The Physical Theatre of War: Language, Memory, and Gender in
... are in a shared space with performed events of war that are live and embodied by individual performers. Theatre’s unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physica ...
... are in a shared space with performed events of war that are live and embodied by individual performers. Theatre’s unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physica ...
Brigg, Gillian (2013) Theatre for audiences labelled as having
... But there is a pragmatic reason why this label is justifiable ...
... But there is a pragmatic reason why this label is justifiable ...
mr. popper`s penguins - South Coast Repertory
... It was a stout little fellow about two and a half feet high. Although it was about the size of a small child, it looked much more like a little gentleman, with its smooth white waistcoat in front and its long black tailcoat dragging a little behind. Its eyes were set in two white circles in its blac ...
... It was a stout little fellow about two and a half feet high. Although it was about the size of a small child, it looked much more like a little gentleman, with its smooth white waistcoat in front and its long black tailcoat dragging a little behind. Its eyes were set in two white circles in its blac ...
Shakespeare`s original practices and the effect of surprise
... lines. I recognized immediately that I couldn’t completely recreate an Elizabethan theatre, and didn’t particularly want to. The Globe and other theatres already do that exceptionally well. What I became interested in was the relevance of these supposed early-modern theatrical techniques, and whethe ...
... lines. I recognized immediately that I couldn’t completely recreate an Elizabethan theatre, and didn’t particularly want to. The Globe and other theatres already do that exceptionally well. What I became interested in was the relevance of these supposed early-modern theatrical techniques, and whethe ...
Brecht, Broadway and United States Theatre
... settling in the GDR. When Galileo debuted on December 7, 1947, after Brecht had left the U.S. behind, the play lasted a meager seven nights before closing. This, despite what Carl Weber describes as Brecht’s determined efforts in rewriting the play with U.S. audiences in mind5 and Charles Laughton g ...
... settling in the GDR. When Galileo debuted on December 7, 1947, after Brecht had left the U.S. behind, the play lasted a meager seven nights before closing. This, despite what Carl Weber describes as Brecht’s determined efforts in rewriting the play with U.S. audiences in mind5 and Charles Laughton g ...
GCSE Drama Sample answers Component 1
... Eddie goes to. As I design my set, I would want lots of detail to show the period of the play and that it is a working-class school. 2 The desks and chairs would all be made of wood and also be very shabby and worn. 3 They would not be set out in neat rows either. 4 The blackboard would be an old-fa ...
... Eddie goes to. As I design my set, I would want lots of detail to show the period of the play and that it is a working-class school. 2 The desks and chairs would all be made of wood and also be very shabby and worn. 3 They would not be set out in neat rows either. 4 The blackboard would be an old-fa ...
Performing the Audience: Constructing Playgoing in Early Modern
... only attributed to one person. I would like to take this opportunity to acknowledge those who made key contributions, while also acknowledging that there are many who will remain unacknowledged. Though I fully acknowledge the many hands that went into this text, any faults that it contains are, of c ...
... only attributed to one person. I would like to take this opportunity to acknowledge those who made key contributions, while also acknowledging that there are many who will remain unacknowledged. Though I fully acknowledge the many hands that went into this text, any faults that it contains are, of c ...
Sex, androgyny, prostitution and the development of onnagata roles
... populace too heavily Sometimes a daimyo would join his peasants in rebellion against a lord to whom they all owed fealty and obedience. ' After centuries o f warring, the samurai warrior caste had a difficult time adapting to peace. The end o f warfare impoverished many samurai and made their way o ...
... populace too heavily Sometimes a daimyo would join his peasants in rebellion against a lord to whom they all owed fealty and obedience. ' After centuries o f warring, the samurai warrior caste had a difficult time adapting to peace. The end o f warfare impoverished many samurai and made their way o ...
Press kit - Passion Play
... Moses lifting the brazen serpent as an antitype of the crucifixion is once again included in the Living Pictures, as it has been ever since 1750; the contemporary fresco in the Oberammergau parish church gives an idea of how this scene was originally staged in the play. In addition to Moses, other c ...
... Moses lifting the brazen serpent as an antitype of the crucifixion is once again included in the Living Pictures, as it has been ever since 1750; the contemporary fresco in the Oberammergau parish church gives an idea of how this scene was originally staged in the play. In addition to Moses, other c ...
acting - DropPDF
... 1932), and John Millington Synge (1871–1909) created the Abbey Theatre. These poetic writers who wanted to give voice to the native spirit of Ireland, free from any political group both ideologically and financially, free from the need for popular consensus and free from European influence. In their p ...
... 1932), and John Millington Synge (1871–1909) created the Abbey Theatre. These poetic writers who wanted to give voice to the native spirit of Ireland, free from any political group both ideologically and financially, free from the need for popular consensus and free from European influence. In their p ...
Musical Dramaturgy In Late Nineteenth And Early Twentieth
... music has grown steadily over the last three decades and during this period numerous ...
... music has grown steadily over the last three decades and during this period numerous ...
Rafe`s Rebellion: Reconsidering The Knight of the Burning Pestle
... a play’s politics are determined by the reputation of the company that plays it, there is ample evidence to overturn the standard portrait of Beaumont and his work as unproblematic supporters of the status quo. Before The Knight: Rafe as Amateur Actor The Knight of the Burning Pestle begins with a p ...
... a play’s politics are determined by the reputation of the company that plays it, there is ample evidence to overturn the standard portrait of Beaumont and his work as unproblematic supporters of the status quo. Before The Knight: Rafe as Amateur Actor The Knight of the Burning Pestle begins with a p ...
A Scenic Design For Richard O`Brien`s The Rocky Horror Show
... This thesis documents my process as Scenic Designer for Richard O’Brien’s musical, The Rocky Horror Show, presented by the University of Central Florida Conservatory Theatre. This production premiered on the University of Central Florida’s Mainstage Theatre 29 March 2007 and ran for fifteen performa ...
... This thesis documents my process as Scenic Designer for Richard O’Brien’s musical, The Rocky Horror Show, presented by the University of Central Florida Conservatory Theatre. This production premiered on the University of Central Florida’s Mainstage Theatre 29 March 2007 and ran for fifteen performa ...
Acting without expectations. - ThinkIR: The University of Louisville`s
... my teachers. I allowed them to see me re-enact extreme moments of life and emotion. I challenged her criticism to satisfy my ego's expectations. Justifying my choices meant I did not have to lower my expectations. I was not willing to lower them. The overwhelming response I received regarding this ...
... my teachers. I allowed them to see me re-enact extreme moments of life and emotion. I challenged her criticism to satisfy my ego's expectations. Justifying my choices meant I did not have to lower my expectations. I was not willing to lower them. The overwhelming response I received regarding this ...
Theatre Architecture as Embodied Space: A Phenomenology of
... traces of their former identities (typically empty office blocks or hotels, former factories or abandoned military structures). The social functions of such spaces are too indefinite to be described as an objective reality, especially as the purpose of site-specific or immersive theatre work is ofte ...
... traces of their former identities (typically empty office blocks or hotels, former factories or abandoned military structures). The social functions of such spaces are too indefinite to be described as an objective reality, especially as the purpose of site-specific or immersive theatre work is ofte ...
Performing `The Tragedy of Mariam` and Constructing Stage History
... less straitjacketed interpretive terrain. The Text and the Burford Production Liz Schafer, in an important recent polemic, notes that, ‘Certain features of Mariam actually suggest that the play was very definitely written with performance in mind[;] … some aspects … do not make sense unless the play ...
... less straitjacketed interpretive terrain. The Text and the Burford Production Liz Schafer, in an important recent polemic, notes that, ‘Certain features of Mariam actually suggest that the play was very definitely written with performance in mind[;] … some aspects … do not make sense unless the play ...
`Canst paint a doleful cry?`: Promotion and
... The scene in the woodcut, featuring the murder of Horatio and Hieronimo’s discovery of his dead son, would have resonated especially with two types of viewers: those who had seen a performance of the play and those who had heard about it. These interactive participants, whether they had first-hand e ...
... The scene in the woodcut, featuring the murder of Horatio and Hieronimo’s discovery of his dead son, would have resonated especially with two types of viewers: those who had seen a performance of the play and those who had heard about it. These interactive participants, whether they had first-hand e ...
YEATS`S PLAYS AND TRADITIONAL THEATRE YEATS`S PLAYS
... have it some place at the rear, or, as in nō, at the beginning of the hashigakari bridge, for curtained entrances. The role of the curtain may become especially dramatic. In Japanese kabuki there is a door covered by a curtain whose metal rings hang on a metal rod. Their squeaking announces the immi ...
... have it some place at the rear, or, as in nō, at the beginning of the hashigakari bridge, for curtained entrances. The role of the curtain may become especially dramatic. In Japanese kabuki there is a door covered by a curtain whose metal rings hang on a metal rod. Their squeaking announces the immi ...
AS Level GCE - Drama and theatre - H059
... participate as a theatre maker (defined as a person undertaking one or more of the following roles: designer; lighting, sound, set (which can include props), costume (which can include hair, make-up and masks) and puppets; performer; director) and as an audience member in live theatre ...
... participate as a theatre maker (defined as a person undertaking one or more of the following roles: designer; lighting, sound, set (which can include props), costume (which can include hair, make-up and masks) and puppets; performer; director) and as an audience member in live theatre ...
Noda Hideki`s English plays
... one aspect in Noda’s productions - another was that the youthful heroes of his plays often resembled Kaspar Hauser3） who only got to know the world as an adult. Everything these protagonists experienced was new to them (Enomoto 1992, p. 25), and, significantly, they preserved their childlike innocen ...
... one aspect in Noda’s productions - another was that the youthful heroes of his plays often resembled Kaspar Hauser3） who only got to know the world as an adult. Everything these protagonists experienced was new to them (Enomoto 1992, p. 25), and, significantly, they preserved their childlike innocen ...
scene design – between profession, art and ideology
... regularly held in the period between 1996 and 2006 at the Museum of Applied Arts, as well as in numerous galleries, theatres and public areas of Belgrade and throughout Serbia. The artists who have exhibited at the Biennial of Scene Design have shown that "the theatre can be created wherever a group ...
... regularly held in the period between 1996 and 2006 at the Museum of Applied Arts, as well as in numerous galleries, theatres and public areas of Belgrade and throughout Serbia. The artists who have exhibited at the Biennial of Scene Design have shown that "the theatre can be created wherever a group ...
Grug and the Rainbow.Study Guide Des Moines Performing Arts
... Respect the theater. Remember to keep your feet off of the seats and avoid bouncing up and down. When the house lights dim, the performance is about to begin. Please stop talking at this time. Talk before and after the performance only. Remember, the theater is designed to amplify sound. Ot ...
... Respect the theater. Remember to keep your feet off of the seats and avoid bouncing up and down. When the house lights dim, the performance is about to begin. Please stop talking at this time. Talk before and after the performance only. Remember, the theater is designed to amplify sound. Ot ...
Edward Albee and Anton Chekhov: Evolution of
... they are individuals and not members of a group (66). The connection between audience and actor is never made because the four main characters (Konstantin, Nina, Arkadina, and Trigorin) are too self-absorbed, and they are disconnected from the others as they are from any audience member. For example ...
... they are individuals and not members of a group (66). The connection between audience and actor is never made because the four main characters (Konstantin, Nina, Arkadina, and Trigorin) are too self-absorbed, and they are disconnected from the others as they are from any audience member. For example ...
Actor Training in Six Shakespeare Companies
... such as Cicely Berry and Kristin Linklater, have developed techniques to enhance the performance of Shakespeare’s language through the very sounds of the words so as to allow actors to speak loudly with intelligent nuance and emotional depth. Text coaches like John Barton of the Royal Shakespeare Co ...
... such as Cicely Berry and Kristin Linklater, have developed techniques to enhance the performance of Shakespeare’s language through the very sounds of the words so as to allow actors to speak loudly with intelligent nuance and emotional depth. Text coaches like John Barton of the Royal Shakespeare Co ...
Productions of Spanish Golden Age Drama in Great
... informative, especially the one dealing with the polymetric verse found in Spanish Golden Age texts. The other appendix lists translations of Spanish Golden Age plays into English. Of course, there are a huge number of these plays in Spanish. Thacker’s list is helpful but it really points to the sca ...
... informative, especially the one dealing with the polymetric verse found in Spanish Golden Age texts. The other appendix lists translations of Spanish Golden Age plays into English. Of course, there are a huge number of these plays in Spanish. Thacker’s list is helpful but it really points to the sca ...