The style in which the play was performed was presentational although there are some parts of realism because situations like these actually do happen. The actors played multiple characters and morphed into each one. The morphing shows visible changes of character. They had great versatility of characters and played each one with passion for the role. The facial expressions they used seemed to add to the way they acted and made us, as an audience believe their roles much more. Other presentational aspects include the use of direct address and poetic narration throughout the performance.…
About twenty-five years after writing the play, Stoppard (pronounced Stow-pard) wrote and directed the movie version of his play that we are viewing in class. He purposefully made changes in words and actions: deletions, alterations, and additions. While the stage version relies mainly on words and their manipulation, the movie relies more on visual images. To gain full appreciation for the writer’s craft, it is important that a full reading and a full viewing of both take place.…
A short play is usually filled with a theatrical energy of diverse anthologies. The time allotted may be only ten or fifteen minutes, so it must be able to capture and engage the audience with some dramatic tension, exciting action, or witty humor. Just as in a short story, a great deal of the explanation and background is left for the reader or viewer to discover on their own. Because all the details are not explicitly stated, each viewer interprets the action in their own way and each experience is unique from someone else viewing the same play. Conflict is the main aspect that drives any work of literature, and plays usually consist of some form of conflict. In “Playwriting 101: The Rooftop Lesson,” Rich Orloff explores these common elements of plays and creates an original by “gathering all clichés into one story and satirizing them” (Orloff as cited by Meyer, 2009, p. 1352).…
Have you ever wondered where the origins of theatre began? It is a well-known fact that the earliest forms of drama were developed in Ancient Greek by philosophers interested in using entertainment for social and philosophical commentary. It is essential that young people are exposed to the earliest form of scripted drama as it provides a foundation for understanding dramatic styles and conventions which are the basis for all the theatre which followed.…
Rothko’s complex inner emotions are revealed through Friels’ effective facial and bodily expression. At the beginning of the play his large and swift bodily movements seem to communicate the typical persona of a New Yorker however throughout the play the audience learns that Rothko’s neurotic personality is due to his inner self-conflicts. The early introduction of Ken – a young man who represents the new generation of artists that threaten Rothko’s rule - into the scene, facilitates the exploration of Rothko’s need for validation of his own art due to his contemptuous attitude towards the new generation of ‘zeitgeist’ artists. When Rothko dismissively explains to Ken that “[ken is]not an artist because [ken is] not civilised” he stands in front of Ken authoritatively and waves his arms rapidly – conveying his need for appraisal and admiration. This is further corroborated when he voices outwards, “only those who have suffered deserve to walk” with a stern face and uplifted chin. Furthermore, his mocking stereotypical imitation of the high-browed upper class - “the smirking nation… where everything’s fine” - quickly allows the audience to sense that his arrogant and denigrating attitude is due to his own knowledge that his career is ending. This idea is explored when he rages hysterically by pacing frantically through the studio…
Both of these plays allowed us to explore critical factors which make up the course, these headings are: practitioner, vocal awareness, non-verbal communication, visual, aural and spatial dynamics, language, plus social, historical cultural and political contexts. Finally the plays uncover interpretation and characterisation along the way too.…
AUDIENCES ARE NOT ONLY ENTERTAINED THEY ARE MADE TO ENGAGE WITH THE SOCIAL CONCERNS EXPLORED IN PLAYS. DISCUSS THIS VIEW WITH REFERENCE TO YOUR STUDY AND EXPERIENCE OF TWO OF THE TEXTS SET FOR STUDY.…
My experience for this production wasn’t what I expected. There were less talking and more action involved to express the character’s feeling. There were many ideas that were a good experience in this play, for instance the uses of the colors, the identical movements, and facial…
Australian playwrights use a variety of styles, techniques and conventions to present images on the stage that provoke and challenge their audiences.…
Bibliography: -Haseman, Brad, and John O 'Toole. Dramawise: an Introduction to the Elements of Drama. Richmond, Vic.: Heinemann Educational Australia, 1988. Print.…
Chapters 40 and 41 provide helpful pointers for writing about plays and for developing research papers. Be sure to review both chapters thoroughly before you begin doing any further work for this assignment.…
It is truly fascinating to see how two plays, Everyman and Much Ado About Nothing, that were written during different periods in time by different playwrights, have many similar traits. It is well known that drama has seemed to grow wherever men have gained the piquing interest to know- the facts, the reasons, and the cause. However, as does men change and evolve, so does the drama. Writers continue to look for the “new” way to capture the audience and express the hidden emotions or thought within each writer.…
This paper discusses the cause and effects of art censorship. The National Coalition Against Censorship stated “Censorship has been around for as long as there has been creative expression; no doubt, censorship attempts will be part of our future. However, the degree of public support for free speech has always made a difference - the difference between silent repression and a lively debate.” Censorship has gone to the extreme and the meaning behind the artwork, whether it be a painting or a play, is getting lost because people are only seeing the “inappropriate” parts of the work of art.…
Concerning theatrical works and productions, characterization is one of the most important parts of acting. This fact is especially true when someone is putting on a performance of a Shakespeare show. Directors have to do a variety of research before putting on any show, but the work triples when putting on a production of Hamlet. Spenrath continues, “Hamlet is violent. Hamlet is a poet. Hamlet is sexy. Hamlet is a philosopher" (Spenrath 1). You have to make sure the audience can see all these different sides of Hamlet, not just one of them, which is what normally happens when you watch a show. Directors have…
Since the turn of the twentieth century, modern drama has become the greatest form of mass entertainment in the western world. Experimentation and innovation are basic to this century’s dramatist. Through movies and television, everyone has experienced the excitement and emotional involvement that gives the drama its important place in our lives today.…