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
Further to this, it would also depend on at which point in the play we are making our judgement. For example, Katherina may be offending against her society’s expectations about women at the start of Taming of the Shrew, but does not necessarily do this towards the end of the play. It could be argued that in Much Ado about Nothing and The Taming of the Shrew, Shakespeare presents Beatrice and Katherina as offending against their society’s expectations of women – the expectation that women should be submissive and act somewhat inferior to the male members of society; this also includes the view that women should not be outspoken. One of the only female characters who speak in the first scene of Much Ado is Beatrice, which portrays her to the audience as an outspoken character, and in this way she would be offending against her society’s expectations of women. Beatrice is a woman who openly defies both the courtly and bourgeois traditions of this time, ‘No, uncle, I’ll none: Adam’s sons are my brethren; and, truly, I hold it a sin to match in my kindred’, (II i, 431-55) in this speech to Leonato, Beatrice explains why
Most of the citizen listen to the governments idea if equality because either they agree with the idea of absolute equality or because they fear the government and they don’t want to have to face the consequences of rebelling against the governments harsh and oppressive ideologies. Equality may be achieved in the most literal form of the word, but it is achieved at the cost of freedom. Freedom is no longer in their society because they do not have the freedom to think any more, a prime example would be the “mental handicap radio” (464) that is places in George’s ear in order to distract him from his own thoughts. In Harrison Bergeron the television is used in order to essentially brain wash the citizens and to instill fear into them as well. The importance of the television is seen through out the short story by having the entire narrative taking place with both the main characters, Hazel and George, being in front of the television the whole time.
Goffman was another interactionist who used the labelling theory to describe how we think of ourselves as actors who need to give a ‘convincing’ performance to the audience, this is the dramaturgical analogy. Goffman believes that we are social actors who are performing for the rest of society to persuade and prove to them that we can fit into the role given to us. He states that we use language, tone of voice as well as props and settings to give a perfect impression to the audience, however he argues that we do not have a ‘tightly scripted role’ as the functionalist theory believes, but loosely scripted roles that allow us to change certain factors. For example, when a teacher is teaching they have a certain script they follow, such as the curriculum, they use certain props to assist them teaching. This gives the students an impression that the teacher is well-organised and confident, however outside the classroom the students do not know if the teacher is what students perceive him to be.
“The preference upon the part of the refugee for plural leadership and decision” and “the resentment which succeeds the intrusion of strangers in relief leadership.” showed that people preferred to care for each other on their own instead then being instructed to do so, when they are left by themselves to do so. There always seems to be a sprinkling of the risk for belittling, or patronizing, for what makes them different. It removes the feeling of being civilized while caring for others that makes us act that way. “EMMA,” Emergency Managers Mutual Aid, born the fact that such services needed to be coordinated. Prince believed that the writings of a self-proclaimed “revolutionist” demonstrates that its the much more main- stream philosophy of a different era.
Stanislavski’s method was of physical acting. In order to help actors portray the honest objective of the character, Stanislavski pioneered a concept called the “magic if.” To help connect the character to the actor, the actor must ask him/herself “What if this situation happened to me?” This allows them to think like the character, rather than just impersonate them. This method of acting would allow me to play Mrs Lyons to the best of my ability and really empathise with the characters scenario and
As an actor, he feels that his audience should see things for how they really are, versus how the directors, screenwriters want the audience to portray them. Michael continually stands up for what he believes. However, this is how he got his bad reputation thus no one wanting to hire him. The interpretation from the movie was that Michael was brought up in a culture of valuing the rights, needs and goals of individuals. This is what moved Michael into being controlling and only see rolls from his
Nowra however shows that through Lewis’ discussions with the patients and the ironies found in Cosi Fan Tutte helps Lewis to change his view on love and relationships. Through Lewis’ involvement with the play, he comes to the conclusion that “Without Love, the world wouldn’t mean much”. In support, Lewis’ idea of love and relationships change at the end of the play where he realises that relationships, love and fidelity are “important things” therefore rejecting the ideas and values embedded and practised by the society in that
Romeo and Juliet Aren’t the Ones to Blame In modern society we find ourselves pressured to impress people and keep people happy. Yet, how do we find a balance to make ourselves happy while making sure everyone around us is also happy? Today, we also struggle to find a strong love without people wanting to ruin it. A similar situation occurs in the play, “Romeo and Juliet”. Shakespeare created 2 star-crossed who struggle to find balance with their love without upsetting those around them who disapprove.
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.