[INTRO] With only three actors, three chairs and a room full of space, a story was created within a story through dynamic physicality, contemporary beats and both classic and modern text. Zen Zen Zo’s performers are currently travelling Queensland entertaining teachers and students from grades 8-12 with their physical theatre performance of ‘Romeo & Juliet’ which was directed and designed by Steven Mitchell Wright. Throughout the performance movement, mood and music were used in new and exciting ways by Mitchell Write to explore the message of love triumphing over all/rejecting authority. (Which one am I supposed to do?) Do rejecting authority, because you relate to it better and you can make references to current teen culture… [CONTEMPORARY PERSPECTIVES] The main message of the performance Romeo and Juliet rejecting authority of their parents.
On November 6th, I enjoyed a performance of War Horse at the Auditorium Theatre in Rochester. The play was presented by the National Theatre of Great Britain and Bob Boyett. It followed the story of Joey and Albert and their friendship before and through the First World War. Stafford’s production of War Horse showed the power of love and how it can overcome all. In the play, this was especially evident because fate led Joey and Albert back together after they had struggled through so much.
At the beginning of act three the audience find out that Eric is the one responsible for the girls pregnancy and that he is the main culprit, ‘You know, don’t you?’ this is a example of the use of generalised questions which bring the audience even more into the play for it is like keeping a secret from all people who have not witnessed the first two acts. The beginning of act three is also the climax for the play and unravels the knots that are left in the plot such as Eric’s involvement with the girl. When the inspector is drilling Eric for answers he uses short and precise questions ‘Where did you meet her?’ ‘Was she drunk to?’ and ‘Why had she gone there-?’ these are extremely to the point and are in rapid succession, this makes it very tense as if to see if the character slips up in one of the questions. This makes the play more immersive, causing the audience to become more involved. Throughout the whole play there is an age gap between the young people Eric and Sheila, and the old people like Berling and Ms Berling, Gerald is in the middle of the age group but he usually sides with Berling, for example B ‘This makes all the difference…’ G ‘ Of course!’.
This did play into the intensity and mood of each scene, allowing the audience to not understand the emotions existing between each individual but to fully feel and experience that emotion. So due to this small blemish it at times caused a domino affect that caused the structure of the production to crumble upon itself. Overall 110 in the Shade was an exceptional musical. I believe Mr. William Bradford, the director of this production, maintained the homey and simplistic nature of this production and instilled that characteristic within the foundation of the play. But I believe it was enhanced by the carefully selected cast, that were more than capable of fulfilling each of their individual roles and submitting their character to the ‘grand scheme’ of things.
The director Robert Kronk was successful in his manipulation of the elements of drama and dramatic conventions associated with realism such as tension, roles and relationships, space, place and mood to create a strong sense of dramatic meaning with the audience. This essay aims to analyse the 2009 deBase production of snagged and comment upon the elements of drama used, acting skills and directorial decisions. In the play ‘Snagged’ the tension used plays an integral part in the performance and script. Dramatic tension is the tension which
Key features of my chosen practitioner and justification for our choice of Ashputtel to illustrate their influence. The Practitioner which my group chose to use as a result of their surrealist and stylized theatrical style was the theatre Company Kneehigh. Kneehigh aim to recreate well known stories and focus on recreating moods, environments and feelings In order to create, as the Artistic director Mike Shepherd put it, “theatre of humanity on an epic and tiny scale”[1]. Kneehigh use many techniques which we felt personally drawn to as actors and wanted to use throughout our piece. They use a mixture of physical theatre, live music, visual imagery and puppetry to reveal different aspects and feelings of characters and situations
As the plot nears a resolution however, the theatre is highlighted by its overwhelming vibrancy and symbolically juxtaposes its counterpart. This is metaphoric for the positive aspects that have transpired from directing the opera and their impact on [Relate to Qs]. Humour is also widely employed within the play in an attempt to present everyday situations in an entertaining way. At the same time it enables Nowra to differentiate the degree of significance key moments hold throughout the process of developing Lewis’s character. This is reflected through the use of slapstick in the line: “Roy trips Henry, who sprawls on the floor.” as opposed to purposeful dialogue that aims at furthering the characterisation of Lewis where he says, “They need me” referring to the mental patients.
This one in particular was my favorite because of the catchy tune and the lyrical significance. I found the satirical overtone of the whole tune to really signify the problems in the past and often current society. As well, the song was one of those melodies that sticks in your head all day, but not the annoying kind. This kept the tune ‘catchy’ and helped the audience effectively pay attention to the message. The song talks about how the actors have hit it big time on Broadway with their performance of “Pretty Lady”.
William Shakespeare's A Midsummer Night's Dream The stage production of William Arden Shakespeare’s A Midsummer Night’s Dream, by a British director Tim Supple was one in a million-that everyone talked about it and questions rode questions, on how the performance went. ‘It is the best production I have ever seen. What grapples me most, is the cast, ravaging with a rich choreography’, this was said by the British Ambassador to India in a chat with Times of India. The almighty dramatist play was sponsored for production by the British Council, India. Staged at Indira Gandhi National Centre for the Arts, on Rajendra Prasad Road, New Delhi, on the 3 of March, the old, but became-new play was performed by what Mr. Supple described as ‘an all Indian and Sri Lankan cast’, spoken in many languages, from English to Hindi and Bengali.
Many people attribute the increase in violent youth to the increase of violence in the media. There is a common belief that television, films and video games are to be blamed for making children deem that violence is not only acceptable, but a necessary way of solving conflict. Some blockbuster movies that top the charts tend to be action-packed, such as the Terminator in 1984 or films about superheroes that save the day by destroying the villains. Superman, Batman and Spiderman are the perfect examples. The youth are then influenced by observing these behaviours and mimicking the actions of these so-called heroes.