I must be able to shape, interpret and use the elements of drama to create particular effects for an audience. To enhance conflict I decided to place Ruby and Ray upstage so that they have a closer proximity with the audience. I decided to create many pauses between Sylvie and Ray’s dialogue to redefine the conflict. For example when Sylvie says, ‘Ray…? Where’s Ruby?’ and Ray responds with, ‘I don’t know, Sylvie! I don’t know!’ I decided to place the actors so that they’re facing each other with a pause after Ray’s dialogue to show the climatic moment. I decided for Sylvie to imagine the mannequin of Ruby is outside the front under the street lamp so she is looking out into the audience enhancing the conflict revolving around the missing mannequin which she says. ‘The mannequin! She’s not under the street lamp. Somebody’s taken her. Who could be that cruel?’ Sylvie is looking out frantically into the audience making the audience feel uncomfortable and uneasy enhancing the conflict of this missing mannequin. One last way in which conflict is shown is through the body part of Ruby being sent in a parcel and how they don’t know the answers to who sent it and why and how it event got there reinforcing the invasion of a safe neighbourhood. For…
Through precise staging and performance styles, contemporary Australian theatre combines the elements of drama as well as the conventions and traditions of many theatre movements to illustrate the struggles of the characters in an agreeable and interesting way for both the audience and performers.…
Misto only employs two sets, a motel room and an interview studio. Scene changes are few and the ease of production allows for an intimate-theatrical atmosphere to be created where the audience is physically close to the actresses on stage. The use of large screens for t…
These are visually presented depersonalised and simple, allowing theatrical flexibility. The interplay of dialogue, music, sound effects and projected images work together to create wartime setting and an extra emotional dimension to the play. The audience’s proximity to the stage enhances the intimacy created by the bareness of the stage and the re-connection of the two main characters: Bridie an Australian Army Nurse & Sheila a British Civilian.…
Over the last few years, we have seen a rise in musicals in cinema that have been on par with the films of the past were responsible for the genres rise in film history. These films and shows are original, revolutionary, but also keep intact the traditional conventions and styles at the heart of the genre. Two bodies of work that represent this rise are La La Land and crazy ex-girlfriend. The musical genre uses two major elements of film which are sound and movement such as dancing, singing, and music to express intense emotion. These characters often break the fourth wall when they start to sing and dance, they also use mise-en-scene and lighting to exaggerate and emphasis portions of the film.…
…….asked us to create a stylised performance using the narrator’s text; DNA by Dennis Kelly. We, had to use still images, mime and movement and a section from to play to be delivered in response to Stanislavski. We stayed our performance by having …… and …. as the two naturalistic performers, sitting side by side on the floor, quite far apart from each other to show the audience the lack of closeness between…. and …. Leah being the main narrator, sat up on her knees, inviting the audience in to listen and seemed more comforting and engaged, whereas Phil communicated with the audience with the lack of focus and response, showing have far away Phil really is to understanding Leah’s thoughts and feelings. The actors facial features were kept very minimal, neural expressions which showed no emotion allowing the other two character to really communicate and show the audience what they really think and feel. We did this to support our interpretation of the characters and what we got from the play which was that Leah had deep feelings for Phil, which he took for granted. I played Leah’s conscience, alongside….., who played Phil’s. I and …..walked up to each other hesitantly, showing the lack of communication between the characters as their unsure of their relationship. We help our hands out towards each other after we had separated to communicate through the use of gesture, to the audience that we do truly need each other, we just can’t show it. This was my idea, and I think it was successful because I really wanted to show to the audience the true feelings of the two characters and I think this was a good moment to communicate with the audience. I contrasted with …. tone of voice, as she uses a soft yet pleading tone, I respond to it with an aggressive tug of Sam’s arm, silently beginning him to respond. Leah’s self-conscious, in coherent character and Phil’s stubborn blindness, stops them communicating, and I believe this is why their relationship is so strained and…
The action from scene to scene to scene was very well rehearsed. In the chapter on action from Costantin Stanislavski An Actor Prepares, it is states that ‘all action within the theatre must have an inner justification, be coherent, logical, and real’ (Stanislavski 46). I truly believed that child-like wonder was at work regarding interaction in performances by Carolyn Coppedge, Nazli Sarpkaya, Stephanie King, and company. I believe these acting mechanisms were effective in communication underlined messages: having freedom of choice in one’s life, wanting love, desire, and so forth. They briefly reminded me of free form exercises done in class where we reacted to invisible mediums that were of meaning. As for costumes, the dresses didn’t exactly provide the impression of escaped brides; I felt that King as Thyona made the most of her character and was free of any boundaries they may have presented; I was able to see her as more than a runaway bride. The art of if is something I postulate as having been necessary to so robustly support a character of Thyona’s standing. Stanislavski writes that when posed with a situation within given circumstance, one must answer to its call whole-heartedly; an actor is overall persuaded to fulfill the demands of an if (Stanislavski 46-48). King definitely answered this call, and in doing so, was one of two actors that caught the most attention. The other was Richard McDonald as Constantine; McDonald’s vibrant energy paralleled King’s in deliverance of role. To once again refer to the super objective, the inner grasp and through line of action are essential to the creative process involved in reaching said objective (Stanislavski 279). McDonald’s undertone in Constantine’s monologue regarding the nature and poor predisposition of man supplemented Thyona’s attitude and conceptions regarding the same nature. McDonald’s ‘through line’ succumbed to no tendency in reaching the…
Motion Picture Drama. In contrast to interpretation 1 Video, where the actor is on a stage…
5. After step four, the actors are out of their zone and into the real world where they begin to test the personas they have created on the general public, who know nothing. As the different conversations happen, they are watched from a distance. In class we did this by presenting our religiously practiced improvisations to an audience.…
To compete Part I, choose a movie you have viewed in the past (this does not have to be from the How Films Communicate Film List ). In the following table, enter the title of your movie and complete the entries for time and place, costume, and set design, writing in complete sentences. For the final entry describe the atmosphere created by the combination of film elements discussed in Ch. 1 of Film: An Introduction and how they contributed to your liking or disliking of the movie. Submit Part I, along with Parts II and III in Week 2.…
References: Abrams, Josh & Parker-Starbuck, Jennifer. (2005). London Calling. PAJ: A Journal of Performance & Art., [Online]. Vol. 27 Issue 81, p38-44. Available at: http://web.a.ebscohost.com/ehost/detail/detail?vid=22&sid=e2e566d9-08b9-4edd-874f-85538cd0df06%40sessionmgr4005&hid=4101&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=ibh&AN=18258388 [Accessed 07 October 2014].…
When reading the play "Ruby Moon" it is easy to pick up on the personal and social tensions between characters. The descriptive nature of the stage directions and the very act of reading as opposed to just seeing on stage, being able to take time to look over each line, means that a reader can see which scenes accentuate the tension between both Ray and Sylvie or the characters they have created. Stage directions in the play plainly describe when a pause on stage is to be tense, or what the vibe is supposed to feel like during a particular scene.…
All pieces performed were connected to the emotional struggle and differences Verity and her family had to coop with. We communicated these emotions through dramatic devices and skills.…
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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.…