Be sure to discuss where/how the character starts out, what events/experiences cause the character to transform, and where/how the character ends up. What does the character learn about himself/herself, others, and/or the society? 2. In The Crucible, which scene is the most significant in terms of Miller’s intended themes/messages/morals for the play? Explain why you believe the scene to be the most significant, which themes it illustrates, and how the scene illustrates these themes.
How is your personal response to Hamlet shaped by interactions between characters throughout the play? My understanding of Hamlet has been greatly shaped by the interactions of the various characters in the play. Shakespeare in Hamlet provides the responder with various insights into his characters primarily through their relationship with Hamlet. These characters serve as vehicles for the essential concerns of humanity thus contributing to the textual integrity of the play. What is equally as important is how this has been achieved through Shakespeare’s command of various dramatic and language techniques.
Identify the various internal and external influences which affect Macbeth’s character in Act I. 4. Choose ONE of the following quotations and identify the speaker, audience, context, and significance: Act Two Act II presents the rising action of the play towards the climax in Act III. Throughout the rising action, the audience witnesses developments in plot and character. 1.
C. Have the ability to separate and recall your observations before creating a new combination for the stage. D. While onstage, your artistic imagination helps you find appropriate actions for your character. Your imagination uncovers the hidden recesses of your subconscious. It helps you to recall and then adapt your observations for the stage. E. Your observed memories, combined with your creative imagination, lead you to physical actions and ultimately to truthful emotion.
‘CONFLICT IS AT THE HEART OF MACBETH’ Choose two examples of conflict within the play, Macbeth, and explore how each is used to develop Shakespeare’s purpose. In Shakespeare’s Macbeth, conflict is definitely at the heart of the main character Macbeth. This is portrayed though the conflicting dynamics of the play, such as ambition, gender, corruption and deception, appearance vs. reality and duality. Shakespeare has implemented a broad array of language conventions, characterisation and structures in order to enhance these ideas. Firstly, ambition is a major internal conflicted … within Macbeth.
What type of nonverbal communication codes are being used to deliver the messages? What effect does each message have on the other people in the image? What nonverbal communication skills and strategies could be used to communicate effectively in this situation? What cultural barriers are seen in this image? What type of nonverbal communication codes are being used to deliver the messages?
Close study of a successful play reveals how the dramatist cleverly integrates dramatic techniques, structure and ideas. To what extent does this statement reflect your response to Cosi? The close study of the play Cosi, by Louis Nowra uses a play within a play to cleverly emphasise dramatic techniques, structure and ideas. The use of literary and visual techniques as well as stage directions emphasises these dramatic techniques, ideas and structure. Doing things for self-respect greatly outweighs doing things for material goods and doing so can change ones strength and courage to complete a challenge.
Conclusion You should write a paragraph which relates back to the question about the effect of the dramatic devices in Act One on an audience. Some ideas you could comment on are: • how the playwright changes your opinion of the Birlings during Act One; • the methods Priestley uses to interest and involve the audience; • what you think the playwright’s message and why it is still relevant today. GCSE Coursework Unit: Twentieth Century Drama An Inspector Calls. J.B. Priestley. | ‘ I was a story teller … social commentator … humanist philosopher, at least in my own estimation.’ J.B. Priestley.
Body language, eye contact and facial expressions all play a huge part in becoming the character the audience see’s onstage. This can be related to Stanislavsky’s ‘subtext’ theory, how we as actor’s must understand a characters motivation behind there actions. This will affect how the character acts non verbally. In relation to my explorations, use of non verbal communication was key in the scene where Abigail attempts to seduce John and justify an affair (act 1). Me and my partner first decided the subtext for both characters.