The artists must visualise the look they are wanting to create on the client before they actually proceed . The artist should have an awareness of the time conditions and know how long they have to work with the performer. This will lower the chances of the artists working under pressure, hence not fulfilling their duty up to their maximum potential. Also, research should be done prior to the application of the hair/makeup procedure, as this will give the artist and idea and understanding of the kind of look the performer needs to portray. As well as this, it is vital that the artists is friendly and welcoming to the performer, as maintaining ties will minimize any disagreement within the
In the end the main section of the piece was extremely polished and rehearsed which helped us to improvise the other section. Also during the rehearsals we changed the way the piece was blocked. We felt it made the piece work more as a whole. Also the accents were rehearsed during rehearsals, which was important as a lot of the words in the script had to be said in the right accent to make sense. The weaknesses of my own performance were the accent of the character that I was playing.
This is conveyed by the start of the play, where Lewis doesn’t know himself. “I’m only doing this for the money” which conveys that Lewis doesn’t care for the play and therefore cannot be satisfied with the task undertaken. “Day outside but pitch black inside” emphasises the truths that can be revealed on the inside of the theatre if Lewis lets them be revealed. “We can’t do this without the music” emphasises that Roy, who thinks he’s directing the play, doesn’t believe Lewis will be able to make the play successful without the music. The self-respect one earns can lead them to greater things if it is accepted, the light can reveal a path when truths have been found.
Vsevlod Meyerhold and Augusto Boal are two examples of drama practitioners who were unhappy with the social conventions associated with theatre, and as a response developed new methods of actor training. The both of them wanted theatre to be accessible to all members of society, at all levels of socioeconomic status, rather than just be exclusive to the rich. They were against the ideology surrounding Stanislavski’s realism acting method and felt that audiences should be engaged with, rather than be passively entertained, and that actors should utilise mind-to-body connections. Their goal was to engage with their audiences on a greater, more complex level; however the two had differing techniques that allowed them to do so. Boal’s Theatre of the Oppressed and Meyerhold’s biomechanics are both recognised as revolutionary developments within the theatrical community.
The stage set up was Unique but it complimented the play well due to the walking around and the crowd Interaction. I definitely think all the parts of the plot were essential to tell the full story. But, just like any play, there were bits and pieces that could have been left out and it Wouldn’t have changed the performance. Such as the role of the engineer who sat up top On the banister the whole play. I did not think she had a significant role.
It also manages to incorporate the major motifs that are in the play. The reader is able to foreshadow things that will happen later in the because the theme gains strength from all of the symbolism. The theme proves to be crucial to the success of the play because without the idea of appearance vs reality, Hamlet would no plot and would not have the ability to captivate readers the way it does. The entire plot of Hamlet relies on the theme of appearance vs reality because without it, the essential motif of madness would fail to exist. By feigning madness, Hamlet is responsible for the majority of the action throughout the play.
The Choragus’s Effectiveness in “Antigone” By Deja Richards Sometimes, the people we know for just a season may play the biggest roles in our lives. The Choragus in the play “Antigone” by Sophocles is a great example of someone who impacts the decisions of others. Without the Choragus, much of the story’s conflicting moments would be lost or never solved. He really helped me see a different side of Creon, and also gave Creon a chance to change and grow as a character. The Choragus’s unbiased suggestions and wise tactics added dramatic irony to the story.
Although those areas are admittedly not in focus within the context of the class, they are germane to this discussion as it relates to their renderings influencing the way in which the world of the play was made manifest and ultimately the impact those production areas had on the individual performances and how the audience received the characters. This is the best way for me to adequately identify acting strengths and weaknesses (what worked and what didn’t) and explain why I believe some of the actors’ performances were crafted the ways that they were. Also, highly germane to the discussion of this enormously important play are answers to Nietzsche’s tenants of theatrical criticism, which I will touch on as briefly as possible. The fundamental difficulty experienced by the performance as a whole was that the production elements of the show, specifically elements of lighting, costumes and scenic design (aside from very successful projected images) failed to assist the direction and make manifest the world of the play suggested and
Were there’s were in first rate condition. Furthermore how I mentioned early how Mickey would slouch casting the effect of an unmannered man and maybe not as well cared for. Whilst on the other hand Edward stood always erect giving a positive and confident effect. In addition throughout the play the lighting change repeatedly as when it shone on the Johnston’s house it gave a gloomy look, but when it shone on the Lyons house it gave a warming look. I obviously believe this was done intentionally, but with a second purpose.
Since Shakespeare's Venetians reflect the mores of English society, it follows that Venetian society would admire Othello for his valor and leadership but still recoil at the notion of his marrying into its families. In Othello, Shakespeare calls on his audience to consider the person before them, rather than judging him by the assumptions used to dismiss a criticized people in the abstract. Shakespeare makes the stage a place for closer examination, a place where audiences may begin