There are a number of logistical and dramatic factors to be decided upon in a production of Philadelphia, Here I Come. Discuss the set, lighting, sound, music or any other element of the play that you feel relevant.

There are a number of logistical and dramatic factors to be decided upon in a production of Philadelphia, Here I Come. Discuss the set, lighting, sound, music or any other element of the play that you feel relevant ________________ Friel raises issues, explores them to a certain degree. However the end is left open. The play “Philadelphia, Here I Come!” is both realistic as it presents real life situation, but also expressionistic, trying to dig into Gar’s subconscious. Gar has a choice to make, ultimatum that could vary depending if S.B. was to reveal his true emotions towards his son. Gar lacks the same attribute as his father; the ability to communicate with one another. Gar also failed to make an oral impression on Katie’s father in the past and this element cost him her hand in marriage. We are presented with Private Gar and Public Gar on the stage. Public Gar is the Gar that people see, talk to and talk about. Private Gar is the unseen character, the alter ego of our main hero. Although Public Gar is the only person that can hear Private talk he never looks at him, he cannot look at his alter ego. On stage two characters play Public and Private. One utters what is acceptable and the other utters what he’d really like to say if he wasn’t so inhabited. The central struggle is not between the public and private but between Gar both private and public and

  • Word count: 1154
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

How does Globalisation affect theatre?

DA1148 PERFORMING THEORIES (2010-2011) ASSESSMENT: Portfolio of work TUTOR: Rachel Clements DOES THEORY MATTER? How does Globalisation affect theatre? This essay will explain in what way globalisation affects theatre and it will analyse whether theory matters or not when globalisation is taken into account. In drama there has always been a lot of talk about theory, not actually theory of the theatre but just theory. People use this term in different ways but "what is theory?" If you would look the definition on the dictionary it would say that theory is "a set of statements or principles devised to explain a group of facts or phenomena, especially one that has been repeatedly tested or is widely accepted and can be used to make predictions about natural phenomena."(What is theory, 1997. what is theory. [online] Available at: <http://academic.brooklyn.cuny.edu/english/farley/gflt/gradfemsite/whatistheory.html> [Accessed 13 January 2011]) In the history of drama there have been many types of theories. "What it is meant by this?" Well, there have been people who came up with different ways in which theatre could be performed by giving instructions to actors, directors and crew telling them what things they are supposed to perform. Sometimes theory can be defined as an activity, something you don't do or something you do. Theory can be thought or studied but this does not

  • Word count: 2370
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

The Merchant of Venice. The audience would have more sympathy for Shylock in the movie version by the 'humanising' sources that Michael Reford has added to the film.

Shylock is a tragic character as well as a villain in Shakespeare's play, The Merchant of Venice. Excessively greedy villain, harsh in his business, strongly shows the stereotype of Jewish people around the time the story was written. His twofold characteristics are displayed different in the original play by Shakespeare and the film version which was made by Michael Redford in 2005. The movie version is portrayed with dramatic elements and almost no comedic elements. It shows different aspects, the flow of the scene is rather serious. In the story, Shylock is portrayed tragically by Shakespeare. He is a villain but at the same time, he suffers persecution by Christians. The tragedy of Shylock is not noticeably shown to the audience In the play version of The Merchant of Venice. However, many behind facts in Venice come to light through the film version, Shylock's tragedy is articulated and the modern audience would find out the different point of view. The audience would have more sympathy for Shylock in the movie version by the 'humanising' sources that Michael Reford has added to the film. The director has tried to approach the character of Shylock with a sympathetic view, instead of showing Shylock's brutal aspects only. Michael Redford sees him as a 'person' before thinking of his immorality in the story and implies that he is an example of the victims of conservative

  • Word count: 822
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

Edgar Allan Poe- explanation to his poems

In this poem, one is struck with a sense of instability throughout. Poe is writing of how quickly things pass, and how hard it is to hold on to them. In one line he says "Can I not grasp them with a tighter clasp?" Here he implies how he cannot hold onto anything good or bad, because it slips away no matter what. It is not written with sadness, but more of a frustration, not quite a lament. He says "my days have been a dream," meaning everything passes with little or no reality. This poem is rather short, with a simple rhyme and meter of AABBCCDD...etc. The language is a bit flowery, but appropriate for the time and it still brings across the intended message of nothing with substance. The tone or author's attitude in this poem is despair, and he conveys despair not only with the meaning of his words but with the means of expression. The poem is spattered inconsistently with lines of trochaic tetrameter/trimeter, and the inconsistency in meter seems to suggests that the essence of his life is eroding into chaos. The poet experiences and/or empathizes with torment, weeping, and cruelty. Some of the language imputing despair includes "surf-tormented shore" "While I weep" "Pitiless wave" The phrases about shore and wave are metaphorical, representing the forces of life, while"few" "grains" of "golden sand" that "creep through" the poet's "fingers" represent beautiful moments

  • Word count: 1498
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

In this portfolio I will take you on the journey which I myself have travelled on throughout my IB theatre programme. Within this portfolio I will portray the processes which we as a group went through in order to create our devised piece

In this portfolio I will take you on the journey which I myself have travelled on throughout my IB theatre programme. Within this portfolio I will portray the processes which we as a group went through in order to create our devised piece as well as how we applied our knowledge and understanding from our experiences into our performance design. The Stimuli Our production began with each member of the group producing a stimulus. Before presenting their ideas we decided that we should individually analyse the stimuli and see what we as individuals could come up with. We did this before the member of the group voiced their ideas on their chosen stimulus so that we had the opportunity to take the stimulus along different paths and elaborate different ideas and amalgamate them together. Belo is our stimulus' and our ideas which we had on each. After having discussed the available options which included images, music and objects of sentimental value we decided to use my stimuli. My stimulus was of a newspaper article that had been widely distributed throughout the UK. We then discussed the direction we wished to take with our chosen stimuli. We again split into different areas of the room to individually assess our dilemma. Below is the mind map which I created at this time. After thorough discussion we agreed upon the concept of using a 'current affairs dilemma' in order to

  • Word count: 2796
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

Stanislavski Essay

Words: 1566 Essay Question: How did Stanislavski contribute to the development of realism in theatre? Konstantin Stanislavski1 was a wealthy Muscovite man born in the early 19th century. He is who is responsible for creating the method of acting called realism. Stanislavski as a director during the late 19th century disliked the idea of the costumes and the general genre of acting. He therefore experimented with methods and created his own system. The system entailed the actor grabbing a hold of the emotive side of their character then expressing it within their performance. This created a lot of work for the actors in order for them to imitate the role of their character in a correct realistic manner. This system consists of three parts to create a final role. Konstantin Stanislavski c during the early parts of the 20th century not too long ago created three books2 explaining the three different parts of the system. This method of acting has affected many people whom are involved with theatre and acting. It has changed the way some communities look at a piece of theatre as this system creates another type of genre called realism. The historical context of the realism within theatre is very important. Within the 19th century a period broke out in theatre when experiments were done with realism and naturalism. Not only Konstantin Stanislavski experimented with this genre

  • Word count: 1601
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

Le panoramique assimilateur dans Windtalkers (2002)

Le panoramique assimilateur dans Windtalkers (2002) Par Elie Yazbek Le rapport à l'idéologie (ce mot se comprend ici dans son sens le plus large et non pas dans une optique politicienne ou partisane) s'établit dans Windtalkers à partir de l'image elle-même, dans l'image. Au fait, l'introduction de Windtalkers, réalisé par John Woo, se confine au domaine de la fiction, à la différence d'autres films qui utilisent l'artifice du noir et blanc ou des images d'archives, tout en établissant un rapport tangible avec la pensée assimilatrice (l'idéologie dominante concernant les indiens aux USA) qui domine certains courant de pensée aux Etats-Unis. Plusieurs panoramiques et travelling sur le désert ouest américain se succèdent en fondu enchaîné et forment un fond d'image au générique début de Windtalkers. L'image d'un enfant aux traits indiens, porté par son père, filmé en forte contre plongée devant un drapeau américain qui le surplombe succède lui aussi en fondu enchaîné aux paysages mythiques sauvages et reconnaissables quasiment partout grâce aux westerns hollywoodiens. Filmé en panoramique vertical descendant, ce plan emblématique de l'enfant dominé par l'étendard aux multiples étoiles donne le ton du film : la communauté indienne, symbolisée par l'enfant, se place sous l'emblème le plus représentatif du conquérant et accepte donc cette

  • Word count: 1109
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

To What Extent is "Death of a Salesman" a Tragedy?

Willy Loman is often described as a Tragic Hero - To What Extent is "Death of a Salesman" a Tragedy? Critics have hotly debated the question of whether Willy Loman is a tragic hero or whether Death of a Salesman is a tragedy. Dramatic tragedy was invented and defined by the Greeks. Aristotle said a play has to have four elements to qualify as a tragedy: 1) noble or impressive characters; 2) the main character's discovery or recognition of a truth or fault in himself ; 3) poetic language; and 4) the ability to arouse and then soothe the audience's pity and fear. Some critics consider that whether Death of a Salesman is a tragedy or not is debatable on all four sections, while others think the play meets all these criteria. When Arthur Miller began reading plays in college, Greek tragedies made a profound impression on him. He says that he was drawn to the Greeks "for their magnificent form, the symmetry." "That form has never left me; I suppose it just got burned in." However Arthur Miller argued that times have changed- "we no longer live in an era dominated by kings and queens- and so maybe our definition of tragedy should change, too." Changing ideas on the qualities of a "modern tragedy" means also changing the qualities of a "modern tragic hero". A tragic hero is someone with the dedication to die for a belief, but also someone who has a tragic flaw or limitation that

  • Word count: 865
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

Designer(TM)s Portfolio

Designer's Portfolio --- Waiting for Godot By Samuel Beckett ADA 4M Drama Term II 2007 Niya Sang Due Date: Friday, march 2, 2007 A brief summary of the play............................................3 The setting and the overall mood in the play......................4 A serious of quotations that comments directly on the aspects of the design..................................................................5-6 Props in the play..........................................................7-8 A color scheme for the play.............................................8-9 A visual collage for the play.............................................9 Photographs for the play..............................................10-12 . A brief summary of the play Two tramps named Estragon and Vladimir meet on the road, beside a sick looking tree. They are happy because they didn't see each other for a long time. Estragon has a sore foot and is having troubles taking his boot off. The two men remember that they are supposed to wait for a man named Godot. In the play it shows that they do not remember the man named Godot really well, but they think he is going to give them an answer. But they cannot remember the questions. While they are waiting, estragon falls asleep. Vladimir suddenly fells lonely, so he wakes Estragon up. Tired of going nothing, they begin to talk about the tree

  • Word count: 1729
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay

William Shakespeare's Hamlet Hamlets disregard of his friends advice and the truth of Hamlets characteristics.

William Shakespeare's Hamlet Hamlet's disregard of his friend's advice and the truth of Hamlet's characteristics. Ravee Chen S2 English H Dr. Freisen September 21st, 2009 Hamlet, the late king of Denmark, has risen again in Shakespeare's play Hamlet. He appears in the first scene of the play to Horatio, Bernardo and Marcellus. Being very scared and confused, they decide to tell the Prince of Denmark, Hamlet, about this strange occurrence. They thought that the spirit, being an apparition of high rank and a relative to Hamlet, would speak to him though it would not speak to them. Hamlet, upon hearing their story, decides to go see the ghost with his own eyes. When the ghost reappears the following night, Hamlet goes to speak with it and it motions for him to come with it alone. Hamlet's friends, Horatio and Marcellus, do not trust the ghost; they believe the ghost might be a demon in disguise, or have ill intentions. However, the way in which Hamlet responds to the ghost by going with it demonstrates his courage and sense of independence. Horatio and Marcellus try to stop Hamlet from following his father's ghost which could actually be the devil in disguise. During the Elizabethan period, people believed that whenever a ghost appeared it could either be a soul that returned from the dead because of unfinished business or one of Satan's minions in disguise. Even

  • Word count: 775
  • Level: International Baccalaureate
  • Subject: Drama
Access this essay