director is the heart of a play production. He is responsible for the interpretation of a script – the enlivening of the play. The very first thing to do for any director who wants to choose Trifles by Susan Glaspell‚ one of the earliest feminist dramas‚ for a stage production‚ is to analyze it. Doing so not only enables the director to fully comprehend the characters‚ the structure‚ the setting of the play‚ but also empowers him to instruct the actors during the audition‚ as well as the rehearsals
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The script CHRISTOPHER STREET is a character driven drama‚ propelled by the theme of second chances. In this story‚ an actor with AIDS is given a second opportunity to relive his life and make better moral choices. The plot incorporates a “time travel” premise in which the protagonist wakes up 30 years younger. Time travel type stories are popular and have been successful (PEGGY SUE GOT MARRIED‚ BACK TO THE FUTURE‚ THE TERMINATOR‚ 12 MONKEY‚ etc.). The idea of a rather selfish‚ self-destructive
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trouble.” You can start to see the trend because in the end his dad is upset with him and he can never make everyone happy. This is where the different genres come into play because you have this comedy TV show that also has suspense and humorous drama. Some scenes can also dramatic relief and heartfelt ones. Most of the heartfelt scenes come when Chris’s mother explains the situation to him and helps him solve his problems. An example would be where she sat him down to talk about why he shouldn’t
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J Y V Ä S K Y L Ä S T U D I E S I N H U M A N I T I E S 194 Jari K. Kokkinen Racial Discourse in James Baldwin’s Blues for Mister Charlie (1964): Drama and the Hegemonic Struggle JYVÄSKYLÄ STUDIES IN HUMANITIES 194 Jari K. Kokkinen Racial Discourse in James Baldwin’s Blues for Mister Charlie (1964): drama and the hegemonic struggle Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212
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Intriguing and fascinating aren’t merely strong enough words to describe Susan-Lori Park’s Topdog/Underdog. I was filled with anticipation‚ just reading the script. Through the analysis of Topdog/Underdog‚ I determine that it may not be classified as a well-made play‚ entirely‚ using the Aristotelian Theory. The analysis of the plot‚ characters‚ thought‚ diction‚ music‚ and spectacle will further explain this claim. To shed further insight on the play’s relevance to today’s audiences as a work of
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Typically‚ a play about two elderly woman poisoning lonely males would never have entertained my short attention span‚ but "Arsenic and Old Lace" was able to grasp and maintain my interest. The cleverly complex plot (the two woman murderers have a mobster nephew) proved to be both suspenseful and engaging‚ encouraging audience members to examine and predict the next twist. Each scene builds the anticipation of the climactic resolution‚ never failing to loose the viewers’ attention. Flawlessly constructed
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(INTRO) John Misto’s drama ‘The Shoe-Horn Sonata’ depicts the journey of two women captured by the Japanese during World War ll. The play reveals the unresolved problems of their relationship after fifty years. The reunion of Bridie and Sheila and their problems are dramatized and resolved through Misto’s use of dramatic techniques. He effectively creates images of tension‚ hardship‚ hope and survival‚ friendship and forgiveness to emphasize the relationship between the two women. (DOUBLE-HANDER)
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Seminar Review On November 20th I went to the Black Box theatre to see the play Seminar. It was a small production‚ and there were only five actors. Going into the play‚ I had no idea what to expect. I had heard the play was a bit raunchy‚ with explicit dialogue and provocative scenes. The play started out with four actors portraying college graduate writers. I loved how realistic the setting was; it really looked like somebody’s real apartment. The actors did very well portraying emotion
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For this artistic community response‚ I will write about my experience with the play “The Octaroon” and how it relates to me as an artist. The main takeaways that I can draw form “The Octaroon” are that you should not be afraid to tackle real world issues or even playing with the form or style that you ae dealing with. The play had started out being playful in its delivery and overall tone‚ but then had sudden shifts in change. It could become dead serious and just as quickly take such serious matters
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The production of Planeta Solitario‚ by Diego Miguel Gomez‚ produced by SCRAP in the Experimental Theatre at the University of New Mexico‚ directed by Dan Rogers‚ which was set in a small room where the only two characters interacted. It explored the life and the love story of these two characters. One of the performances that caught my attention was the one of Anelisa Montoya in the role of Alicia. In this scene‚ the character of Alicia was awakened by the character of Pablo‚ who was having a nightmare
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