use his ideas on 'imagination', 'units and objectives' and 'emotion mem
As an actor using Stanislavski's system, how would you use his ideas on 'imagination', 'units and objectives' and 'emotion memory' in the preparation for a role? There are many ways we can use Stanislavski's system when preparing for a role as an actor. We can use 'imagination', 'emotion memory', and we can split the play into 'units and objectives'. Stanislavski believed that "every movement you make, every word you speak ... is the result of your imagination." Using 'imagination' makes the role that the actor has to undertake more convincing. Stanislavski believed that there were three types of imagination: actors who can take the iniative to invoke their own imagination, actors who can be easily aroused by the director and then people who just do not respond at all. 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. This helps the actor to go on an 'imaginative journey', everything must be logical so that the acting still
a dolls house report
A Dolls House Report on my Acting In the scene that I am in I am playing the character of Nora. This scene illustrates the relationship between Nora and Dr Rank and gives us an insight into an array of different inner tempos that both characters experience. In this scene Nora is on constant edge and is despite to confide in her friend and companion, however, find it incredibly difficult to bring her self to reveal her secret to him once he proclaims his love for her. I decided to portray Nora's character in this scene as one who is a little inconsiderate and very self centred, and doesn't seem to understand 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. Despite these flaws in my performance I feel that I did have sustained characterisation and I did believe in my given circumstances and portrayed Nora's constantly fluctuating inner tempos successfully, I also feel that I related well with the other character on stage. I also
A doll's House, casting decisions for Nora and Kristine Lynde
Breifly outline and justify your casting decisions for Nora and Kristine Lynde. Then explain how you would direct your actors in Act one of the play in order to highlight the contrast between the two. Both Nora and Kristine Lynde are extremely interesting characters however both have completely different personalities and appearances. Through these differing personalities, Nora and Kristine can be contrasted. Through my direction these parallels can be highlighted. Nora, for example, has a zest for life whereas Kristine quiet and polite. I feel these characters can successfully go together with each other because their differences work well together and complement each other. For the character of Nora I would want an actress to consist of these qualities: The actress would need to take controll of her own growth, as Nora's character rapidly grows throughout act 3. 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). She has a cheerful and sympathetic atmosphere; when we see her
Applying Artauad's theory of theTheatre of Cruelty to our staging of Kafka's "The Trial"
Natasha Scott Section 1 "The Trial" Antonin Joseph Artaud was a Frenchman, born in September 1896 in Marseilles, and was a major influence on theatrical concepts of expressionism and absurdism. Throughout adolescence Artaud had a nervous and irritable disposition which is said to have been caused by sever attack of meningitis at the age of four- this was thought to be the reason behind his neuralgia, stammering and severe depression. Owing to these problems, his parents had him committed to an asylum for five years where he developed a lifelong addiction to opium (among other drugs), prescribed by the chief doctor. 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. Strong lungs are required to achieve both loud and quiet sounds in a variety
Indicate how the influences and ideas of other playwrights and/or directors, designers and performers (i.e. practitioners) have been used.
Indicate how the influences and ideas of other playwrights and/or directors, designers and performers (i.e. practitioners) have been used. Antonin Artaud was the creator of the 'Theatre of Cruelty'; Artaud was attempting to change the view of the word and society as he now thought that the world of theatre had become nothing but an empty shell. Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance. He aimed to affect audiences on an entirely non-rational level. We liked this idea as we wanted the audience to feel intimidated, and figured this technique would work well to keep them interested. We used Artaud's work in a few scenes. Firstly in the scene after the child has been kidnapped. Our intention in that scene was to provoke an emotion from the audience. 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
"How Does The 'The Caucasian Chalk Circle' Fit Into Brecht's Idea Of 'Epic Theatre'?"
Essay on "The Caucasian Chalk Circle" "How Does The 'The Caucasian Chalk Circle' Fit Into Brecht's Idea Of 'Epic Theatre'?" "The Caucasian Chalk Circle" by Brecht is an example of "Epic Theatre." Epic theatre is an anti-natural style of theatre, which brings forth a moral to the story rather than entertaining the audience. By the end of the play, the audience should leave the theatre without a sense of satisfaction because most problems are left unresolved. The audience should also be questioning their society. The person who just views the play would likely take it as fantasy and not reach the true depth of the play. The theme throughout the play is natural justice versus class justice, and that people should stand up for their rights. Brecht uses his own style to make "The Caucasian Chalk Circle" a form of Epic theatre, he sends out a moral to the audience, his moral is that resources should go to those best able to make use of them. Other plays may just be acted to entertain an audience. In epic theatre the moral revolves around the play while on the other hand in natural theatre, the characters revolve around the play and the audience feel the characters' emotions and feelings. The characters in other plays will be realistic, but in "The Caucasian Chalk Circle" the characters are unrealistic but the have to pretend to be realistic, the characters have no emotions, the
"Lea Anderson draws her influences from many sources to create work which challenges stereotypes." To what extent is this seen in the work you have studied?
"Lea Anderson draws her influences from many sources to create work which challenges stereotypes." To what extent is this seen in the work you have studied? Lea Anderson is choreographer for two dance groups; The Cholmondeleys and the Featherstonehaughs. For the majority of her dances Lea will begin by creating a scrapbook on a topic that has interested her in day-to-day life, for example something she has seen in the street or on an advert. She will begin to build up her ideas in a scrapbook, collecting from magazines and newspapers things that are related and linked to her original stimulus. The next stage is to take her ideas to either of her dance groups. Lea will go about creating the dance in a workshop fashion whereby her dancers produce the dance going off the given stimulus. Lea then pieces together the various sections to form a dance. Lea's work is based on stereotypes. Stereotypical characters are those, which people expect to see, it is a general perception of society. She uses various ways in which to portray her thoughts about stereotypes, often gender based. Her thoughts being that male and female should not be treated differently but as one. She portrays this constantly throughout her work by using male and female stereotypes. Take for instance Perfect Moment; the dance uses both groups, the Cholmondeleys and the Featherstonehaughs. Anderson uses
Is Not I A Life Assuring Play? Samuel Beckett wrote Not I in 1972. It has often been described by the term 'Theatre of the Absurd'
Is Not I A Life Assuring Play? Samuel Beckett wrote Not I in 1972. It has often been described by the term 'Theatre of the Absurd'. This term was invented by Martin Esslin and refers to plays written in the 1950's and 60's. It originates from an essay by the French philosopher 'Albert Camus' called 'The Myth Of Sisyphus', and describes the situation of man as 'totally meaningless'. Beckett's plays often contain this idea; they suggest that man is out of tune with the universe, and that we as humans cannot decipher what our meaning or purpose is in life. Waiting for Godot, Becketts first play presents the idea that our roles have no purposes, and that man is a troubled and doubtful creature. At the time when Waiting For Godot was written, the Hiroshima bomb had just exploded in Japan, bringing an end to the second world war and leaving desolation in it's wake. This news of human life being wiped out on such a massive scale changed people's consciousness, broke down social boundaries, wavered religious beliefs, and most of all, provoked absolute despair. This fading out of religion, and lack of conviction that there was any help or resolution out there, is present in Beckett's Not I. Whilst in Waiting For Godot there are discernable characters, in Not I Beckett presents 'Mouth'. Mouth laughs at God, yet also seems to fear Him. Her constant references to 'punishment', which
How different were Greek theatres to modern theatres
Fred Speight How different were Greek theatres to modern theatres Theatre today as in ancient Greek times is a popular from of entertainment. Today's theatres share many similarities with the Greek predecessors however they are also very different. There are in fact many differences for example; layout, special effects, seating arrangement, the importance of drama and religion, setting, location and architectural features. In ancient Greece festivals were mainly held at the Great Dionysia. This was the oldest theatre in Greece and many plays were performed here for example the first performance of Antigone. The patron of the theatre was the God Dionysus and there was a temple near which was dedicated in his honour. There was also a statue of the patron Goddess Athene. Today there is no link between religion and theatre, as we live in a multi-cultural society with people who follow many different faiths; therefore the theatre is secular to appeal to all people. First I will discus the various aspects of ancient Greek theatre then compare with today's modern version of theatre. Today it is widely believed that theatre first began in ancient Greece, the evidence people used to come to this conclusion was from ancient Greek plays, Greek art and architecture. Orchestra The diagram on the right shows the layout of a typical Greek theatre. The circular area in the middle of