Write a 10 pages, MLA style, research paper which addresses a specific question related to the social, cultural political, and/or historical context, production history, or production challenges of the play: Medea, Euripides. You must use a minimum of 6 different sources. MAPP Model For MAPP Model for ____________ Insert Student’s Name Here South University Insert Date Submitted Abstract Mobilizing for Action through Planning and Partnership (MAPP) is MAPP Model Matrix for _______________ Issue Key Elements Goals formulated Insert your chosen public health issue here. Insert the key elements of concern for your chosen public health issue here in bullet format: · Insert your goals here that you want to achieve in bullet format: · Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Action Plan Devise an action plan based on this MAPP Model Matrix. One page is all that is necessary. References Make sure you list any references you use for this assignment in proper APA format. 2 GUIDE TO BASIC ELEMENTS OF THEATRICAL PRODUCTION Scenery * Acting * Lighting * Costumes * Spatial Relationships * Sound * Audience By Dr. Barbara Clayton Successful writing about theatrical performance relies on the writer's ability to identify, describe, analyze, and evaluate specific elements of production. Usually shaped by a director, designers, and actors in response to dramatic text, these production elements create the meanings spectators take from theatrical performance. All of these elements interact, so the planning of a production is usually a collaborative endeavor by the director, designers, and actors to create a specific theatrical experience. Intended to aid students in analyzing production elements in performance, the following Guide briefly summarizes the primary production elements. Scenery Scenery provides the physical environment in which the dramatic action comes to life. Two important functions of scenery are to create a visual world for the dramatic action and to provide an interesting space for actors and director to use in creating physical action onstage. Scene designers use style, color, mass, form, line, and texture within a defined space (usually a stage) to create the world of the play. When analyzing scenery in a production, consider the following topics: ● Environmental conditions: What does the scenery convey about time of year, weather, geography, or other environmental conditions? ● Movement potential: How do actors enter and exit the stage? Are there staircases, spiraling ramps, large open spaces, or other features that suggest specific movement patterns? ● Style: Does the scenery create a realistic sense of time and place? Or is the space symbolic or abstract? Does the scenery employ scenic conventions from a different time or place? Japanese Kabuki staging,.

1. Write a 10 pages, MLA style, research paper which addresses a
specific question related to the social, cultural political, and/or
historical context, production history, or production challenges
of the play: Medea, Euripides.
You must use a minimum of 6 different sources.
MAPP Model For
MAPP Model for ____________
Insert Student’s Name Here
South University
Insert Date Submitted
Abstract
Mobilizing for Action through Planning and Partnership
(MAPP) is
MAPP Model Matrix for _______________
Issue
Key Elements
Goals formulated
Insert your chosen public health issue here.
Insert the key elements of concern for your chosen public health
issue here in bullet format:
·
Insert your goals here that you want to achieve in bullet format:
·
Repeat as above.
Repeat as above.

2. Repeat as above.
Repeat as above.
Repeat as above.
Repeat as above.
Repeat as above.
Repeat as above.
Repeat as above.
Action Plan
Devise an action plan based on this MAPP Model Matrix. One
page is all that is necessary.
References
Make sure you list any references you use for this assignment in
proper APA format.
2
GUIDE TO BASIC ELEMENTS
OF THEATRICAL PRODUCTION
Scenery * Acting * Lighting * Costumes * Spatial Relationships
* Sound * Audience
By Dr. Barbara Clayton
Successful writing about theatrical performance relies on the
writer's ability to identify, describe,

3. analyze, and evaluate specific elements of production. Usually
shaped by a director, designers,
and actors in response to dramatic text, these production
elements create the meanings
spectators take from theatrical performance. All of these
elements interact, so the planning of a
production is usually a collaborative endeavor by the director,
designers, and actors to create a
specific theatrical experience.
Intended to aid students in analyzing production elements in
performance, the following
Guide briefly summarizes the primary production elements.
Scenery
Scenery provides the physical environment in which the
dramatic action comes to life. Two
important functions of scenery are to create a visual world for
the dramatic action and to provide
an interesting space for actors and director to use in creating
physical action onstage. Scene
designers use style, color, mass, form, line, and texture within a
defined space (usually a stage)
to create the world of the play. When analyzing scenery in a
production, consider the following
topics:
● Environmental conditions: What does the scenery convey
about time of year,
weather, geography, or other environmental conditions?
● Movement potential: How do actors enter and exit the stage?
Are there staircases,
spiraling ramps, large open spaces, or other features that

4. suggest specific movement
patterns?
● Style: Does the scenery create a realistic sense of time and
place? Or is the space
symbolic or abstract? Does the scenery employ scenic
conventions from a different
time or place? Japanese Kabuki staging, for example, or painted
scenery in the style of
18th century England?
● Color, texture, line, and rhythm: Does the scenery use bright
or subdued colors?
Rough, jagged, soft, or silken surfaces? Smooth, undulating
lines or rectilinear forms?
One door or many doors? What atmosphere or mood do these
choices create? Size and
scale? How large or small are the scenic elements in
relationship to the actors and the
audience? What might scenic scale imply about the action of the
play?
● Scene changes: Does the scenery change, how often, and why
or why not? How do
the scene changes influence the overall rhythm of the action?
● Relationship to audience: What relationship between the
audience and the
performance does the scenery suggest? Do scenic elements
blend into audience space?
Is the audience separated from the performance space by a
spatial or physical barrier?
2

5. Acting
Actors bring the characters to life, investing them with
movement, voice, passion, intellect, and
desire. Voice and body are the actor’s primary tools, but other
production elements often assist
the actor in representing characters. Costume, including hair
and make-up, is especially
important. Also important is an actor’s ability to shape his or
her performance in relation to the
ensemble (the other actors). Different production styles (for
example realism, epic theatre, or
theatre of the absurd) call for varying acting styles. When
analyzing acting in a production,
consider the following topics:
● Voice: Does the actor use specific pitch, range, volume,
quality, or vocal rhythms to
create the character? Does the actor use dialect or accent? Does
the actor use any unusual
vocal mannerisms to create character (for example, a cough or
other repetitive sound)?
How do these vocal choices create character?
● Body: How does the actor stand and move? Does she crouch
and creep about the stage?
Or does she stand tall and walk with stately grace? What
rhythms does the actor use? Is
his movement abrupt and unpredictable or smooth and flowing?
Does the actor use any
physical mannerisms (for example, constantly straightening
objects on a desk or picking
lint from clothing)? How do these physical choices create
character?

6. ● Ensemble: Does the actor seem to listen to the other actors
and respond accordingly? Is
there a real sense of give-and-take on stage? What does the
actor do when not speaking?
● Style: Does the actor attempt to believably embody the
character? Is the actor’s goal to
“show” a character’s actions without fully embodying them?
Does a character’s
believability seem less important than the playwright’s or
director’s specific vision?
What specific choices in voice, body, and ensemble create the
sense of style?
Spatial Relationships
The term "spatial relationships" (sometimes called "blocking")
refers to the physical positioning
of actors on the stage relative to other actors, scenic elements,
the playing space, and the
audience. A director usually
works with actors to establish patterns of movement and
physical positions that illuminate
characters, character relationships, and the dramatic action.
When analyzing spatial relationships
in a production, consider the following topics:
● Areas: Are specific areas on the stage associated with specific
characters or actions?
● Levels: Does the scenery permit actors to appear on different
levels? What
implications about character relationships emerge from the use
of levels?
● Distance: Do characters appear close together or far apart

7. when they interact? What
information about their relationship is implied by physical
distance?
● Rhythm and line: Do actors move quickly or slowly? Do they
approach others
directly or indirectly? What do these patterns of movement
convey about the
characters, their intentions, or their relationships?
● Change: Does the actors' use of areas, levels, distance, or
rhythm and line change
during the performance? What does the change imply?
● Relationship to audience: Do the actors speak and interact
with each other as if the
audience weren't there? Do the actors speak or physically
interact with the audience?
What does this imply about the style of the performance?
3
Costumes
A character's costume includes his or her clothes, makeup, and
hairstyle, and might also include
personal items such as a handbag or umbrella. While a costume
may convey external aspects of a
character such as his/her profession and social class, it also
suggests inner elements of character
such as mood and personality. Costume designers use color,
texture, pattern, weight, as well as
historical period, to create a character's costume. When

8. analyzing costume choices in a
production, consider the following topics:
● Socioeconomic class: What does the costume convey about
the character's position in
society? How is this information conveyed through texture,
style, color, pattern,
weight, or fit of clothing?
● Environmental conditions: What does the costume convey
about time of year,
weather, geography, or other environmental conditions? How is
this information
conveyed through texture, style, color, pattern, weight, or fit of
clothing?
● Occupation: What does the costume convey about how the
character spends his/her
time? How is this information conveyed through texture, style,
color, pattern, weight,
or fit of clothing?
● Culture: What does the costume convey about cultural origins
or affiliations? How is
this information conveyed through texture, style, color, pattern,
weight, or fit of
clothing?
● Mood and temperament: What does the costume convey about
the character's state
of mind, preferences, habits, and way of life? How is this
information conveyed
through texture, style, color, pattern, weight, or fit of clothing?
● Relationship to the play and other characters: What does the

9. costume convey about
the spirit and style of the play and the character's relationship to
other characters in the
play? How is this information conveyed through texture, style,
color, pattern, weight,
or fit of clothing?
● Costume changes: If a character changes costume, what does
the change in costume
convey about the character's actions or state of mind?
● Movement potential: How does the costume facilitate or
constrict the movement of
the actor? To what effect? Do the fabric and cut of the costume
create movement when
the actor moves? Consider a heavy robe, a long train on a dress,
or a silky, flowing
gown, for example.
4
Sound
Sound effects and music generate meaning, create mood, and
enhance atmosphere or feeling in a
theatrical performance. In addition, directors and sound
designers often use preshow music to
establish the initial mood of a performance or postshow music
to prolong the final mood of a
performance. When analyzing sound in a production, consider
the following topics:

10. ● Environmental conditions: What does the sound convey about
time of year, weather,
geography, or other environmental conditions?
● Style: Does the sound create a realistic sense of time and
place? Or is the sound
symbolic or abstract?
● Mood: Does the sound contribute to establishing the mood of
the dramatic action?
Spooky sounds on a dark night, for example, might suggest a
mysterious atmosphere,
or wind rustling the leaves of an aspen tree might suggest a
cool, relaxing summer
afternoon.
● Rhythm: Does the sound work with movement of the actors
and the lighting to create
a specific pace for the dramatic action?
● Volume: Is the sound a soft, background noise or a loud jolt?
Why?
● Live or recorded: Does the performance use live sound,
recorded sound, or a mix? To
what effect?
Lighting
Theatrical lighting serves not only the important practical
purpose of making actors visible on
stage, but also the artistic purpose of conveying information and

11. atmosphere about the dramatic
action. Lighting designers use the color, texture, intensity
(brightness or dimness), direction, and
movement of light to help create the world of the play. When
analyzing lighting choices in a
production, consider the following topics:
● Focusing attention: How does the light focus attention to
particular areas of the
stage? Are some areas more brightly lit than others? Is light
used to provide scenic
transitions? Is absence of light important?
● Texture and pattern: Does the light use texture or pattern to
suggest scenic location
or environment? Leafy texture, for example, might suggest an
exterior location, or a
window pattern an interior location.
● Direction and color: Do the direction and color of the light
mimic real life sources
such as the sun? Do the direction and color convey a mood or
atmosphere? Is the color
warm or cool? Does the source of the light appear to move or
change?
● Style: Does the light create a realistic sense of time and
space? Or is the light more
abstract, disobeying "real world" rules about the way light looks
and behaves? Are
there lamps, chandeliers, or candles on the stage? What effect
or mood do they create?
● Rhythm: Does the light change quickly in texture, pattern,
color, direction, intensity,

12. or movement? Or do the variations in look or feel of the lights
happen slowly?
5
Audience
Though often overlooked, the audience is a critical element of
theatrical production. In fact,
many theories of theatre are founded upon the assumption that
the basic minimum requirements
for performance to occur are the presence of at least one
audience member and at least one
performer. Theatre practitioners must take the audience into
account in many ways in planning
and executing a production, including:
• Presentational/Representational Style: Do the actors
acknowledge the audience and
sometimes speak directly to them (Presentational style) or do
the actors construct a
fictional world that the audience looks in on voyeuristically
without the actors
acknowledging their presence (Representational style)?
• Motion: Does the audience remain seated throughout the
performance, or does the
audience move from place to place as part of the performance?
Physical arrangement:
In theatres with flexible seating, how is the audience arranged?
(On all sides of the

13. action? On three sides of the action?) Are there unusual seating
choices, such as audience
members seated on the stage? Does the performance extend into
the audience’s seating
area, with performers directly interacting with audience
members physically?
• Emotional relationship to the action: Is the audience meant to
be emotionally engaged
by the scenes unfolding onstage, or does the production take
steps to keep the audience at
a critical distance? Is the audience meant to feel safe and
comfortable, or does the
production confront the audience with uncomfortable or
disorienting experiences?
• Dramaturgical materials: What, if any, materials are provided
to the audience to
contextualize the play, and how do they prepare the audience
for the theatrical
experience? Is there a director’s note? Historical background on
the play? Images?
Special instructions to the audience?
• Audience makeup: Is the audience made up largely of a group
that knows one another
(school groups, for instance) or has special needs that must be
taken into account (groups
with multiple language capabilities that require translation)? Is
the audience required to
be here for a class? Is the group diverse in terms of age, socio-
economic status, gender,
race, familiarity with the play in question, etc.? Has the
production taken diversity into
account in its approach to the audience?

14. English/Theatre and Drama 120, Sections 317 & 322
TA: Ben Fleer
Production Elements Essay #1
Due on Monday, October 3rd at the beginning of discussion.
Essay Length: 750 words
Production: Laughter on the 23rd Floor at the Bartell Theatre
Production Element: Costumes
Assignment Objective:
Your assignment is to write an analytical essay focusing on how
the costume design choices made in
Laughter on the 23rd Floor created meaning for you while
viewing the production.
Assignment Recommendations and Tips:
*Keep in mind that a mere summary of what you witnessed

15. while watching the production is NOT the
goal of this paper. Your efforts should instead be three-fold:
first, to objectively describe what you saw,
then to discuss your subjective beliefs regarding what you
believe what you saw meant, and finally, to
express subjective opinions over whether or not you feel the
production benefitted from what you saw.
*Since this assignment has a 750-word length requirement,
know that you are not expected to discuss
every aspect of the production’s costumes. Pick specific
elements of its costume design that really stood
out to you to write about—the ones that had some sort of
emotional or intellectual impact.
*Support your argument with detailed descriptions of how
costumes were used in the play. Make your
language as specific and vivid as possible. “I thought Jack’s
suit looked cool,” does not really tell your
reader anything about the production. “Jack’s sleek, genteel suit
made out of fine green and violet fabric
gave him an air of sophistication, showing us that this was a
man of great taste and high class, and it
provided him with the appearance of being confident and well-
composed—however, his magenta bowtie

16. and silver cufflinks were costume pieces that he often fiddled
with during tense moments in the action of
the drama, and, in my opinion, these afforded the actor playing
the character in this production with a
cleverly nuanced means of revealing that, beneath his veneer of
self-assurance, Jack actually struggled
with a rather substantial degree of insecurity,” tells your reader
a great deal more.
*This is an academic paper. That means certain things are
expected from your essay. It needs to have a
clear thesis (a central argument) expressed by a coherent and
comprehensive thesis statement. Your
essay needs to have an introductory paragraph containing your
thesis statement, so that your reader
can obtain an idea of what you are going to be writing about.
Finally, your essay needs to have a
concluding paragraph, one that not only summarizes your
argument, but also states the point of that
argument, as well as illustrates its significance to your
understanding of the production and the impact
that its costumes had on it.

17. *It’s perfectly acceptable to jot down notes on the night that
you see the play to help you write your
essay at a later date—however, wait until intermission or after
the production has concluded to do so.
DO NOT TAKE NOTES DURING THE PLAY! IT IS ONE OF
THE RUDEST, MOST
DISTRACTING THINGS YOU CAN DO IN A THEATRE. Plus,
you will miss out on important things
happening in the performance if you try to take notes during the
show.
*Your emphasis should be on the quality of your analysis and
the means by which you support that
analysis with evidence (examples from the production), not on
the quantity of things surveyed within
your essay.
*Reread your essay once you have completed it. Maybe read it
to yourself out loud. Seek out the places
where you can make your word choices, your descriptions, or
your claims more insightful, clear, or
specific. Check your paper for spelling and grammatical errors,
and check to make sure you have

18. followed all of the formatting guidelines for the paper.
Formatting guidelines for writing assignments
are located in your discussion section syllabus.
*If you find that you cannot decide on what aspects of the
production’s costumes you want to write
about, don’t panic! You can always refer to the information
contained within the "Guide to Basic
Elements of Theatre Production" handout posted on the class
website at [email protected] for ideas.
*For general tips on how to develop a thesis statement, go here:
http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html
*For general tips on how to write an introduction to an essay,
go here:
http://www.writing.wisc.edu/Handbook/Introductions.html
*For general tips on how to write a conclusion to an essay, go
here:
http://www.writing.wisc.edu/Handbook/Conclusions.html
*Note that you must limit your analysis of Laughter on the 23rd
Floor to the production

19. element of costumes, otherwise your essay will not be accepted.
Grading:
Your essay will be graded based upon four criteria. These are
content, thesis, style, and format.
There are a total of 80 points possible on this assignment.
Content—Your essay provides vividly described examples of
the use of costume in the play. For each
example, your essay analyzes how it supports your thesis.
Content counts for 70% of your grade (56
points).
Thesis—Your essay offers your reader a clear thesis that
articulates a specific and supportable point of
view about the production. Thesis counts for 10% of your grade
(8 points).
Style—Your essay displays good organization and paragraph
structure, careful and varied word choice,
correct spelling, and correct grammar. Style counts for 15% of
your grade (12 points).
Format—Your paper adheres to the formatting instructions

20. outlined in your discussion section syllabus.
Format counts for 5% of your grade (4 points).
mailto:[email protected]
http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html
http://www.writing.wisc.edu/Handbook/Introductions.html
http://www.writing.wisc.edu/Handbook/Conclusions.html