In Australian drama, and any other society for that matter, the unique quality of theatre is that this is voiced through a story shown in many different forms and styles to evoke emotions in an audience. Through the styles and conventions of theatre, Australian plays
‘The Doll’ by Ray Lawler explores how various characters respond to changing circumstances put on stage by both challenging and adhering to stereotypes. In the play the characters of Roo and Barney are
This element was used efficiently .to identify their actions. Space is used many times in Zen Zen Zo’s re-enactment of Romeo and Juliet, to enhance the meaning of the play. Aat the party, for example, the actors move around like the place is crowded but in reality there is only the three of them. This is quiet cleaver as it gives the illusion of others being there, allowing the audience to identify where the actors are and what is happening. Zen Zen Zo also uses space in the balcony scene just after Romeo and Juliet have met.
The composition and definition of melodrama evolved up until it became a popular form in the 19th century. Perhaps the best definition of melodrama can be taken from Wilson and Goldfarb’s Living Theatre, which states, “Historically, a distinct form of drama popular throughout the nineteenth century which emphasized action, suspense, and spectacular effects; generally melodrama used music to heighten the dramatic mood. Melodrama had stock characters and clearly defined villains and heroes, and it presented unambiguous confrontations between good and evil.” (Wilson, G-7) Along with having a clear definition, one must also understand the common characteristics of the 19th century melodrama such as; music played a key factor in order to enhance the emotions of the audience or to signify specific characters. Typical melodramas also operated within an episodic form, which always included
“The art of Bunraku lies in achieving perfect synchronization of these three elements-puppets, chanter and shamisen- for intense dramatic effect.” [1] Bunraku puppetry is an interesting and complex form of theatre which is becoming more popular as it delves into different cultures. The origin of Bunraku and the role of each of the members in a Bunraku performance are needed to investigate how the puppets, puppeteers, narrator and musicians interrelate to create an intricate form of puppetry. To help us gain an understanding of how all these different factors make up a Bunraku puppetry performance, we need to look at the origin of Bunraku and the significance this had in the formation of the puppets, puppeteers, musicians and narrators. However, to understand how these components are used in a Chikamatsu Bunraku performance, we must understand how and where this particular playwright created and compiled his themes for his plays. Chikamatsu Monzaemon grew up in a Samurai family and became closely connected to Takemoto Gidayu, a puppeteer, and moved near his theatre.
A striking theatrical metaphor deployed to great effect, is that of frontstage and backstage regions in daily life; places and occasions in which the individual is or is not ‘on display’ and subject to the scrutiny and potential criticism of others. Front stage situations call for care in the projection of a managed self-performance. One of Goffman’s key insights is that the self is not some innate and given thing, but rather something that is enacted and performed. Therefore, the immediate crucial question is to the nature of the relation between the performance and the performer. (Scannell, 2007) In his introduction to ‘Interaction Rituals’, Goffman wrote – “
It can also be related to all of human interaction. According to Melanie Beddie (2006) in her studies in The Dramaturgies Project, the study of dramaturgical theory has recently become popular in theatre. “What is clear is that ‘dramaturgy’ is now conducted and continually re-created in process through engagement with the terms, the means, the grounds, the suppositions and the questions that emerge in the space of and place of performance.” (Beddie, 2006,
The dimension between the two characters create and showcase personal and social tensions throughout the play by utilising comedic and serious anecdotes, with dialogue and theatrical techniques. The play has other characters that are crucial to the main character such as Ben and Martin, but focuses primarily on the unlikely duo and their path of friendship. As a result of the also non-linear narrative which is presented in two acts, from a staging perspective, it is a challenging piece due to the sporadic changes in time and location. However through the use of sound, lighting and props, the personal and social tensions between the characters can be expressed on stage. The individual experiences explored in Neighbourhood Watch include a variety of theatrical techniques and utilises performance styles, whilst incorporating animal symbolism as a motif.
Although, the play is also representational because in each story, despite the narrator, some of the characters are acting as if there is a fourth wall. For instance, the characters in myths “Erysichthon and Ceres” and “Eros and Psyche” performed as if the audience didn’t
Shakespeare uses a good range of language devices to show Macbeths shifts in power throughout the play. Techniques such as symbolism, emotive language and masculine iambic pentameter along with many others that I will be talking about were used effectively by Shakespeare. Firstly in act 1, scene 5 symbolic gesture is employed by Shakespeare to represent his plot of power shifts and the