It was a relatively simple, but it’s striking symbolism is what left me in awe. Upon first glance, the set seemed pretty basic: it was a bedroom with a framed wall with a door at its front, a frame at its center, and framed walls assembled to look like two doors that exited to a corridor at its back. The bedroom furniture was more elaborate than the walls framing the room. Throughout the play, it became clear that the set wasn’t designed for simplicity. It was meant to represent the cage in which Brick had trapped himself in when he started drinking alcohol as a coping mechanism instead.
Having the audience sat around the stage shows how Woyzeck is trapped both physically (as he is unable to hide in the stage wings) and mentally. Thus linking back to how Woyzeck has no escape mechanisms of his life and is constantly under the scrutiny of others. The two Journeymen in the scene would be centre stage, standing on chairs or boxes so that they are raised above all of the other actors, as they are the entertainers of the scene and would demand the most attention from people. The actual props and set on stage would very minimalist – a couple of chairs or boxes that the Journeymen stand and dance on and beer glasses or alcoholic bottles to represent the idea that the characters are in a social place like a bar or pub. By having minimalist props and set, it subtly links back with the theme of poverty and how the characters in this scene are unable to afford much, but are still able to enjoy themselves and be merry with one another.
Danielle Wharton In Rear Window, one of the most important parts of the movie is the opening scene. It introduces us to some of the characters that will be seen throughout the movie and also shows the main setting. As soon as the movie begins, it gives you more of a setting that it’s a play that you see at a theater instead of a movie, as the curtain pulls up. It begins with a shot of very close together apartments in what seems to be some type of city. The camera pans over to all the people in the neighborhood and the random activities that they are doing in their apartment, which kind of hints they will be a major part of the movie.
Through the play the set went from a state of untidiness to a state of chaotic mess. As this happened the thought that the mother could enter at any time was building the tension and unease until she does at the end where the place is a complete tip. The fact that the actors could throw around the props, knowing tat they will break purposefully, gave them the freedom to play around with them during performance added to the tension
When Kevin enters the room, he is wearing a suit and carrying a briefcase. This costume and prop suggests he has a formal office or executive job. Kevin’s body language is stiff and slow, suggesting he is tired and gloomy, probably after a hard day’s work. There is also diegetic sound of the door opening when Kevin enters the room, which helps to create realism to immerse the viewer. It appears to be evening time as indicated by the darkness in the room.
The theatre based discussion that is conducted on the steps of Margo Channing’s home, is a scene from within Joseph L. Mankiewicz’s film “All about eve” that displays the lights and shadows of characters through the director use of varied persuasive filming techniques It is one of the more commonly techniques used, but the directors use of a variety of camera angles allows the audience to grasp the setting of the scene and let themselves feel apart of the motion of the story by tracking the movement of the characters. It is effectively done that the camera angles have a shift from displaying a long shot of the characters sitting on the staircase (a long shot) to what is known as a medium shot, where it isolates 3 characters. The purpose in the flow of the shots is the long shot allows the audience to establish the scene in their own mind, allowing them to see who is in the scene and their purpose for being there. Where as when the camera becomes focussed on Karen, Richards and Addison a more defined perception on the characters facial expressions and movement can be seen. Secondly, what is known as a tracking shot follows the movement of Margo Channing as she walks up the stairs into her room.
This is an example of Burton representing Edwards’s personality through diegetic sound. Lighting techniques represent how inside his castle everything is hollow and dark because there are shadows highlighting the natural light source. The props in the film teach the audience more about Edwards’s personality and re-enforce the theme of non-conformity. For example, in excerpt one we see a newspaper article
The description of furnish inside the bedroom thrusts the idea of small space which creates a claustrophobic set that charges the audience with tension, not to mention the energy of the feelings and emotion created by observing a young little girl laying inert on her bed. This technique is used because as the play opens with a dramatic scene, the audience would be interested to observe the upcoming events. However, the stage directions mentioned above are only the examples of Act one. This implies how tense other scenes follow the stage direction technique to create an interest in the audience. In the same way, Act two evidently shows the technique of ‘Foreshadowing’.
Upon waking up, Lee is confused to find Marko with her in bed, and is also bewildered to find her pants undone. The actors then threw the story to the audience, asking for suggestions as to what Marko could say to Lee. This is an incredibly powerful concept to use, as it turns the performance into something that someone is viewing, to something that someone is taking an active part in creating. It also showed the skill of the actors, as they were put in the position where they had to adlib, particularly Lee. The performance concludes with Lee visiting the boys, who act as if nothing had ever happened.
The fuss around her before the show starts is also the same, but when the curtains open, the camera follows its movement up to the theatre's ceiling, where there are two men of the staff. The sign one does to another - making fun on the fact that Susan sings through her nose - summarizes what every spectator in that Opera House thought about it, even those who weren't able to demonstrate in front of Kane, since most of them were his employees. This fact is clearly shown when all the journalists, but Leland, write good criticism about the play to be published on the Inquirer. The two work men are the symbol of how Kane's pride had crossed the limits of self criticism, and how the opinion of the public he always claimed to control was now out of his hands, in spite all the efforts of the Inquirer to make Susan Alexander a big opera star. The second time this scene is shown on the movie is through Susan's eyes.