Drama and Theatre Studies structured records
How the student role emerged and was communicated. 'Use of space' explored the broad topic of social and professional satisfaction and happiness. In order to highlight the universal implications of our piece, we decided that it was necessary to use diverse characters allowing the audience to identify with aspects of each persona's issues. Initially, we brainstormed several different problems that could affect an individual's happiness in the work place, and came up with the fundamentals for five characters. The original basis of my character came from my own anxieties towards life. During devising we were contemplating university choices and starting to arrange our lives after college. As a group we all felt anxious and many felt a lack of direction. This insecurity we felt towards leaving the secondary education system, led to the creation of Pamela (the character I played.) After discussing Pamela's initial characteristics, focusing on her feelings of anxiety and confusion we had to decide her plot. Her lack of control and direction led us to create her objective to gain a secure role in the work place to solve her anxieties. After creating the fundamentals of each character we discussed as a group their characterisation. The role of Pamela primarily emerged through a series of role-plays. Firstly, I performed as her character in different situations allowing me to
Discuss How You Would Direct Two Key Scenes in Whose Life Is It Anyway?
Discuss How You Would Direct Two Key Scenes in Whose Life Is It Anyway? There is a range of deep, complicated moral and ethical themes in this play. The playwright causes the audience to emotionally contribute strong views on what is right and wrong, within the course of the staging. Because Brian Clarke handpicked such a controversial ethical issue as this, he caused his audience to express strong personal beliefs as well as playing a technique of the 'defence and prosecution' (two sides), whereby Clarke keeps the substance and pace in the play to quell his audience's thirst for action. There is a direct consequence to this- this resides in the fact that opposing judgments are not ignored, thereby keeping the spice and momentum going. To actually stage the play would be also take an original approach due to Ken Harrison's paralysis, where he must be kept on-stage throughout the play (because the director must try to impress realism). As a result of paralysis from the neck-down, Ken is unable to express his emotions and temper through effective body language and thus his ability to relate with the audience is terribly hindered. However, facial expression and his tone of voice remain at his disposal. In a director's sense, Ken must preside good control over these features to compensate his lack of body language, and successfully implement these to an effective end. His
AS Theatre Studies Portfolio
AS Theatre Studies Portfolio Dramatic Aims and Objectives The dramatic aim of our piece is to present the audience with a modern interpretation of the Lord's Prayer', whilst exploring the effects of pressure in our lives, and giving the overall effect of a highly original compelling piece of theatre. The performance has a Brechtian style, as this is a demonstrative acting method that enables us as actors to present the character from a number of perspectives, naturalistic and abstract, giving the theme a rich and diverse impact; similar to the variety of impacts pressure has on the members of the group. We wish to produce a piece of political theatre, in the loose sense of the term 'theatre with attitude' and we use the attitudes of the characters to convey this. Through the process of trying to produce a highly original theatre our piece has evolved into a movement and music style in order to make strange and cast new light which is Brechtian, better enabling us to communicate our modern interpretation of the Lord's Prayer. Inspiration Set Texts Our initial source of inspiration was Shakespeare's 'A Midsummer Night's Dream' as this is a set text that we study as part of our AS and we also put it on as a sixth form production in February of this year. We analysed the plat in the hope of extracting an idea that relate to the society we know. The lover's temptation to run
Plot and subplot -
Plot and subplot "Our Country's Good," a play by Timberlake Wertenbaker, is about a group of English convicts bound for Australia by sea in 1788. In the first scene, Sideways, a convict on board the ship, is being brutally whipped and we are introduced to the constant, overwhelming fear, hunger and despair that the convicts are going through. We are also introduced to all the officials on board. They are debating the punishment of hanging that three of the convicts have received for stealing, and we see the different attitudes different characters have to this. Governor Arthur Phillip supports a humane approach to dealing with the convicts, but Judge David Collins believes that the law must be upheld and that a crime, however petty, is still a crime. Captain Watkin Tench says that the convicts are beyond redemption anyway, and Midshipman Harry Brewer takes the opinion that the convicts have become desensitized to hangings and even consider it "their theatre". In the end Governor Phillip believes that a play for the convicts to put on, with "fine language [and] sentiment" is the way to go in order to encourage the convicts to change their ways in this new environment. We learn the play chosen play is to be "The Recruiting Officer" (1706) by Irish actor-turned-playwright George Farquhar (1677-1707). It is about his experiences working as a recruiting officer for the army for
My drama script
Characters Rich Woman Ced - Precious Diamond Wilson Family (Poor - Bad Mother, and good daughter) Jo - Mrs. Charity Wilson (Bad Mother) Marie - Lucy Wilson (Good Daughter) Phillips (Poor - Good Mother and good daughter) Pearl - Grace Phillips (Good Mother) Kem - Niki Phillips (Good Daughter - Sociable) Policewoman Fows - PC Evans Boys Marie/ Ced - (Boy with AIDS) Akua, Maria, Kemesha, Fowsiya, and Joana - (Boy's Friends) Doctor Kem - Doctor Garrett Fows - Nurse Patients awaiting to see the doctor: . Marie - AIDS 2. Pearl - Cold 3. Ced - Broken Leg 4. Jo - High temperature Script A woman is astounded when she enters and glimpse the splendour of the room at the far corner of the wall, she can see a beautiful portrait. The furniture is made of the finest beach wood of dark mahogany. There is a couch slanted slightly to the left and it is filted with silken love cushions. There is a slight movement; she turns around to see her. Mrs Phillips: Oh you have a wonderful room, its so nice Miss Precious: Oh thank you Mrs Phillips: Emm, I just wanted to say thank you again for bringing us here, and looking after us, we are grateful, thank you so much. Miss Precious: Hey its ok, don't worry at all if you need anything, anything at all, just let me know, so what are we having for breakfast today then? Mrs Phillips: Anything you want Miss. In the
Create a presentation in response to the thematic area IRONY.
Sophie Wong 11A Coursework and controlled test evaluation Introduction My task for this controlled test was to create a presentation in response to the thematic area IRONY. Our production was centred on the theme of irony and things are not what they seem. Although this theme ran throughout our presentation, we also used a different form of irony called dramatic irony. This is when the audience know something about the character or the plot but which the characters within the play are oblivious to. We were influenced on this by a theatre production entitled 'Blithe Spirits', in which a wife dies and returns as a spirit roaming around her own home as if she was still living. This is very similar to our storyline in which pair of female twins and their friend are on holiday when a schizophrenic murders one of the twins. The outline of the play is the living twin can see her spirit but the friend cannot. The dramatic irony within this is that the audience know she is dead but the characters do not. I chose to work in a group of five for a second time because I felt that the numbers worked well previously. It allowed us to have various characters and experiment with many different expressive arts techniques. I worked with Alison, Hannah, Rachel and Johanna and because we were all studying dance and drama, these were the focuses of the play. We chose to work in this group
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