We had to create a tableaux image of the four strong words in the poem; love, hate, war and peace. The first
Drama Portfolio Response When I first walked into the stimulus room, I initially felt it was very much associated with time. There were the sound of clocks ticking in the background, there were also many pictures of clocks scattered on the floor. As I looked around the room I noticed it was clearly divided into three different sections. In the right hand section of the room, divided off by police tape, there was a television playing a video showing a baby in a womb, children playing, and then a pair of eyes. The video then showed the children grow into adults. This was followed by a sign being put up about adoption and fostering and then went back to show the image of the baby in the womb. The images were repeated continuously. Also in the section was a baby in a cot, nursery books, a hopscotch marking, several newspapers on the floor with the headlines about 'Rape', a mirror, empty wine bottles, a train ticket with the destination, 'To meet my first born' and also written on the floor was ' Dear Diary, Today I met up with some of my friends...'. I think the overall theme of this section of the room was the 'past'. The baby, nursery books and hopscotch marking all represent childhood and growing up. I also think there were many more themes within the section; the hopscotch could also represent the journey through life or the stages of life. The train ticket with the
Communication within the health and social services.
Introduction Communication within the health and social services. Communication is the passing of information from one person to another or from one place to another. There are a number of different ways in which communication can occur. These include verbal communication, non-verbal communication and written communication (e-mail). Health and social care brings care workers into contact with people who may be lonely, anxious, devalued, discriminated against, emotionally vulnerable or unable to express their thoughts and feelings. Effective communication is needed by a care worker in order to improve a person' quality of life. Effective communication is also about communicating with relatives, colleagues and other professionals to create a safe, welcoming and valuing environment. Effective communication is needed if care workers are to foster people' equality, diversity and rights. When we are having a conversation we usual use two types of communication, verbal and non-verbal. We can send messages to people through our body language, the way we look. You can tell if someone is sad or happy through their facial expressions and eyes. Through the eyes we can tell if someone is attracted, excited or interested in someone else if their eyes get wider. If someone looks away it can mean they are not interested or bored. A fixed stare may be obtained as someone being angry or
Act 1 scene 1 of "Macbeth" the Scottish tragedy.
MACBETH Throughout Shakespeare's life, witches and witchcraft were the object of much fascination. Although some people did not believe in these superstitions most people believed in witches. Witches were believed to possess extraordinary powers. They could predict the future, fly and bring on night in daytime. This leads me on to the scene we have chosen to examine. It is act 1 scene 1 of "Macbeth" the Scottish tragedy. The director of the version we have chosen is Roman Polanski. In this essay I am going to look closely at many aspects of the opening scene including setting and sound. The scene we have chosen that opens the play is a very short scene. Although it is short it is long enough to awaken curiosity, but it does not satisfy this curiosity. I think the reason why Polanski started with the witches is because this leaves us in no doubt about how big apart the witches will play. It also indicates that the play is going to be a struggle between good and evil. As the opening scene begins Polanski instantly creates a sense of terror and unearthly feelings. He does by using a burnt orange/red sky overlooking a bleak desolate bare beach. Then the sky quickly develops from sunrise to morning. We see the witches walk along the wet sand as they leave the beach. They leave no footprints behind, jut black shadows. In this way Polanski tries to show the dark powers of the
GCSE Drama Coursework - Billy Liar Section One: The Response PhaseFor the response phase we worked on three sections of the play to discover and understand
GCSE Drama Coursework - Billy Liar Section One: The Response Phase For the response phase we worked on three sections of the play to discover and understand the family relationships in particular the development and changes of Geoff and Billy's complex relationship. We looked at firstly at the opening scene, then at act two and finally act three, the end of the play. In the response phase we used various explorative strategies in order to widen our understanding of the play and help us analyse themes and relationships in greater depth. . The opening scene. Role play - A typical family are seated around the breakfast table; a mum, dad, grandparent and two teenagers. Each has their own agenda and are focused on talking about their own topic, not really noticing or listening to each other. Our role play demonstrated something that all the audience, to an extent, should be able to relate to: the basic set up of a stereotypical family; the moody teenagers; staying out late, always after money, arguing and rebelling against parents, school and work. The elderly grandparent; constantly mumbling endless and boring stories about 'back in their day'. The father; the man of the house, the money earner, providing for the family. Finally we have the mother; the housewife, constantly fussing, cooking and cleaning and doing all the household chores with no help and no thanks.
Wilkie Collins (1824 - 1889).
Wilkie Collins (1824 - 1889) Although Wilkie Collins was one of the most popular novelists of his day, his reputation now rests on the novels "The Woman in White" and "The Moonstone." An expert in mystery, suspense and crime, he is often regarded as the inventor of the detective story. The eldest son of the landscape artist William Collins RA, Wilkie Collins was born in London, Marylebone in 1824. He came from a family of artists. His brother Charles Allston Collins was a close friend of the members of the Pre-Raphaelite Brotherhood - particularly John Everett Millais and Holman Hunt. Though never a full member he exhibited twelve pictures in the Royal Academy and made his living for some years by painting. Wilkie's father William Collins RA became an associate member of the Royal Academy in 1814 and a full member in 1820. He created more than two hundred pictures and was one of the most famous artists of his day with patrons among the wealthy and aristocracy. His mother Harriet Geddes also came from an artistic family and his aunt Margaret Carpenter was a well-known portrait painter. Educated for a few years at private schools in London, Wilkie Collins was thirteen years old when the family moved to Italy, and it's here that he gained his real education. Rebelling against his father's strict religious code and conservative values, he refused to settle into life either
'Woman in Black'- drama coursework
Response phase The 'Woman in Black' was written by Susan Hill in 1983, but was first published by Hamish Hamilton in 1983 as a hardback book. Most of the ideas for the 'Woman in Black' came from M.R James. In 1989, The 'Woman in Black' went onto television as a film thanks to a television writer called Nigel Kneal. In 1987, it became a stage play, and was first performed in Scarborough at the Theatre-by-the-sea. Then in 1989, the stage play moved to the Fortune theatre in London's west end. A young solicitor goes to stay at a house on the Nine lives causeway, and experiences lots of strange and scary noises and haunting as he goes through some of Mrs Drablows papers. The main haunting noise he hears is of a horse and cart that crashed, followed on by the severe screaming of a young child and a woman. One day Mr Kipps goes to a funeral, and sees a woman dressed in black with a pale and wasted face, standing amongst a group of young children. Mr Kipps realises there is more to Alice Drablow then he thought. In Crythin Gifford, nobody is happy to talk about the history of Mrs Drablow or the woman in black, for when they tried to find out, it caused them great pain and fear. When the solicitor talks to Mr Kipps, he finds out that Jennet Humfrye, sister to Mrs Drablow had a child, but could not look after it. So the baby boy was adopted by Mrs Drablow and her husband, who both
Critical Approaches to Shakespeare: Some Initial Observations.
Critical Approaches to Shakespeare: Some Initial Observations [This text was last revised on November 19, 2001] Introduction An earlier introductory note to some basic principles of literary interpretation ("On Scholarship and Literary Interpretation"), stressed that literary interpretation or literary criticism is, in many ways, an anarchic conversational activity with the practical purpose of enriching our shared understanding of a particular text. The value of any particular interpretative observations, or of a methodology upon which those observations are based, is judged by the results, as adjudicated by a group of intelligent conversationalists who have read and thought about the text under discussion. Hence, there is no one privileged way of organizing and presenting one's views. As that previous note mentioned, there are some basic rules about how the conversation should proceed, but these do not require a shared adherence to a single way of reading a text. In fact, the conversational basis for really useful literary interpretation finds its justification in the contrast between different ways of reading a text or some portion of it, because conversation is the best forum in which such differences confront each other and the participants profit from a discussion of the results of such different readings. However, in spite of the above remarks, there are some
Drama Sparkleshark
Sparkle Shark Coursework Amy Hudson In drama, we have recently been looking at a contemporary piece of youth theatre, Sparkleshark, by Philip Ridley. Sparkleshark is set on the junk-strewn roof of an inner-city tower block. This is the secret hideaway of Jake (14), where he goes to work on his stories. He's interrupted by Polly (14), who's more impressed by his stories than his rudeness, then by the trendily-dressed Natasha (15) and Carol (14) who copies everything Natasha does and wears; finally, to his terror, up come his tormentors, the self-obsessed Russell (15) 'the love muscle', his cohorts Buzz and Speed (both 14) and Shane (16), who they all regard with awe now he's left school for the outside world. Tough, trendy, heartless, they all think they know who they are, or need to be to survive. But they're in for the biggest surprise of their lives. When the girls try to protect Jake from the boys, he can only truly save himself and his dignity by weaving his best story yet; and this life- saver is so good that, despite themselves, they all not only want big parts in the roof-top enactment of its perils and mysteries, its trials and love quests, and its meetings with the Dragon Sparkleshark (played by Finn, 15) but will also find that they have formed new, unbelievable friendships and enjoyed the one thing they had been bullying people for. My first
Speaking out for those without a voice
Speaking out for those without a voice Response phase Stimulus text one - Poem by Pastor Martin Niemoller The class was split into groups to discus the poem. We discussed what feeling and emotion the author was trying to portray and how the poem made us think about and feel. The poem had a repetitive feel and used the same line 'I didn't speak up because....' and 'then they came for...' to end each line. This was insistent repetitiveness, which gave the feeling of time going by. The poem is very matter of fact and simple, which makes it more emotive. From reading the poem I made an educated guess that the 'They' that kept being referred to were the Nazis who took power in 1933. This gave us an idea for the era and social background to the poem. In my group we all asked the question 'Why did he not speak out?'. We know he was a religious man because of his title, however he hasn't adopted the Christian duty of speaking up for those without a voice. The first thing that came to mind was fear and oppression. The poem suggests that over time these minority groups, like the Jews, were being taken to concentration camps without much opposition from them or the people in the community around them. The last line ' Then they came for me- and by that time no one was left to speak out' gives a feeling of immense guilt and regret. It creates the image of the speaker being alone and
Improvisation involves a variety of different factors.
Improvisation Improvisation involves a variety of different factors such as: * Imagination * Co-operation * Immediacy * Thinking quickly * Listening and Watching * Being Open to others suggestions * Relying on feelings * Word association * Brainstorming If all these factors are combined then a good improvisation will be formed. The first type of improvisation we studied was ' Spontaneous Improvisation'. This involved three sections impromptu, polished and extended. The first piece of 'impromptu improvisation' we did was done by us being given a title and then devising a scene for it. The first title was running away, in which we had to pair together and come up with a scene. For this title my partner (Jelani) and I did a scene in which two people were going crazy staying where they were and wanted to run away. We created this scene by shouting at each other and talking continuously to give the impression that we were going crazy. Also we used body language to suggest getting away such as moving our hands away from our bodies and we fidgeted to reflect the fact that we weren't happy and wanted to get away from where we were. I think this improvisation worked well because me and Jelani made it believable and we were very lively and vivid. The second title we were given was " On the Streets" for this improvisation we worked in-groups of 5 or 6. In my group were
