My task for the controlled condition test was to construct a 15-minute presentation centred around the thematic area of IRONY and things that aren't as they seem.
Coursework evaluation Hannah Taylor 11A Introduction My task for the controlled condition test was to construct a 15-minute presentation centred around the thematic area of IRONY and things that aren't as they seem. Although irony played an important part throughout our performance we were able to closely link it with a particular form of irony named dramatic irony. This is the irony that occurs when the implications of a situation, speech etc are understood by the audience but not by the characters in the play. Our presentation was about a pair of 18-year-old twins played by Sophie Wong and Rachel Steyne and their best friend played by myself, on a holiday near the beach. An argument occurs between one of the twins (Rachel) and the friend resulting in the murder of the twin. The surviving twin can see her spirit but the friend cannot. The murderer is a schizophrenic, with two personalities, the evil side played by Alison Verona and the good side played by Johanna Thorpe. The dramatic irony within this is that the audience knows she is dead but the characters do not. We chose to work in a group of five as we all take dance and drama and so would be able to concentrate on both performance techniques closely and as a group with no interference. Working as a five meant we were able to use a variety of characters and techniques in the performance, which was needed to
What do we learn about New York and the programmes themselves through the openings of 'The Sopranos' and 'Sex in the City'?
What do we learn about New York and the programmes themselves through the openings of 'The Sopranos' and 'Sex in the City'? This essay will focus on a comparison, contrast and review of the opening sequences of 'Sex and the City' and 'The Sopranos'. I will analyse how each scene depicts and represents the city of New York, and how the actual programme itself is portrayed. I will deconstruct and break down each technique used, and how it is symbolic towards the city and series. 'Sex and the City', the first programme I will be analysing, follows the daily routine and lifestyle of Carrie Bradshaw; a mid-30s single American woman. The television show focuses on Carrie, her friends, and their sexual and personal relationships and experiences in New York. It is aimed primarily at the young female adult demographic, and therefore it is always shown after the watershed. It would appeal to other audiences, but I believe that it has been produced with that one specific demographic in mind. Normally, the show has to be screened late at night, due to regular extreme language and explicit sexual content. 'The Sopranos', the second programme that I studied, follows the exploits of an Italian-American family of gangsters, and their involvement with the criminal underworld of New York. The main character, Tony Soprano, is usually the person that has his life documented by the camera.
Brecht Portfolio
A- level Theatre Studies Portfolio "Fear and misery of the III Reich" Bertolt Brecht . Dramatic Aims "Show, don't be." Our aims for this production from the historical point of view are to present the lives of people in Nazi Germany as they were and to show that because the past has changed, the present is changeable. However our main purpose is to make the audience realize how the play is related to their lives today and that if they want to change the world they have to start from themselves. "Proper plays can only be understood when performed. (...) The production has got to bring out the material incidents in a perfectly sober and matter- of- fact way. Nowadays the play's meaning is usually blurred by the fact that the actor plays to the audience's hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood. Feelings are private and limited." ("Brecht on theatre" Conversation with Bert Brecht) "Fear and Misery of the III Reich" is an episodic play consisting of 24 scenes related through the political message (life in Nazi Germany 1933- 1938) but able to exist separately. This is one of the aspects of Brecht's idea of Epic Theatre which shows the world as it is- full of
'The Gift' and 'Frankenstein' - Response, Development and Evaluation
Response Phase We watched a video called "The Gift". This was a story of a girl called Annie, aged 16. She was a keen sportswoman and played football regularly. However, she began to develop balance difficulties. These difficulties began to escalate, Annie and her mother, Barbara, decide to go to the Doctors. They find out that Annie has a sever condition named Friedricks Attaxia in which your muscles waste away. Annie is told that her condition will deteriorate and she will eventually die. On hearing this news, Annie's brother, Ryan, who is fourteen, wants to be tested for the disease. Ryan finds that he is a carrier of the disease. The film now goes forward in time to the year 2012. Annie, Ryan's sister, s now dead. Ryan is married and wants to have a child but is concerned as to whether his wife is a carrier of Friedericks Attaxia, she is tested and found as a carrier. This means that there is a chance of their child being born with this disease. Ryan wants to make sure that their child does not have the disease. Ryan persuades his wife to let him select a child, using advanced technology, which does not carry the Friedericks Attaxia gene, on condition that that is the only thing that he selects. However, as a geneticist, Ryan can read and understand the gene odes which are presented to him, Ryan decides to pick a child without the Friedericks Attaxia gene, but also
elizabethan times theatre history
Year 10 Coursework How important was the Theatre in Elizabethan Times? . One reason the theatre was seen to be a danger was because it was a place where lots of dangerous people could come together. In Source D it says "they are ordinary places for vagrant person, master less men...and other dangerous persons to meet in one place." This was a threat because those people were all together in one place and could plot crimes and steal from people in the crowds as there were lots of people there and no one would notice anything. The city was not able to stop these crimes as the theatre was "out of the city's jurisdiction" which meant that those crimes were unpunished. Those people also stayed unemployed as they spent their time going to the theatre and others were distracted from their jobs: in source D it says "draw apprentices and other servant from their ordinary works." therefore employers felt that the theatre was a threat as it preoccupied their employees so they couldn't do their jobs properly. In Source D, there were many "whoremongers" who could persuade you into paying them and doing bad deeds. There were "thieves" who are very capable of stealing off anyone because the people are so tightly packed. This was a huge threat because it was an easy place for crime to happen. In addition, source D also says there were "contrivers of treason" and these people plot
Race Against Time - Theatre Studies Portfolio.
Theatre Studies Portfolio By Charlotte Osner - Clark Initial Inspirations From the start we decided to produce our piece in the style of Antonin Artaud, the French practitioner who wanted to change the way theatre was perceived and the way productions were put on, for example, he wanted to make an audience feel what was going on around them rather than think about it. We decided this as we had been studying artuad's theories as part of the AS course and had already incorporated them in a piece devised by us entitled 'Little Red Riding Hood'. We chose this as we thought an Artaudian piece would be more interesting to watch and perform than a naturalistic piece. We also wanted to incorporate some ideas from the Shared Experience Theatre Company, for example, exploring the issues of racism and stereotyping, and using some of their rehearsal techniques, such as a belief line. We considered adapting a fairytale as we had practice with this from doing a short piece in the style of Artaud. Adapting a fairytale seemed to give is a lot of opportunity regarding the audience and their perceptions of fairytales, however, we discovered that fairytales didn't have enough in the way of a storyline or enough characters for it to be long enough, meaning that the story was too short once it had been adapted and we didn't have enough ideas to make it longer. We didn't want to start limiting
The Job - Dramatic aims and objectives.
The Job Dramatic aims and objectives Our chief dramatic aim was to produce a purely entertaining piece of theatre that was both serious and comical. In our group we intended to devise a character driven piece exploring the personas of criminals and how they reacted with each other under stressful circumstances. In doing so we will try to incorporate a wide variety of dramatic techniques to create a both stimulating and effective piece of realistic theatre. We aimed to engage the audience in a journey through the lives of the criminals by using monologues to tell their personal stories. These stories were going to reveal that these apparently stereotypical "gangsters" are real human beings. In devising this performance, we do not claim to fully understand the world of organised crime and we won't try to answer any questions posed about the lives of criminals. What we will try to do is actually ask the audience the question "Are criminals always bad people?" or "Are criminals any different from the rest of us?" We will try to manipulate the audience's feelings to a more positive view of the people involved in crime by displaying how they came to become criminals. Inspiration, Practitioner and Research AS part of the years AS course we have studied the work of the practitioner Konstantin Sergeievich Alexeieve Stanislavaski. We used several of his rehearsal and
"Let Him Have It" How effective is the end of the film in gaining the viewer's sympathy for Derek Bentley and his family?
Katie Bradford "Let Him Have It" How effective is the end of the film in gaining the viewer's sympathy for Derek Bentley and his family? In 1991, the opportunity arose for Peter Medak to direct the film, 'Let Him Have It,' the true story of how Derek Bentley, a brain damaged, epileptic teenager was tried and executed for murder in the 1950's. During the period of 1991, Medak felt that the issues surrounding capital punishment needed to be brought to the forefront of public consciousness. He was convinced, as many other English people were, that young, slightly retarded Derek Bentley was railroaded by the British justice system. The perpetual campaigning for his innocence and detailed media coverage over many years would have ensured Medak that he would receive a great public response from his representation of events. 'Let Him Have It' shows how Derek Bentley, a shy introverted character, becomes involved with a group of youths who lure him into a life of petty crime. Derek's concerns over the activities of the gang are soon dismissed when he realises, Chris Craig, the arrogant and egotistical leader, is essentially his only friend. At this point, the audience can sense it's only a matter of time before something dreadful occurs and as the story unfolds we see that their feelings are substantiated. On the 2nd November 1952 Derek and his gun-wielding companion, Chris,
Drama Coursework: Absurdism Freeze Frames We used freeze frames in drama to create many absurd scenarios
Drama Coursework: Absurdism Freeze Frames We used freeze frames in drama to create many absurd scenarios. We co-ordinated our bodies with other people to create a scene and we held our positions for about 10 seconds. We usually did this whilst we were warming up our bodies; it also helped to see if as a group we could listen to other people and develop their ideas. We had to use our facial expressions to create an atmosphere and sometimes tension. We have used the technique of freezing at a specific point many times in drama this year. In groups, we have often created sketches and frozen our positions. We had to pretend that we were on a train and we had stopped at a platform. Sheldon walked on the train and was bringing his pet elephant on a trip. Sheldon held a leash and was patting the pet on the back. I played one of four passengers; I cringed when they got on the train; as if the elephant smelt. The others did mostly the same but were moving out of the way for the elephant whilst holding their noses. My group for this sketch was: Stephen, Sheldon, Helen and myself. It was a very strange image to comprehend, but that is what abusrdism is all about. The use of freeze frames in general helps me to appreciate that every scene counts. Every aspect of the play is important, not just the important ones. It helps me to just have a little pause in time and think about what
In this essay, I will analyse how the producers of 'Shrek' have constructed the film so that it appeals to a wide audience, including the whole spectrum of generations.
The producers of the film, 'Shrek', successfully modernise a traditional fairy tale plot, by adding a subtle twist and imaginative exploration into the notion of stereotypical characters. In this essay, I will analyse how the producers of 'Shrek' have constructed the film so that it appeals to a wide audience, including the whole spectrum of generations. In particular I am going to specifically focus on the characters of Shrek and Lord Farquaad, and investigate how reversing their roles, from evil ogre and knight in shining armour, as in Snow White and the seven dwarfs to the complete opposites, adds to the effectiveness of the film. During the opening shots of 'Shrek', which opens as a heavenly light shining down on the beautiful book and its contents. This symbolises a nice story that ends happily ever after, calm and goodness. In traditional stories and fables, shadow and darkness represents danger and evil and so light is safety and pure. The producers have used this imagery to portray the film to have an angelic plot, which is usually of love rather than laughter. As the audience is introduced to the main character, the ogre himself. The film opens like a traditional fairy tale narrative, with the book and the text showing the familiar layout of a children's book. Therefore highlighting a friendly atmosphere through the large text and brightly coloured pictures. The