Storytelling Play Analysis

Storytelling Play Analysis
While going to see the play there was a display that basically introduces what was going to be seen
throughout the production. The lobby display consisted of multiple pictures and information that
was very helpful to have. The first piece of information I was subjected to was how they made the
costumes. The clothing was comprised of, how the ideal person dressed in biblical times. Like the
baggy pants, multicolored tops or vests. Typically they wore no shoes or sandals, another thing that I
noticed about the lobby display was that for each scene there was a different background.
Something that I learned from reading the display was the ballet section, and how it was all improve
like the snake during rehearsals was a lot of random moves that once was sequenced out each actor
mimicked. Out of the many animals that were represented through the play, two that I decided to
examine where the antelope and the snake. The actors used both the physical representation of an
antelope which was the people gracefully galloping across the stage, they also used their fingers
placed by their ears to represent horns. They also used a projector screen to make a shadow version
of the animal. The second animal I focused on was the snake, which was a physical form composed
of 5 actors. Which aimed to create the slithering, creepy effects of a snake and ... Show more
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For example, the storyline between father creating Adam and Eve, which transitioned to Cane and
Abel and then that story finally concluded with the story about Noah and the Arc. This is
presentational because several of the actors broke the fourth wall and spoke out to the audience
numerous of time. One specific moment was the dinner at the table and Noah's son introduced
Yonna as the young lady who he wanted to marry and everyone around the table was shocked. They
all began to sing and turn towards the audience with slick
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Dance Reflection
After spending a semester in improvisation class, I can honestly say that this course has been one of
the hardest, annoying, but probably the most relevant and important dance classes I have taken thus
far in my dancing life. This course also turned out to be the complete opposite of what I originally
thought it was going to be like. At the beginning of the semester, I was a firm believer that
improvisation, was any movement that a dancer does that is on the spot, random, wild, and without
thought. I also had this big belief that when a dancer performed an improvisation, that it was
supposed to make sense and show the talents of the dancer. With that being said, I came into the
class thinking that I was going to spend the semester listening to different types of music and
figuring out how to improvise to those music selections as well as learn how to improvise different
dance genres. Essentially, I thought I was going to learn how to improvise for the point of being
showy and performing. Of course, through this course, I realized that yes one can improvise for the
point of performance, but in this class, we did so much more than just do showy improvisations.
Instead, I got the chance to really explore my natural self as a dancer and learn the science behind
improvisation. Writing about improvisation is such a hard thing to do because improvisation is such
a complex and emotionally deep activity to participate in. However, what I am trying to get out, is
that what was

Reflective Essay On Professional Performance
Improv has been an amazing outlet as well as a way to grow my acting skills. During the rehearsal
process our group, the plain black tees, practiced both before hand as well as met 2 times before our
final performance. Although I could not make 2 of those 3 meetings I was able to attend the final
practice before out presentation. We meet up about 2 hours before our performance to practice mind
melding as well as doing warm ups to help get our flow going. Practicing like minds was a great
way at getting everyone on the same page before doing practice Harold's. Doing Harold practices
helped us get some bad scenes out of the way and getting our minds prepped to preform the best
scenes we can think of. We did face some challenges, some being us getting in our own heads which
was tough to get out of but not impossible. By sometimes taking the supporting role when we
couldn't focus and get out of our heads I found that scenes could take a new turn at the moments I
couldn't heighten or move the scene along which in general helped develop scenes in a better way
being a group effort. Practicing scenes and getting our minds going also helped keep our thoughts
fresh and exciting. If I had the opportunity to do this again I would work on deepening our games
and making it a more complex and humorous game rather than surface game. It would have allowed
us to grow better at playing game and making it hilarious at the same time. Regarding performance,
my individual performance felt

Stage Vs Screen Essay : Stage Versus Screen
Brent Schafer
Professor Jason Eckard
Drama 103
19 July 2015
Stage versus Screen In today's contemporary society, it is very common for people to be familiar
with the filmed productions. It can be more convenient as people can view many different
entertainment options from the comfort of their couches. However, this creates an experience that
tends to distance the viewer from the production. For this assignment, first went to Orpheus
Descending directed by Ryan Purcell at the 12th Ave Arts theatre. Next, I watched the 2012 version
of Les Misérables directed by Tom Hooper. At the end of the play that I saw, I was shocked at how I
felt afterwards. Not only did the story make me think, but the way the story was presented to the
audience also gave me something else to compare to movie going. Major differences that I found
between the stage and the screen were the acting, the audience, and the design of the show. After
seeing a play in person and viewing a film on my computer, I believe that stage and screen are very
much different from each other. As a child, my parents took me to a few plays such as the Lion King
and other big productions. Coming into this assignment, that was my background knowledge. When
I went to the theatre to watch Orpheus Descending, I was shocked to see that the stage was in a
small black box theatre. The space was much smaller than I was used to. By the time that I arrived
at the theatre, the only seats that were open were chairs set up on

Literature Essay: Twelfth Night; the Essence of Dramatic...
Disguise is the source of theatrical appeal in Shakespeare's Twelfth Night. Discuss the validity of
this statement.
Michael Pennington describes Twelfth Night as a typical Romantic Comedy with a sublime sense of
inconcsequentiality amidst the lyrical nature that plagues its environment. Therefore it is none other
than that of a romantic comedy, and by definition, seeks the usage of a most humourous yet vital
factor that shapes the events that are to occur; Disguise. Disguise indeed gives rise to theatrical
appeal and as Graham atkin identifies, poses a most poignant question of human identity in relation
to outward realist appearance. Nonetheless, there is a diversity of opinion as to whether disguise is
the primary source for such a ... Show more content on Helpwriting.net ...
Atkins attributes most importantly that speech shapes a character hence the reason why Shakespeare
invested ample time in the language of his characters for there were hardly sound effects and props
used in Elizabethan society as opposed to society today. This is what makes the characters indirectly
the play itself so appealing. The way one speaks, the setting they reside affects the audience's
judgement on them. Every shakesperian comedy is entitled to the conventional fool, in this case,
Fest introduced at the end of the first act and at other intervals as the play unravels. Shakespeare
ingenuity is seen through this formation as Alan S. Downer describes, Feste whole art and function
depend upon talents as a "notable corrupter of words" and through these words he reveals that he is
in fact, very wise in nature. Such wit, such logical one may say in vast opposition to the lyrical
dreamlike aura of Illyria. His wit moreso gives rise to the inevitable truth that is likely to be avoided
concealed in Illyria most often dealing with self expression. On his first appearane with Maris in act
one scene 5, Fest demonstrated not only that he is

The Passion Of Joan Of Arc And Sweet Smell Of Success By...
Silent films ushered in the era of moving pictures and paved the way to modern cinema. Films such
as "The Passion of Joan of Arc" and "Sweet Smell of Success" represent the early and later stages of
this time period that was dominated by silent films. Within these films, two actors stand out for their
performances and there own unique traits they utilize to make the character they are representing
their own. Renée Jeanne Falconetti and Burt Lancaster both are superb leading actors that, through
their own methods, make these characters come alive. Regardless of these performances though,
there are both similarities and differences that they portray in their movies. These films were shot
with cameras that lacked a multitude of settings and this led to a very theater–esque method of
filming. Many of these silent films were shot with non–moving cameras, obviously no sound, and
also less effects. [BRING UP READING IN REGARDS TO INTRO TO FILMS] This lack of
supplemental technology forced these actors to up their game so to speak and really carry the film
themselves, rather than saturate the screen with fancy effects that so many modern movies revolve
around. This forced the director to focus on the facial expressions of the cast in order to display both
tone and intent during every scene. Live music sometimes accompanied these films in order to help
set these moods so the actor could focus on character development and expression. The first
character to be discussed is

She Stoops to Conquer
She Stoops to Conquer (1773)
Oliver Goldsmith
Oliver Goldsmith (1730–1774)
Oliver Goldsmith was born into a lower middle class Anglo–Irish family. He worked his way
through Trinity College, Dublin, studied medicine in Edinburgh, and toured parts of Europe before
taking up a life of writing in London. In 1761, he met Samuel Johnson, become an important
member of his literary circle. He is best known for a comic novel, The Vicar of Wakefield, a poem
about urbanization, The Deserted Village, and a stage comedy, She Stoops to Conquer.
Goldsmith, by Joshua Reynolds, ca. 1773
By reputation, Goldsmith was brilliant but insecure, and well–meaning and good–natured, but often
foolish or gauche in social situations.
The Play's the ... Show more content on Helpwriting.net ...
What distinguishes these two genres?
Comedy and Ridicule
In An Essay on the Theatre; or, A Comparison between Laughing and Sentimental Comedy (1773),
Goldsmith lays out the "true" purpose of dramatic comedy:
"Comedy is defined by Aristotle to be a picture of the frailties of the lower part of mankind, to
distinguish it from tragedy, which is an exhibition of the misfortunes of the great. ... If we apply to
authorities, all the great masters in the dramatic art have but one opinion. Their rule is, that as
tragedy displays the calamities of the great, so comedy should excite our laughter by ridiculously
exhibiting the follies of the lower part of mankind."
"Laughing Comedy"
In An Essay on the Theatre, Goldsmith argued that "sentimental comedy" was really a form of
"bastard tragedy":
"Distress, therefore, is the proper object of tragedy, since the great excite our pity by their fall; but
not equally so of comedy, since the actors employed in it are originally so mean that they sink but

little by the fall."
The actor and playwright David Garrick torn between comic and tragic muses, by Sir Joshua
Reynolds.
A Return to Old Forms
In the 1770s, two playwrights, Goldsmith and Richard Brinsley Sheridan, challenged the format of
sentimental comedy by using the older "Comedy of Manners," which dates originally from the
Restoration a century or

Personal Counselor Goals
Is there anything unique regarding your family dynamic that you would like to share with admission
counselors?
List three objectives (think outside the box) that best describe you and WHY? Please be specific and
cite instances where these characteristics were evident.
Change management, I'm open to change and can adapt to it well, for example: in previous years
when I knew a class wasn't right for me I would be open to changing my schedule. Perseverance, I
don't like to quit and always try to finish what I start, For example I never gave up during the end of
a school year, I always try to finish strong. Quick thinking, I know how to think on my feet, for
example: I'm on an improv team and Improv is entirely thinking on one's feet.
Do you have a motto in which you strive to live by? If so, what is it and why? ... Show more content
on Helpwriting.net ...
If I'm not doing anything I feel like I'm wasting time. This motto applies to my academic and
personal life in many ways. For example: every day I did not work out I felt like I was getting
weaker. Also, I know that if one day I decided to do no school work at all I'd be wasting time, even
if I had no homework assigned I know that I should still spend a good amount of time studying.
What are your proudest academic and personal accomplishments? Please describe in detail.
My writing has improved exponentially since freshman year. I used to take non honors English and
got bad grades. Now I'm very confident in my writing and get much better

Shooter's Warehouse: Business Analysis
All were a lot great ideas during the day of presentations; however there were a few that stood out to
me the most that had the most viable business concepts. The first one I will be talking about will be
Shooter's Warehouse. Shooter's Ware house stood out to me because it was something new and
exciting and I never been to or seen anything like it before. But it wasn't because it was new there
was a lot of thought of that really pushed it into being a viable business concept. The team really hit
what Kawasaki called the "Sweet Spot"(AOS pg9). It was obvious that members of the team had
good expertise and love for the sport of soccer and wanted it to be more relevant in the city of
Detroit so they hit that right on the dot. Secondly Passion ... Show more content on Helpwriting.net
...
All of the entrepreneurs mentioned in this class had the drive needed to be an expert, have an
opportunity and passion to make their idea a success in the real life. Now I am not saying that some
of them missed the sweet spot by a mile. But I feel like there were people in different groups that
had magnificent ideas but the project was limited to just one idea and those people who had
different ideas weren't able to show the class what they came up with. So they never got the chance
to see if they hit the sweet spot or not. And then there are those who were there but didn't really
follow the rules about entrepreneurship mentioned in this class. An example of this would be the
guy with the heath app. Kawasaki mentioned in his book that if you are not good with persuading an
audience you should have someone else that is better than you do it. The health app pitch to me was
kind of boring and could have been way more exciting to listen to if the right person were to make a
pitch. So to conclude the ideas, expertise and the opportunity was there; passion was iffy because of
the amount of time that was given and execution can most certainly be improved by some of the
guest speakers and

Great Del Close Influence On Improvisational Theatre
There are five simple rules to improv, follow these rules and more than just the art changes, your life
changes. Improvisational comedy has been around far longer than most people suspect, it can be
traced back to the days of Commedia Dell'Arte. This style of theatre was popular throughout Europe
for almost 200 years starting in the mid–1500s. Performers would travel building makeshift stages
and create dialog and plot lines on the spot. Later, Keith Johnstone and Viola Spolin would re–
invent the art into what we see today on shows such as "Who's Line is it Anyway" and "Wild and
Out". Improvisational comedy is more than a tool to give people laughter, it also allows children to
learn in new ways and has helped shape society and should ... Show more content on
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Stuart Jeffries wrote an article entitled, "The Science of Comedy: can humour make the world a
better place?" In this article, he discusses how "Thinking about comedy is becoming a big academic
industry" and this is true, it is also important. The founder of the Centre for Comedy Studies
Research, Dr. Sharon Lockyer, studies how comedy can be socially beneficial. She says, "The media
fixates on comedy controversies where comedy has been deemed to be problematic or offensive".
Much of comedy seems to be at the expense of someone else, but not all comedy has to be that way.
Improv is unique in that it does not poke fun at individual groups or people, not directly anyway, it
pokes fun at situations. Meaning, it often puts average people in unique situations and the fun is
seeing how a normal person would

Develop Workplace Policy and Procedures for Sustainability...
Name: Christopher Buxton
Course Title: Diploma of Management
Unit Code: Develop Workplace Policy and Procedures for Sustainability
Unit Code: BSBSU501A
Assessment1.
1. Review the case study information provided and determine all legislative and regulatory
documents that describe compliance requirements for this company.
After reading the case study for the Tiny Opera Company I have determined through my own
research that the following legislative and regulatory requirements will need to be adhered to so that
they are compliant.
To start off the Tiny Opera Company will need to have their own Code of Conduct available to all
employees and anyone attending the venue. This code of conduct will outline through Key
principles what the ... Show more content on Helpwriting.net ...
As the Tiny Opera Company is an entertainment venue they will also need to be compliant with the
NSW Work Health and Safety Laws with regards to Noise, this is so that all people attending, or that
are involved in the production of a show are not exposed to noise levels that could damage their
hearing. The current law states that workers must not be exposed to over 85 decibels over an 8 hour
period or peaks of 140 decibels at one go.
Other Health and Safety requirements are as follows:
Electrical Safety.
All electrical installations must be certified according to Australian Standard for Wiring Rules –
AS/NZS 3000 and the Australian Standard for Electrical installations 1 Shows and Carnivals 2
AS/NZS 3002 (for outdoor events).
Hazardous chemicals and dangerous goods.
Hazardous chemicals include flammable liquids, acids, gases and solvents. This should all be
included in the Production Risk Assessment for each performance and should state each substance
that is to be used. The substances should be used in accordance with requirements set out in the
Safety Data Sheet included in the risk assessments. Also under NSW Safety laws any person
manufacturing or designing structure must make sure that it is done so in a way that the need for any
manual task is reduced so that it is

History Of Roman And Greek Culture
"It is the constant aim of the management to prevent the use of a single word, expression, or
situation that will offend the intelligent, refined and cultured classes" (Stein 23). This is the motto of
'Mr. Chase's Original Idea: Polite Vaudeville,' a then unheard of yet soon widely popular
subcategory of vaudeville theater in the early 1900s until the 1930s. In many places and in many
time periods in the world, it is found that theater is not only considered prominent in culture but is
often integral. This can be seen especially in ancient Roman and Greek culture, as the combination
of theater, music, and dance were significant.
Rome has been a place of passionate, bustling life for more than 2,000 years. This trend started
when the huge city was founded in 753 B.C.E. Theater has been an essential part of Roman culture
since this time, and expressive plays and musicals were performed regularly. Roman plays were
often performed in temporary wooden theaters in earlier times, until Gnaeus Pompeius Magnus,
better known as Pompey the Great (a military and bureaucratic leader), built the first stone theater in
Rome. This theater, known as the Theatre of Pompey, could hold up to 11,000 spectators and was
hugely popular during its high point. The theater was built in 55 B.C.E. and is considered the first
permanent theater built in Rome. Two stone theaters were built after that: the Theater of Balbus and
the Theater of Marcellus, both built in 13 B.C.E. and capable of holding up to

How I As A Director Will Approach Directing Chekhov
Chekhov is still associated with the past, but not a specifically Russian or historic past... the world
evoked in a Chekhov play by inventive modern directors confronts the past with the present..."
(Laurence Senelick, Director 's Chekhov, in A Cambridge Companion to Chekhov, p189.)
Discuss the above quote with reference to your experiences of preparing to direct/design a Chekhov
play.
20949723
2,150
Within this essay I will look at how I as a director will approach directing Chekhov, commenting on
how I went about choosing the sections of the script I wish to use, why I chose these sections and
how. I will then reference Katie Mitchell's twelve golden rules on working with actors to
demonstrate how I will approach my rehearsals and working with the actors. I will then go on to
mention how and where the piece will be performed, continuing on to how I will use there lighting,
sound and setting finishing with costume.
The sections chosen are about illness, whether it be mental or physical. Throughout the piece the
audience/readers are constantly reminded that someone is ill, whether it is Anna or Ivanov. This
doesn't necessarily mean this is what Chekhov wants us to interpret from the performance as there
are many interpretations: for example, the play could be interpreted as being about hypocrisy, as
most characters reinforce this with the words they speak to each other. Another interpretation may
be the loss of vitality on Ivanov's part; his deploring the loss of

Viola Spolin: Play Analysis
Introduction Viola Spolin is the creator of theatre games. The purpose of the theory is to help
struggling actors with improv, and I am one of them. When this assignment was given to me, I
carefully examined which theatre theorist related to my weakness pertaining theatre and discovered
Viola Spolin. About a month ago, I volunteered to participate in Arts Week at my school. My task
was to get on stage in front of an audience and improv for two minutes while a dancer, musician,
and singer performed with me. I wanted to do something serious. Normally, I play characters that
are funny. I wanted to show the audience that I could take a more serious approach. For the improvs,
those who participated had themes. My theme for my improv was love. I ... Show more content on
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I didn't know what to perform for this theory. My teacher gave us ten minutes to practice before we
had to show him what we have. I went into the corner and started to brainstorm based off of Viola
Spoin's "Developing a Character" and "How Old Am I" game. I knew that I wanted something
serious to happen. "Developing a Character" allows an actor to come up with simple questions in
order to create a character. "How old are you?" "What does your character like and dislike?" "Does
something happen to your character?" The "How Old Am I" game demonstrates how I act the age
out, which is ten. ("How old was the player? Did he or she show or tell us?") For my piece, I am
demonstrating my age by showing you. My costume and the way the scene is set allows the
audience to see that I am a little girl. From those questions, I created answers. A ten–year–old who
loves her mother, but worries about her when she says that she is leaving. Time goes by and wakes
up to discover that her mother is still gone. She calls her mother and learns that she is kidnapped.
She goes out to only find that her mother is dead. After my performance, my teacher asked me how
I was and I replied ten–years–old. He stated that I didn't properly demonstrate that I was ten. In my
piece, I told how many hours my mother was gone. A ten–year–old can't tell time, especially if there
is no clock. In order to improve for my final performance, I will distinguish the time of day. At first
it was day and

Love's Labour's Lost
Love's Labour's Lost
The Elizabethans thought of it merely as "a wittie and pleasant comedie" ; Samuel Johnson
remarked that "all the editors have concurred to censure [it]" ; and William Hazlitt opined, "If we
were to part with any of the author's comedies, it should be this." It was not until well into the
twentieth century that Love's Labour's Lost really came into its own, and this fact alone may be
enough to make a case for it as Shakespeare's most forward–looking play. It is its ending in
particular, an unexpectedly grim conclusion in which nothing is actually concluded, that has
appealed to modern sensibilities and made Love's Labour's Lost the Shakespeare play for the
twentieth century. Trevor Nunn makes this point emphatically ... Show more content on
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Nunn's new production, however, breaks this tradition, radically altering the effect envisioned by
Shakespeare with the addition of a mere 30 seconds or so of extra–textual material at the beginning.
John Peter's description perfectly captures the feeling of the opening moments: "We are in a forest
clearing. The darkened Olivier stage is dominated by a bare beech, huge and ancient. Soldiers rush
on. Explosions, gunfire. This is the first world war. An officer...gets badly wounded. But this is
Love's Labour's Lost, is it not? A comedy, surely?" This is indeed the reaction of the audience as
Marcadé, identifiable by his traditional all–black costume, comes onstage (in the text, his first and
only appearance is his surprise entrance at the end) and says portentously, "The words of Mercury
are harsh after the songs of Apollo" (in the text, this line is also at the end and is Armado's). A
kneeling officer looks soulfully off into space, and the scene changes: foliage appears on the tree,
the lighting comes up to suggest dappled sunlight, merry–looking people in Edwardian costume
cross the stage, and the first scene in the text finally begins, revealing the kneeling officer to be
Berowne and Shakespeare's entire play to be a flashback.
This added and adapted prologue, however brief, is quite significant: it lets the audience know from
the very start that all will not be well at the end, thus covering the entire rest of the play with a cloud

Project 3: Contempory Music Theatre
The project that I am analysing is Project 3: Contempory Music Theatre. This project detailed that
we create and perform "a piece of contemporary music theatre which will utilize live performance
skills across the different media of the genre." (BAPA Level 4, 2016) The devised performance
should be based on making something ordinary, extraordinary by using the different aspects of
Contempory Music Theatre. I will focus on analysing how my duo used improvisation and
collaboration to create our piece effectively and how professional practitioners use these creative
devices.
To determine which everyday activity, we would make extraordinary in our performance. Kat and I
listed several of them which we thought had potential to be exploited for our ... Show more content
Whether this is between actor and actor or actor and technician or technician and venue manager it
doesn't matter. If all the people in the Performing Arts World did not collaborate, performances
would either be of very poor quality or simply not exist. "the great strengths of an effective team lies
in its blend of talents and abilities. Teams of individually brilliant people may still be ineffective if
there is not a good balance of team roles" (Team Roles, 2014) A good collaborative group includes a
range of types of people. By having different types of people everyone brings out the best in each
other. By working in a group for the project Contempory Music Theatre, I got to explore my place
in my group and see the type of collaborative person I am; How working with other types of
collaborative people to bring out mine and their strengths and weaknesses. In terms of collaborative
work, I tend to be the type of person who puts relationships before causing or solving problems.
Due to this, I often accept other people's ideas rather than fighting for my own or sometimes not
sharing my ideas at all. Consequently, I become the loser when problems are resolved because I am
unassertive and want everyone to be happy. Whilst this may be good for most other types of
collaborative people, for me it means that I could get taken

Addiction Responding Task Of The Theatrical Style
Addiction Responding Task
Belgium is accredited for the creation of the theatrical style, unrealistic theatre; although unrealistic
theatre is a blanket term incorporating Absurdist Theatre, Expressionism, Theatre of Cruelty and
more. Non–realistic Theatre isn't restricted to traditionally recreating life on stage, but it investigates
evasive ideologies, intangible emotions and human existence; simply transforming reality. Addiction
was an unrealistic piece of drama exploring the drug world, side effects and consequences of drug
intake. Through the effective manipulation of masks, abstract props, generalised characters, social
Existentialist morals, rhythmic movement, silhouettes, puppetry , a combination of realistic,
unrealistic ... Show more content on Helpwriting.net ...
This piece of drama conveyed the dramatic meaning (moral), "The effect is of a background of
magnificence cheapened by commercialism." (O'Neil, 1922). Generalised, masked wealthy
characters contributed to the dramatic meaning and symbolically emphasised their unawareness and
carelessness for the disadvantaged. Techniques which were present in this activity were
manipulated, personalised and incorporated into Addiction. In Addiction, Scene 8, masks were
utilised to strip Darcy's family of their identities and transform them into his memories. By masking
his family members it allowed for most of the focus to be on Darcy and during the final stages of the
scene all three memories were frozen creating a frozen tableau conveying the strong emotion of
disappointment, thus establishing the disappointing mood of the scene and engaging the audience.
Tension drives a situation which is directed by the focus; tension can be created through including
roles, characters surprise and mystery. Tension can be enhanced through the incorporation of
unrealistic conventions, thus engaging the audience. In Addiction tension was created during and
after conflict. These conflicts are caused by various characters which then is incentive for the plot.
The tension of relationships between the Angel and Devil was evident when Angel and Devil's

Improvitional Theater: Saturday Night Live Essay
Often times when people discuss improvisation, they, in reality, discuss comedy. These people
discuss shows such as Whose Line Is It Anyways? or Saturday Night Live, and while one of these
shows is improvised, it does not begin to encompass all of the fluid aspects of improvisation or
comedy. Evidence will not convince many of these people, outsiders to the art form, of the fact that
improvisation is much more serious that just telling jokes. Those that practice and perform, the
insiders, learn that this branch of performing arts is much bigger than humor. The insiders
acknowledge that there is humor in the reality, honesty, connectivity of a scene or story, but these
people know that improvisation is a personally and collectively ... Show more content on
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While teaching, Spolin began documenting the hundreds of exercises and games that she used to
teacher her students improvisational techniques. She finally published all of her work in
Improvisation for the Theater. Acting instructors quickly adapted Spolin's work as a reference for
teaching4. Keith Johnstone, the English Canadian playwright and director, began to develop
Theatresports™, an improvised show that uses two to five minute long improvised scenes, one right
after another. The concept of Theatresports™ was based on competition to increase audience
reaction and interaction with the performers; the audience played the role of a referee to decide
which scenes were more entertaining than others5. During the same time, Del Close joined acting
troupes and performed on Broadway, all the while developing ideas that would shape the modern
concept of improvisation. Before Close, most shows produced many quick stories and scenes. With
one of his classes, Close developed a longer formatted improvised show, the Harold6. The Harold
was a forty–five minute show that held three separate story lines intermixed with one another. It was
through the work of these three that improvisation became its own division of performing arts. Now
as a modern branch of theater, improvisation serves to allow for pure and raw performances that
reflect natural and

Commedia Dell Arte Research Paper
Commedia dell' Arte theatre emerged as a new form of stage entertainment in Italy in the late 16th
Century, and reached the height of its artistic and commercial success in 1650; then flourished in
Europe for two hundred years. Commedia was seen as one of the highest forms of entertainment,
and is now considered to be the template of almost every practice of theatre. Commedia troupes
performed for and were accessible to all social classes, and remarkably was also the first practice of
theatre to use women. The exact origins of Commedia dell'Arte are still undetermined, but scholars
believe that it was inspired by Atellan farces in Rome, Latin comedies of Terence and Plautus,
Commedia Erudita (written comedy) of the Renaissance; and from clowns ... Show more content on
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Each stock character developed a distinct set of attributes such as characteristic speech, gestures,
interaction with each other, props, masks and costumes – which became standard to the portrayal of
their individual characters. The actors sometimes created their own masks or further developed ones
already established, which helped keep the traditional continuity of the characters while still
allowing diversity.
Although the troupes presented the idea of being anarchic in spirit, they were actually very
disciplined, as they had to have the talent of improvisational comedy around a pre–established
simple scenario. Commedia often tended to poke fun at elements of society's respectable values by
means of exaggerated gestures and styles and insightful character traits. The actors were at liberty to
modify their performances to their audiences, incorporating sly commentary on politics and risqué

Les Miserables at Imperial Theater Essay
Les Miserables Play
A few weeks ago, I had a chance to watch Les Miserables at Imperial Theater. Les Miserables is
play based on Victor Hugo's award winning novel. I must admit that the play made me realize the
great stories that will continue be told in mass media for years to come. Much to my astonishment,
the characters in the play essentially delivered a great show, ranging from their acting to their
singing.
I believe that Les Miserables is one of the most intricate stories with a plot featuring heroic life of a
simple and good man, Jean Valjean, a role performed in the play by Matt Kinley. The original novel
to which the play was based on has been my personal favorite since it portrays its lead actor as a
morally upright person. ... Show more content on Helpwriting.net ...
The members of the orchestra were dressed in button down and a tie, and dress coats, while ladies
wore uniform dresses based on the culture that existed during the writing of the novel by Hugo.
The play attracted an audience of almost a thousand, majority of which were senior adults who
wanted to see how the young generation could bring out the concepts of Hugo's novel into action. A
good number of the poorer audience members were allowed to pay a few bucks to stand in front of
the stage while the affluent majority sat on the covered galleries, paying twice as much as the poor
audience for their seats. I could realize that the attendance was beyond the expectations of the play's
organizer because most people complained about missing a ticket to watch it.
The play was so well done, and the opening section was somewhat grand considering the fact that
actors and actresses played their part and portrayed the characters in a way I could really relate to. I
have always like live performances, and one thing the producer of Les Miserables introduced was
the orchestra switch their voices between prerecorded and live scenes, this gave the play a sense of
immediacy and power.
With this I mind, I noticed that staging a play doesn't have to be about the exact plat or characters of
its original

Drama Improvisation
Drama Essay
"To be good at improvisation, it doesn't really matter how talented you are, but more about giving it
your best shot"
Improvisation is the art of being able to create ideas in a split second, with little or no warning as to
what you are making up. In drama the art of improvisation, and being a good improviser, is
absolutely essential. However, there are many different views on what it takes to be good at
improvisation. To be good at improvisation, it relies very little on how talented the actor is, but more
importantly, it relies on them trying they're very hardest to be a good improviser, on them giving it
their best shot. This can be determined by how hard the actor is concentrating, on wether or not they
have knowledge ... Show more content on Helpwriting.net ...
Above all other factors of improvisation, having knowledge of the basics is absolutely vital. This is
knowing about the concept of "make, accept, extend". This is where one person makes the offer, it is
accepted by another, and then is extended by the actors playing out the scene. An excellent example
of this was shown in class today, during an improvisation game. One group set up a scene for
another group to act in (this was where the offer was made), and in this scenario, it was a game
show. Straight away, the group that was acting picked up on what scenario they had been put into
(this was where the offer had been accepted) and continued on with the scene without hesitation
(this was where the offer was extended). Another excellent, and hilarious example of "make, accept,
extend" was when in class, we acted out the scenario of waiting at a bus stop. Jerrah had acted out
that she was pregnant and in labour. Suddenly, Gabby decided she would be the baby. Jerrah had to
quickly accept the offer made by Gabby, which she did, and they both extended it in an incredibly
hilarious fashion.
Another important factor of improvisation is the idea of giving it your best shot to interact with your
fellow actors. Without interacting with one another, there could be no scene, no scenario, nothing at
all. When tyring your very best to interact with your fellow actors, improvisation is definitely at it's
best. This was seen during our

Improvisation And Techniques Of Nonviolent Protest, By...
Improvisation In My Artistic Life This semester, English 1 has taught me what improvisation is.
Improvisation is the determination of improvising actions and improvised artistic practices like
music and drama are being created without ready–made process. Through reading several articles
and in–class practices with Hip–Hop artists and a guest dancer, I have understood this concept
deeply. I was also inspired by what I learned and I used this concept in my own art practice such as
my hip–hop dancing and comedy comic story writing. Having classes with Hip–Hop MC, rapper
and choreography artist is a very important experience that helps me to understand improvisation
practically. They asked us to interact with their live performance in the way of translating the
objective condition like the sound we made into their own language of rap and dance movement. We
were learning improvisation by viewing the process of improvisation as improvisers just like these
artists. On March 11th, Hip Hop artists Cool Out Chris and Amina came to our class. I am a hip–hop
dance lover so I absolutely like Hip Hop and I had a good time in that class. They introduced Hip
Hop history, performed their ... Show more content on Helpwriting.net ...
The article I read, "Bodies on the Line: Contact Improvisation and Techniques of Nonviolent
Protest" was written by Danielle Goldman. It aims to discuss the connections between the body
techniques that freestyle riders use and the early creativity in contact improvisations that is about
bodies respond to each other with examples of body practices and quotations from philosophers.
The article shows contact improvisation is an exercise of making oneself ready for a variety of ever
exchanging surprises and restrictions, which is the most important point of body improvisation. The
reading gave me a basic understanding of body improvisation while dancer Rachel Damon let me
understand the concept

Improvisation Theatre History
Improvisational theatre, often called improv or impro, is the form of theatre, often comedy, in which
most or all of what is performed is unplanned or unscripted: created spontaneously by the
performers. In its purest form, the dialogue, action, story, and characters are created collaboratively
by the players as the improvisation unfolds in present time, without use of an already prepared,
written script. Improvisational theatre exists in performance as a range of styles of improvisational
comedy as well as some non–comedic theatrical performances. It is sometimes used in film and
television, both to develop characters and scripts and occasionally as part of the final product.
Improvisational techniques are often used extensively in drama programs to train ... Show more
History The earliest well documented use of improvisational theatre in Western history is found in
the Atellan Farce of 391 BC. From the 16th to the 18th centuries, commedia dell'arte performers
improvised based on a broad outline in the streets of Italy. In the 1890s, theatrical theorists and
directors such as the Russian Konstantin Stanislavski and the French Jacques Copeau, founders of
two major streams of acting theory, both heavily utilized improvisation in acting training and
rehearsal. Modern Modern theatrical improvisation games began as drama exercises for children,
which were a staple of drama education in the early 20th century thanks in part to the progressive
education movement initiated by John Dewey in 1916. Some people credit American Dudley Riggs
as the first vaudevillian to use audience suggestions to create improvised sketches on stage.
Improvisation exercises were developed further by Viola Spolin in the 1940s, 50s, and 60s, and
codified in her book Improvisation For The Theater, the first book that gave specific techniques for
learning to do and teach improvisational

Tap Dance Vs Musical Theatre
There are a few similarities between the genres of tap, jazz and musical theatre. All three genres
influences each other but are clearly completely different. They all can be seen on theatrical stage
and in movies. Tap (1989), Center Stage (2000) and All That Jazz (1979) are good examples of
musical movies. Savion Glover performance at ABFF 2014, Sing! Sing! Sing! (1 of 2) – Fosse and
Oklahoma Dream Sequence were all done on stage. Jazz and Tap dance have a strong syncopated
rhythms whiles musical theatre does not. There is usually a storyline in Musical theatre compared to
Jazz Dance or Tap Dance. Both Jazz and Tap dance are improvisational unlike Musical theatre.
Sounds are produced in Tap dance by moving the feet. Both Musical theatre and Tap Dance are
linked to Jazz.
I do not remember if I have ever seen a live musical theatre production but I have seen a lot of them
in movies though. To name a few, I have seen The Sound of Music, Fiddler on the Roof, Oliver and
Mamma Mia. But my favorite of all will be the Fiddler on the Roof movie of 1971. In the scene
where he sung "to life" and the bottle dance competition, you could see a mixture of ballet and tap
dance in their performance. They jumped, did pique and pirouette turns a few times. Below is a link
to the bottle dance: https://www.youtube.com/watch?v=9sH3mjOsZY0 ... Show more content on
Helpwriting.net ...
The dance evolved from Irish dancers imitating slaves as a form of comedy. Soon it became a new
style of dance, where groups will come together, compete and show their moves. It involves dancers
wearing special shoes equipped with metal taps, dancers use these shoes like drums to create sounds
and beats to make a rhythm. A pratical example is Savion Glover performers, the sounds are entirely
coming from his shoes and the floor. Below is a video of Don't Let Me Down: The Chainsmokers
Tap Video by Hannah Wilson.

Essay about Improv is a Labor of Love in the Theater
Improv was always an intimidating faction of theater. Though there is no planning or scripting, no
matter when or where the show was it always seemed a labor of love. Something that was worked
on for an extreme length of time but really it was formed from the performer's mind only a second
before the audience saw it. Even though I have done theater and dance in the past, improv always
seemed something that I was never good at. From watching performances, tv programs, or improv
workshops, it always looked like an art form that I could never learn or use besides the stage. With
last week's class, that all seemed to change. I saw that improv could be used in many different
factions of life. Providing new life skills and practices that cam ... Show more content on
Helpwriting.net ...
Hayden posses creativity traits that I feel I posses as well. Sensitivity is the first one which allows
for Hayden to take the pulse of his audience. By using sensitivity, he can learn how is audience is
feeling. When Hayden first starting speaking, he started by being serious and working humor slowly
into his speech. By doing this he could see how open or sensitive his audience was not only to him
but to comedy. Being in a classroom setting a certain type of humor is appropriate but when dealing
with a class that is full of his peers, Hayden had to figure out which one was better and he found it
through sensitivity. I need to use sensitivity when I present my findings to clients, colleagues or
even future employers. Being a history major and wanting to work in a museum setting, I must have
sensitivity towards the people I speak with about history. Topics, people and certain events may be
off the table depending on who you speaking too. This trait will always me to teach and be
respectful to those I interact with. The next creativity trait is flexibility.
Hayden used flexibility not only in comedy improv but when he presented. There were times when
his presentation went offtrack but he found a way to tie it back all together and still get his message
across. Flexibility is also something I possess since for my career I need to stay on my toes being
ready for the different questions I

Nutcracker Personal Statement
I discovered my passion for theatre while directing, producing, and starring in an at–home
production of The Nutcracker when I was six years old. I discovered my passion for arts
administration and political advocacy when I became a student at the Johnny Carson School of
Theatre and Film when I was eighteen years old. Most recently, I discovered my passion for applied
children's theatre just one month ago while attending the Kennedy Center American College Theatre
Festival.
Theatre became an important part of my life at a very young age, and my experiences and passions
within it have only grown and deepened over time. I believe that my experiences and passions can
most strongly be utilized as the
Administrative Intern for Seattle Children's Theatre's 2016 summer season. ... Show more content
These professional and academic experiences, among others, have allowed me to witness firsthand
how my work as an administrator and theatre manager can reach beyond the office and inspire the
next generation of theatre artists.
My rèsumé lists my past experiences, positions, skills, and more. It does not, however, list who I am
and hope to be as a theatre artist. I believe that theatre holds the potential to affect great change in
the world, and I know that I contribute best to this change as an administrator, manager, and creator.
Working with Seattle Children's Theatre would allow me to continue developing my arts
administrative skills in a positive and influential environment, while giving me the chance to
contribute to a theatre company meant to engage and educate young artists of all ages.
I believe that Seattle Children's Theatre and I can both greatly benefit from my work as a 2016
Administrative Intern.
I would enjoy speaking with you further about Seattle Children's Theatre's mission, work, and how I
may become a part of it this summer. Thank you for your time and

Analysis Of Richard Bean 's The Servant Of Two Masters By...
A 300–word rationale outlining the approach that has been taken My viewing of the One Man, Two
Guvnors production in 2013, and the feelings of chaos, shock, anarchic laughter and anticipation
sparked my interest of exploring this play, and why its lazzi and improvisation added to the
heightened experience I had, whist viewing this performance. I became interested in how much the
One Man, Two Guvnors play written by Richard Bean, was based of the traditional Commedia
dell'Arte play The Servant of Two Masters written by Carlo Goldoni. I planned to explore the extent
of how much the play was improvised and the extent of how much it was scripted and planned. I
looked at why Commedia dell'Arte used improvisation and the approach of incorporating
improvisation and lazzi into a performance. I went about doing so by comparing the characters and
the scripts of Bean's One Man, Two Guvnors to Goldoni's The Servant of Two Masters. I researched
the role of Improvisation and Lazzi in traditional commedia dell'Arte and compared it to its role in
One Man, Two Guvnors. I decided to carry out my research by surveying audience members who
had viewed the production of One Man, Two Guvnors , and finding out how the incorporation of
improvisation and lazzi heightened the experience for the audience and impacted them. An outline
of the hypothesis Commedia dell'Arte has been incorporated in many contemporary productions
which are loose adaptations of traditional Commedia dell'Arte plays. The

The Improvisational Brain By Amanda Martinez
Learning to create music or a speech spontaneously is not an easy task. Any professional musician
will say that improvisation is not as easy as just making it up as one goes along. In fact, the
musicians that make improvisation look simple are the ones who have put in countless hours of time
and study to make it look effortless. The Improvisational Brain by Amanda Martinez tells about a
neuroscientist that studied the science behind how the brain works in order to improvise. In order to
be able to be a good improviser, one must learn to shut down the dorsolateral prefrontal cortex and
let the creativity and skill take over. What about those that have limited ability? Should they learn to
improvise as well? One would argue that it is not important to learn to improvise, whether it be
music or otherwise. However, improvising can give a person a sense of freedom from the ordinary.
"This notion of trying to tell your own story, without the constraints of caring how well it's going as
you're saying it, was really pretty intriguing" (Martinez p. 7). Although many struggle being able to
shut down the part of your brain that allows one to improvise, it is important to teach children and
adults alike how to improvise because it teaches creativity, divergent thinking, and encourages better
communication skills.
Improvising is defined by Merriam–Webster dictionary as, "to make, invent, or arrange offhand." A
classical pianist, Robert Levin said of improvisation, " It's an act of

Theater Pioneer Research Paper : Viola Spolin
Theater Pioneer Research Paper Viola Spolin is one of greatest theater academics known to
mankind. Along with being an actress and theater coach, she was also a mother to Paul Sills who has
played his fair share in theater arts as well. Spolin was raised in a family who had a strong ties to
arts which included opera members and charades. Although probably given the opportunity , Viola
did not head straight for the stage. She intentionally trained as a settlement worker. She studied at
Neva Boyd's Group School in Chicago. Her education there strongly influenced her and helped her
realize that traditional games affect social behavior. Spolin served as drama supervisor for the
Chicago branch Work Progress Administration's Recreational Project. Spolin looked for a new way
to train actors that cross cultural and ethnic barriers. She wanted actors make spontaneous decisions
on stage as if in real life. In an interview Spolin stated that "The games emerged out of necessity." "I
didn't sit at home and dream them up. When I had a problem [directing], I made up a game. When
another problem came up, I just made up a new game. (Interview,Los Angeles Times, May 26 ,
1974). Spolin founded the Young Actors Company in Hollywood in 1946. She trained a range of
children while still developing the theater games system. This lasted up to 1955 and Spolin then
returned to Chicago. While in Chicago, she was the director of Playwright Theater Club and conduct
game workshops. She worked with

Quick Thinker
I am a quick thinker, as shown by my stage performances and comedic attitude. It doesn't matter
where I am, or who I am with, I always try to act fast and be funny. While telling a story, beef up the
details or responses of characters. This is just to get a quick laugh, without even thinking about it
beforehand. These characteristics play a big role in me and how I act, on the stage and in my life. I
can improvise, and improvising is fast acting. They might be in a play, shooting a movie, or even in
an interview, and need to fix a mistake. I was taught how to do this and practiced many times in
middle school, and I can reflect it on my life afterwards as well. And with my experience as an
actor, I can take advantage of this in real life. In seventh grade, I was cast as a main character in the
school's play, which required a good amount of time on stage (and missing time to do homework).
During a dress rehearsal, I got too caught up in talking to people. It was then that I realized that I
was late to a very important scene in the play, which I ran out onto as the other actors gave me the
"I'm going to murder you" look. ... Show more content on Helpwriting.net ...
While telling a story, a joke, or even talking over everyday subjects, I try to cheese things up; by
making them funny. I try to make life enjoyable by turning the bad into the humorous. If I am
talking about almost any topic, I can bring out some type of comedy to go with it. An instance of
this is a response in seventh grade literacy. Our class was tasked with writing about how we felt on a
short story we read, The Man in the Well. Some might have written two or three sentences about a
poorly designed story, but not me. I felt the need to write a page long rant about what we read, and
presented it to the class. It was hilarious, a student getting so upset on how this story was a
metaphor for society, when you don't even find out what happens to the man trapped in the

What Are The Disadvantages Of Theatre Arts
Theatre Arts as a Form of Leisure and Recreation:
Its Advantages and Disadvantages
An Extended Essay Presented to
Mr. Edward Jay M. Quinto
Mapua Institute of technology
in partial fulfilment of the requirements in
English for Academic Purpose 2
(ENG11)
by
Denielle Francesca A. Carag
Carl Udharam C. Chugani
Alexes Ria D.V. Domingo
March 2015
Acknowledgements
Profound appreciation to the following persons who have provided their knowledge and made the
completion of this study possible: Ms. Ac Vergara and Professor Rogelio Braga, for allowing the
researchers to interview, on behalf of sharing the ideas about theatre arts, to make this research
interview possible; To the respondents, who cooperated and did ... Show more content on
Helpwriting.net ...
Disadvantages in theatre arts are unlikely to occur because there will be less possibility that an actor
or a play write will commit mistake in or during a play. Some of the possible disadvantages is the
lack of time, this is a possible disadvantage a theatre can have because sometimes during practice
they spend a lot of time in their other stuffs to do, so they have limited time to practice the play.
Sometimes the play is given within a few numbers of weeks before the play so they will rush the
rehearsals and often miss the polishing part, so they are prone to make mistakes during the play. Lot
of theatre arts actors, play write don't actually get money from these theatre arts. They just do this
thing for their hobby and because it is their passion to do. That is one disadvantage of theatre arts.
Actually you don't make a lot of money in theatre because it is only just a thing that you do
passionately when you are a part of theatre arts. (Rogelio Braga,

Roman Theatre : A Diverse Art Form
Roman theatre initially began in 240 BC when Greek theatre was discovered and translated to Latin,
then being brought to Rome. The first drama was held at Ludi Romani, the Roman Festival or the
Roman Games. This occurred just before Rome became an empire in 27BC. There were many types
of these festivals during a year for all sorts of reasons according to history. Theatre was, and is a
diverse art form. It ranged from festival performances, street theatre, and acrobatics to eloquent
tragedies. By 345 AD there were one–hundred and seventy–five festivals a year. Well over half of
those were dedicated to and focussed on Roman theatre. The first stone theatre was built in 55 BC in
Rome by Julius Caesar. In the fourth century of BC, ... Show more content on Helpwriting.net ...
Mythology and domestic life also had major impacts on the way Roman theatre evolved over years.
Each influence had their own special thing about them that when added to Rome 's theatre, slowly
created a wonderful art that still remains today. The Etruscans were famous for emphasizing circus–
like elephants and things like them. Most Roman theatre was very parodied and exaggerated during
the 1st century BC. Slowly the show 's got more and more realistic as time went on. The plots of
Roman theatre did not differ from Greece 's but the character 's names and some other minor details
did change. A lesser known influence to Roman theatre happened to be the Oscans. The Oscans also
brought their own type of theatre and ideas about such to Rome. The Oscans had their own type of
comedy called Atellan Farce. It was a kind of improvised comedy played with five main characters
for each show. There was the fool, the stupid one, a foolish old man, a wise fool, and a monster with
big jaws. Respectively the names to these characters were Maccus, Bucco, Pappus, Dassenus and
Mandacus. These stock characters brought life to those of Rome 's own stock characters named the
same. The reason we still have theatre today is purely because of Roman and Greek dramas. Even
just the term "play" comes from Latin's "ludus" meaning to play. Nowaday we still use this
entertainment to distract our people from surrounding issues. Comedy is

The Art of Acting: A Study of Methods Essay
The Art of Acting: A Study of Methods
A Research Study
I. THE PROBLEM
The art of the stage actor is the most subjective, abstract process of all the arts. Musicians, painters,
and dancers all have to develop a technique that is rooted in aesthetic tradition and proven by the
masters of their fields. Historically, the techniques of great actors have not been expressed in written
form, and their performances lost after the moment of their occurrence. There is, of course, a reason
for this lack of information. Actors are dealing with the most elusive and transient medium
possible– human emotions. The idea that one should have something as organized as a "technique"
or "method" for dealing with these emotions seems somewhat ... Show more content on
Helpwriting.net ...
Some misunderstanding may occur due to a lack of visual demonstration.
II. The subject is inherently subjective and prone to each author's bias.
II. Definition of Terms
The A– effect: The alienation effect produced by a certain acting technique designed by Bertolt
Brecht. Brecht wanted to distance both the audience and the actors from all emotional elements of a
play, so that its unique and particular qualities would be realized.
Acting technique: The process by which an actor trains his various abilities– physical, emotional,
and intellectual awareness to be combined in performance.
Affective Memory: A controversial technique developed by Stanislavski and emphasized by
Strasberg . Actors were to use their own personal past experiences to stimulate certain emotions
during performance. Many actors have refused to use this claiming that it takes them out of the
circumstances of the actual play.
Atmosphere: The realm of feelings , or "heart– beat", that encompasses a performance. It is the
"mood" that surrounds the actors, without being created by any particular actor. Michael Chekhov
uses this concept as a major component of his acting philosophy.
Characterization: One of the elements of an acting technique that involves exploring and making
decisions about the specific attributes of a

Examples Of Improvisation In Drama
What is improvisation and how can it be used to create drama/theatre?
Jade Sullivan – Extended response
Improvisation is a foundational style which is used to create ensembles, it is the art of being in a
scene/s with no preparation. Improvisation is used to Refine theatrical pieces, create ensemble, and
extend our own creativity. It forces us react imaginatively and immediately. Improvisation is used
effectively in the examples of Augusto Boal and his 'Theatre of the oppressed', the French company
'Theatre Du Soliel' and an example from my own experience in class.
Theatre Du Soleil is a French drama company that started in the 1960's, it employs drama as the
means of making performance and mainly uses improvisations part of the process ... Show more
Using improvisation encourages play and spontaneous exchange of ideas/ process. It can be referred
to as an 'extension of child's play' as it stimulates offspring of child's play and it forces us to react
imaginatively to offers; like a child might do in the playground. As a class, we have explored this
idea in a game we play called "Space Jump", there are many alterations to the game but the general
idea is this; one student starts miming an everyday activity and is told to freeze. A second player
then volunteers to build another scene based on the frozen position of the first player. The original
space jump then gets played backwards. This game helps us as actors develop necessary
improvisation skills such as being able to accept offers, react to others and create ensemble. Games
such as these, and improvisation in general allows you to explore your physicality and abilities to
present different characters on the spot.
To conclude, improvisation can be used to creates ensemble, explore an individuals expressive
abilities, polish Individual or group performance, and to generate ideas. In the creation of theatre,
improvisation allows you to explore different personas/ life styles, and gives you the opportunity to
see the world through another person's eyes. Through the examples of Theatre Du Soliel, Boal and
my own class experience, improvisation is shown to

In what ways is A view from the bridge like a Greek tragedy?
In what ways is A view from the bridge like a Greek tragedy?
Introduction
In this essay I will be explaining in what ways "A View from the
Bridge" is like a Greek tragedy by exploring what Eddie's tragic flaw is and how it influences his
actions, sending him on a path of self–destruction that eventually leads to his tragic downfall. I will
also be explaining which of the other characters and key events in the play have the biggest impacts
on Eddie and his downfall.
In the opening scene of the play, the audience is shown the setting of the play, which is the harbour
area of Brooklyn near the Brooklyn bridge. When it shows Eddie with Beatrice and Catherine their
use of dialogue initially suggests to the audience that they ... Show more content on Helpwriting.net
...
And with them new high heels on the sidewalk – clack, clack, clack. The heads are turnin' like
windmills."
This just proves that Eddie doesn't like Catherine wearing clothes that attracts the attention of other
men because he gets jealous as he wants her to himself. When Eddie talks about Beatrice's cousins
coming to stay as illegal immigrants he tells the story of Vinny Bolzano, about how he called the
immigration bureau thus betraying his family and therefore turning his back on the Sicilian codes
and values.
This is ironically prophetical of Eddie's own treachery later in the play. When Beatrice's cousins
Marco and Rodolpho arrive to stay the audience can see the type of man Eddie is, as when he meets
the brothers for the first time he is friendly to both, but he warms quickly to Marco, a man's man
and superficially like Eddie. Also when Marco
"raises a hand to hush"
Rodolpho we read that Eddie
"is coming more and more to address Marco only."
He is made uneasy by the talkative young man with his unusual blonde hair. Later as Catherine

becomes attracted to Rodolpho, Eddie immediately seeks to discredit his rival, which is in fact the
start of his tragic downfall. In Rodolpho's case, Eddie quickly finds a
'reason' for this. Rodolpho is slightly–built, blonde, a good singer and dancer and he can cook as
well as make dresses. For the most part
Mike and Louis seem to share Eddie's view, for

Death Of A Salesman By Arthur Miller
American playwright Arthur Miller's 1949 creation, Death of a Salesman, is adapted for the small
screen by German director Volker Schlöndorff. This 1985 made–for–television film stars Dustin
Hoffman as protagonist William "Willy" Loman. Kate Reid, John Malkovich, and Stephen Lang
round out the Loman family in the roles of Linda, Biff, and Harold "Happy," respectively. The film
closely follows Miller's original work as it tells the story of Willy, an overworked and
underappreciated salesman, losing his grip on reality and his career. For the most part, the film is
shot from static cameras that give it a similar feel to what would be experienced as an audience
member viewing a live theatrical performance. There is no visible proscenium arch, implying that,
although the film did not use a camera dolly to achieve long flowing shots, the various scenes
visible on stage throughout the film are part of a sound stage and not a traditional theatre.
The actors that play the Loman family deliver convincing performances that reinforce the tightknit
but fractured nature of their onscreen family. Hoffman, as Willy, is believable in his role as a
stressed middle–aged man. As the film progresses, it is evident, by the frantic nature of Willy's
dialogue and actions, that he feels increasingly backed into a corner by both society and his own
expectations of himself. Reid, as Linda, fills the role of a backseat matriarch of the Loman family.
Her quiet but intentional demeanor serves to balance

Personal Narrative : Personal Essay
Embarrassment and humility usually have a negative underlying tone towards the person who has
experienced it. It makes the person feel awkward, self–conscious and think "why me?" However, in
my situation, while I did experience embarrassment that made me feel self–conscious and ashamed,
it made me more confident and open–minded. It all started one day, in my senior year of high
school...
Friday. Last class of the day. I was ready to leave this dump people referred to as "school".
"Alright. Come on stage," Mr. Canzo said, forcing my lazy body off the cold, wooden chair and up
the stairs to the front of the stage where everyone sat holding little, white pieces of paper, each
holding a mystery of words. My friends: Katherine, Shenez, Tenzin, and I sat together in the corner
of the circle away from the bright lights. I hid half my body behind the velvet curtain because I had
a horrible thought of what we would be doing today, my hand holding onto the white piece of paper
tightly.
"Ok, I told you all yesterday to write the name of a random object in a random location. Now pass
up those papers", Mr. Canzo proceeded. Everyone began to pass up the papers and the nervousness
started to crawl like a spider down my throat.
"I hate improvs", Tenzin sighed.
"Same", Shenez replied.
"I hate this class", I said recalling the reasons why I chose to stay in this class.
You'll be a better public speaker. You'll gain more confidence. It's a light class. Easy grades. This is
the only class you have with Katherine beside Latin.
The last statement was true but the other reasons were too general and although I wanted to be more
confident and a better public speaker, I felt this was not the right way.
"Ok let's make 5 groups", Mr. Canzo said, dragging my thoughts back to the current situation I was
in.
Katherine was placed in Group 1, Tenzin and Shenez in Group 4, and I was placed in Group 3.
Sitting next to each other was a bad idea because we were separated into different groups. Slowly
the horrid exercise began. The "improvs" were actually students making up a story a sentence at a
time by connecting their sentence to that of the previous student's. The story or scene was
completely random and had to relate to what was written on

Popular Music: The Creative Process Essay
The Oxford Dictionary defines creativity as "the use of imagination or original ideas to create
something; inventiveness". Stemming from this, the creative process is the way in which an
individual develops their creative ideas. Under this umbrella is improvisation and, in particular, free
improvisation (or free jazz). "Improvisation is about... truthfully responding to changing
circumstances, and about.... enjoying the process without straining to get a known result. It is about
creation." Creativity and improvisation come from deep within, almost decided by our
subconscious, only to be directed by conscious thought and the happenings around us at the given
time. "Even without thinking, [musicians] can make musical gestures that direct the ... Show more
I hold improvising close to me, and use it as a technique for creating original songs, and turning
cover songs into my own. When one improvises, they make choices that are unique to them, which
leads into the question of where ideas in improvising come from.
Singer–songwriter Matt Corby spoke about the idea that inspiration does not come from you, rather
"it's something that you channel. Song writing, being able to create something new, is a
regurgitation of everything that you have experienced musically in your entire life. Your ideas [are]
just a product of what you know and what you place value upon musically or artistically". Though
he is speaking more so about song writing, this especially resonates in improvisation, as the process
is even more free flowing and spontaneous than creating a song. In improvising, this concept of "the
body acting prior to thought" is key, however when taking part in free improvisation, it is often
difficult to continue coming up with different ideas and variation, and I feel I am often too similar
and somewhat predictable in my improvising. A musician's "personal conventions [can become] too
familiar" and it is often necessary to "search for a wider spectrum of ideas." I wanted to put myself
out of my comfort zone, in order to explore new things, and was able to do so in the workshops.
In one of the first free improvisation workshops I was given an image that looked like a string of

Idina Mentzel Research Paper
Jeanelle Carmona
Intro to Theatre
Assignment 1
2/15/17
Three Actors chosen in this assignment that have relevant theatre experience is; Idina Mentzel, Jane
Lynch and Chris Farley. I would like to begin with my favorite of the three. Indina Kim Mentzel.
Idina is a native born New Yorker from Syosset. She was born in 1971. During her early years in
high school Idina showed a huge interest in singing and performing. She performed in school plays
and also took on jobs like singing in Bar Mitzvah's and weddings because she was such a talented
singer. After high school Idina wanted to study theatre and attended New York University's Tisch
School of The Arts where she graduated with a BFA in 1993. Three years after Idina graduated from
New York University's Tisch School of The Arts she was casted for the role of Maureen Johnson a
lesbian performance artist who dealt with having AIDS in the Broadway hit Rent. Idina received a
Tony nomination for this role. She continued her career in theatre starring in Broadway shows like
The Wild Party and in 2003 she was cast in Wicked and played the role of Elphaba who eventually
became the wicked witch of the west. Defying gravity was a hit from Wicked that she sang, because
of this role, Idina won a Tony for best actress in a musical. I chose Idina Mentzel because of her
superior acting and singing. ... Show more content on Helpwriting.net ...
He then joined the cast of the Second City Theatre where he was then discovered by Lorne Michaels
who was the producer for Saturday Night Live. Once the producer of SNL saw Chris the rest was
history. I chose Chris Farley as my third favorite actor because he was undoubtedly one of my
favorite comedians. Growing up I would watch Saturday Night live and love to see him perform
because he was so funny. He was funny in the movies he starred in with Adam Sandler and although
his life was cut short due to addiction, his contribution to comedy has not been

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