Writing Assignment Theatre 120, Comm-B
Production Element Focus: Scenery
Production Critique: Laughter on the 23rd Floor
Objective:
Write
a
descriptive,
analytical
paper
that
explores
how
the
scenery
for
Laughter
on
the
23rd
Floor
effectively
(or
ineffectively)
helps
tell
the
story
of
the
play.
Method:
First,
practice
basic
theatre
etiquette.
Arrive
at
least
20
minutes
early
to
collect
your
tickets
from
the
box
office
and
find
a
seat.
Turn
cellphones
and
all
other
technology
off.
Do
not
take
notes
during
the
play;
it
is
distracting
and
discourteous
to
both
the
actors
and
other
audience
members.
Pay
attention
to
the
entire
play—not
just
the
production
element
you
were
assigned.
Get
a
sense
of
the
overall
unity
of
the
production,
and
how
the
scenery
ties
into
that
or
perhaps
contradicts
it.
Get
a
sense
of
the
plot
and
the
play’s
style.
In
what
place
and
time
period
is
it
set?
Is
the
visual
style
realistic
or
surreal/fantastical?
Do
the
actors
interact
effectively
with
each
production
element,
or
do
they
seem
separate
or
extraneous
to
the
action?
Does
the
interaction
with
the
scenery
enhance
or
detract
from
your
experience
of
the
play
as
a
whole?
Jot
down
notes
as
soon
as
you
can.
There
will
be
one
intermission
halfway
through
the
play,
use
both
this
time
and
take
time
at
the
end
of
the
play
to
write
specific
examples
for
use
in
your
paper.
When you write your paper:
In
preparation
for
beginning
your
assignment,
review
all
of
the
specific
examples
you
wrote
down
from
the
performance.
Based
on
your
examples,
develop
an
informed
opinion
about
how
the
design
and
use
of
scenery
contributed
to
the
play.
This
will
become
your
thesis
statement.
For
information
on
thesis
statements,
check
out
the
UW
Writer’s
Handbook
at
this
link:
http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html
Support
your
thesis
with
detailed
descriptions
of
the
examples
you
collected.
Make
your
l.
Writing Assignment Theatre 120, Comm-B
Production Element Focus: Scenery
Production Critique: Laughter on the 23rd Floor
Objective:
Write
a
descriptive,
analytical
paper
that
explores
how
the
scenery
for
Laughter
on
the
23rd
Floor
effectively
(or
ineffectively)
helps
tell
the
story
of
the
play.
Method:
First,
practice
basic
theatre
etiquette.
Arrive
at
least
20
minutes
early
to
collect
your
tickets
from
the
box
office
and
find
a
seat.
Turn
cellphones
and
all
other
technology
off.
Do
not
take
notes
during
the
play;
it
is
distracting
and
discourteous
to
both
the
actors
and
other
audience
members.
Pay
attention
to
the
entire
play—not
just
the
production
element
you
were
assigned.
Get
a
sense
of
the
overall
unity
of
the
production,
and
how
the
scenery
ties
into
that
or
perhaps
contradicts
it.
Get
a
sense
of
the
plot
and
the
play’s
style.
In
what
place
and
time
period
is
it
set?
Is
the
visual
style
realistic
or
surreal/fantastical?
Do
the
actors
interact
effectively
with
each
production
element,
or
do
they
seem
separate
or
extraneous
to
the
action?
Does
the
interaction
with
the
scenery
enhance
or
detract
from
your
experience
of
the
play
as
a
whole?
Jot
down
notes
as
soon
as
you
can.
There
will
be
one
intermission
halfway
through
the
play,
use
both
this
time
and
take
time
at
the
end
of
the
play
to
write
specific
examples
for
use
in
your
paper.
When you write your paper:
In
preparation
for
beginning
your
assignment,
review
all
of
the
specific
examples
you
wrote
down
from
the
performance.
Based
on
your
examples,
develop
an
informed
opinion
about
how
the
design
and
use
of
scenery
contributed
to
the
play.
This
will
become
your
thesis
statement.
For
information
on
thesis
statements,
check
out
the
UW
Writer’s
Handbook
at
this
link:
http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html
Support
your
thesis
with
detailed
descriptions
of
the
examples
you
collected.
Make
your
l.
GUIDE TO BASIC ELEMENTS OF THEATRICAL PRODUCTION Sce.docxsalmonpybus
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, 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
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 representi.
THE KK INSTITUTE is the best acting classes in ahmedabad. THE KK INSTITUTE curriculum provides the actors with effective tools and techniques that enable them to grow in the craft. THE KK INSTITUTE acting academy aims at offering all our students a broad and balanced curriculum that provides rewarding and stimulating activities to prepare them for the best social and cultural life. They are taught to deliver performances realistically using their vast imagination. They learn to express themselves in a convincing manner using a variety of impactful and powerful emotions. Through a perfect blend of theory, practicals,exercises, scene work, performances and discussions, aspiring actors are moulded into creative professionals capable of performing across platforms in their own unique inimitable style. The institute also regularly invites professionals from the media and entertainment industry to interact with our students. THE KK INSTITUTE is honoured to have had many Indian celebrities visit the institute and interact with our actors. THE KK INSTITUTE’s alumni have featured in many advertising commercials, plays, films, television shows and web series.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
3. The Theater
•is said to be the convergence of all arts, where all other
art and disciplines are used in the creative process.
Literature in theater is evidenced in the use of script in
text-based theater productions. In some productions,
dance is incorporated as part of the whole production,
such as the use of movements carefully choreographed
as part of the scene.
4. The Theater
• Music is used in theater especially in the aspects of sound
scoring which may be live accompaniment or pre-recorded.
Theater uses visual arts with the use of scenic backdrop, or
any other visual elements to aid the production. It also
engages in architecture with the construction of set design for
the actual performance. More recently, the theater uses the art
of moving images, cinema, through the incorporation of
multimedia images in more contemporary productions.
5. The Theater
•is collaborative in nature. It is not a solo art. It
requires the combined works of many people who
are involved in the different aspects of production.
Theater combines various elements to produce a
unified creative piece that engages with the
audience.
6. Wilson & Goldfarb (2019)
•here are some characteristics that all theatrical
productions have in common. These are all present
whenever there is a theatrical performance. Without
these characteristics, a performance can no longer
be considered as theater, but just anew type of art,
with a completely different experience
9. • The essence of theater is the exchange, the
chemistry, and the energy between the audience and
the actors on stage. Live theater is distinguished from
all other kinds of dramatic entertainment by the
presence of an audience. A theater performance is not
complete if no audience sees it and hears it. Every
form of performing arts, including theater, is analogous
to connecting positive and negative wires in an
electrical circuit.
10. • The actors are half of this connection and viewers
make up the other half. Both the audience and the
actors are necessary for a theater to take place. The
audience may not realize that their presence is
essential to the overall viewing experience. The
presence of an audience distinguishes theater from
seeing a theatrical performance on film, television, or
other technological media.
11. • And the feeling of being in the presence of a real,
breathing human being is priceless. These audience
reactions and their energy subtly affect actors’
performance on stage. A production with no audience
is, in a true sense, not a theater production. Only
when performers perform in front of an audience is
there a show. During a performance, the actors can
hear the laughter, tension and silence from the
audience.
12. The Influence of Audience Composition in
Experiencing Theater
• The audience interaction with the other audience members
influences the watching experience in the theater. The
members of the audience become at ease and secure when
they watch the performance with their friends or with people
who share the same values. However if a student audience
member feels alienated in a crowd of professionals, this
student would be unable to completely absorb the play’s
message due to uneasiness.
13. • The companions the individual goes with in watching the
performance will definitely have an impact on the viewing
experience in the theater. Thus, the composition of the
members of the audience affects the outcome of the
performance. Certain audiences are general. They come
from of all ages, from all places, and all socioeconomic
levels. Other audiences, such as those attending a high
school play, a children's theatrical production, a political
play, or a performance in jail, are more homogeneous.
They have almost similar audience profiles.
14. Audience Imagination
• The audience participates in the whole theater experience through
imagination. Audience sees an actor enter the stage and drink wine;
an actress crying while typing in her computer and so on. The
actors create their world which they share with the audience.
Members of the audience experience these feelings and emotions.
They feel a different kind of pain or warmth. Sensing the other
members of the audience and the overall production design,
audience creates imaginative connections that can incite feelings of
joy, sorrow, pain, anger, or laughter. All of these, occur without us
leaving our seats.
18. •Another key element of theater is the performers, the
individuals on stage portraying characters in dramatic
action. Acting is central to all forms of theater. A
performer stands in front of the audience and begins
to act out a character, by speaking and moving in
ways that convey a character. This begins the magic
of theater when audience starts to accept that the
actor is someone else who embodies a character
19. Acting
• is not an easy job. It demands mastery of the craft and skill of
stage performance. The performers must learn how to use the
tools in acting (body, voice and imagination). They must possess
good flexibility and control in using their bodyand voice, so they
can be understood when performing on stage. Apart from this,
performers must be able to show believability on stage by acting
out the emotional truth of the characters. Audience needs to feel
that the actors are thinking, reacting and feeling like the characters
that they portray.
20. Acting
•The presence of performers distinguishes as film
and television. Performers embody the
characters through the text of the Script, aided
with the scenery and costumes that bring to life
the world of the play which actors inhabit.
21. Acting on Stage
• An actor must acquire both outer techniques coupled with inner
emotional resources to play a believable role. This is true
whether the actor is playing in a classical drama or a modern,
realistic play. On stage, the actors are watched by the
audience. They are always on display on stage under the
spotlight. Stage acting requires actors to portray entirely
unknown characters.
22. Acting on Stage
• Characters in plays are not actual people. Dramatists create
these characterswhich are portrayed by performers, thus,
developing stage personas to representindividuals. They
resemble individuals. In many situations, they appear to be
thesepersons, yet they are not. The actor's role in striving to
make the characters onstagelook genuine demands not just
skill but also training and discipline.
23. Challenges in Acting
1. Finding the inner truth of the characters.
Actors need to be convincing on stage.
Their acting has to be believable that is fit
to the character.
24. Challenges in Acting
2. Appropriate use of the body and voice. Actors
have to be precise in their physical acting by
using their body and voice to create characters.
They have to create a different body and voice
for the character.
25. Challenges in Acting
3. Integrating inner and outer acting abilities.
Actors need to master the skill of synthesizing
and integrating the outer and inner skills of
performance. They have to use both skills to be
effective on stage.
26. In the same manner, actors need to be aware of
the importance of ensemble acting in order to
create a wonderful overall performance. Actors
need to coordinate with other actors in the space
by listening carefully and sensing each other on
stage. Each must respond with perfect timing to
the dialogues and conversations with other
actors during the performance.
28. •The script is another important element in a theater.
This is also considered the blueprint for production. A
playwright, a writer who writes the script, creates the
dramatic script by transforming stories (such as
incidents and biographical events) into a sequence of
events showing characters interacting with each other.
A playwright develops dramatic structure by giving life
to characters; creating their personalities and conflict
to arouse the interest of the audience.
29. •A playwright creates the subject, the tone,
the structure and the point of view of the
script. Text, on the other hand, is an
inclusive term that is often used in place of
the script. Itcan be any performances
created and devised by both directors and
actors, and those created by playwrights.
31. Credibility and Intrigue
• Credibility is the audience-imposed need for the logical flow
of actions of the characters, scenario and the setting provided
by the author in the play. A logical flow means that what
happens in Scene 2 is a reasonable development from Scene
1. In credibility, characters must appear to act and think like
real persons. As real persons, the characters must be
consistent in the portrayal of their feelings, thoughts, plans,
hopes and fears.
32. Credibility and Intrigue
• Characters should present something familiar to the
audience. Intrigue offers curiosity for the audience to
expect what will happen next in the play. A fine play
allows the audience to experience "suspense" which
gives viewers intrigue about what will happen in the
story. Credibility results in believability on the stage.
33. Speakability, Stageability, and Flow
• A fine play must possess dramatic actions that have "actable"
and stageable dialogues that have progressive flow until it
reaches its high impact. Speakability means that the
dialogues are believably that of the character and not of the
author. The author creates the rhythm of the words, but the
actors bring it to life as guided by the director. The dialogues
in the play seem to be lifelike and acceptable to be true.
34. •For example, the dialogues allow actors to
breathe from time to time. Stageability is a quality
of a play that allows it to be effectively staged
through a complementation of stage setting,
physical acting and the dialogues. A stageable
play has staging directions and stage businesses
that are not only adornments ofthe play, but are
necessary to the nature of the play.
35. •Flow means that a play must continuously say
something, do something and mean something on
stage. Entrances and exits of characters are
carefully planned to address unnecessary scene-
shifting. It also allows for act breaks in between to
allow a good flow of scenes. A script that is
speakable and stageable flows rather than
stumbles.
36. Richness
•A play that is rich in detail and dimension gives us a
high sense of satisfaction. Detail and dimension refer to
the creation of believable scenes. The details in the
play allow us to enter into the world of the play and
experience it with the actors. Through the richness of
the play's detail and dimension, the author invites us to
visit the make-believe reality that the play portrays on
stage.
37. Depth of Characterization
• Every character in the play must have a unique voice of its own, its
purpose and the reason of its presence. A character must exhibit
complexities and uniqueness to show intention, expression and
motivation. A playwright should create characters who must appear
to be reasonable in the play. Every role in the play, big or small,
should have been given more depth in terms of its relationship with
other characters. Audience must be able to understand the purpose
or motivation of every character.
38. Gravity and Pertinence
• Gravity and pertinence refer to the significance of a play's central
theme andits general relevance to the audience's interests. To state
that a drama has gravity is to indicate that its core theme has
significant and long-lasting importance in the spiritual, moral, or
intellectual life of humanity. If the play radiates power, it can create
a deep connection with the audience, thus, its felt relevance is
high. A play has pertinence when it touches current conditions or
situations that the audience is presently experiencing. Timely plays
are those plays that resonate feelings and sentiments of the public,
hence, they can have more impact on the audience.
39. Compression, Economy, and Intensity
•Compression refers to the playwright's device in
compressing a story that usually spans days or
years into one staging time (usually between one
hour to two hours). Economy refers to the
conscious decision of the playwright on what
events that happen to the character should be
included in the play
40. Compression, Economy, and Intensity
•Compression and economy in playwriting help to
heighten audience anticipation and generate interest. A
play that is tightly written gives a feeling of thrill as if we
intently follow what happens next. This experience gives
the intensity to the play which allows for dramatic
actions to create strong impact to the audience.
41. Celebration
• Plays should celebrate life, more than just purely depicting or
analyzing it. The purpose of theater is to broaden our horizons
of experience, to enlighten life, and to elevate existence to the
level of art. A good play resonates the experience of the
community and mirrors social realities on stage. Writing,
creating, and attending plays are also affirmative acts. These
demonstrate a want to share and communicate, as well as a
desire to celebrate human existence, involvement, and
communion.
43. •is responsible for rehearsing the actors and coordinating
the works of the designers (scenic, costumes, lighting,
sound) and other members of the team to ensure that
the performance is both coherent and interesting. The
director is responsible for ensuring that the event is
conducted properly, wisely, and excitingly. A theater
director shapes the play's narrative and establishes its
style, tempo, and how the actors study and create their
characters and interact with one another.
44. •However, the director's work in a theater production is
not seen during the actual performance compared to the
works of the actors and designers whom the audience
physically sees and experiences on stage. The director
orchestrates everything in the production, but the
director's work ends when the play begins.
46. Traditional Director
•In this directing approach, the script is the starting
point of the production. Also called the text-based
method, the director chooses the script to be
staged, analyzes it and prepares for the
production mounting. The director then decides
the theatrical style of presenting the play.
47. Traditional Director
•Developing a style means creating a directorial
concept, a unified blueprint to guide the creative
process in terms of idea, vision or point of view of
the director. Through this directorial treatment, the
director presents the interpretation of the play by
creating the overall image or metaphor based on
the text.
48. Auteur
•is a French word which means "author". In this
directing approach, the directors also serve as
authors who can easily create changes or
transformations of the material. This type of director
weaves various elements from many sources to
produce a theater production that we can see on-
stage. An auteur director takes full responsibility for
every transformation or change that is made in the
production including the script.
49. Postmodern
•creates productions that are radical, free-form and
sometimes rebellious. This kind of production
employs a process called deconstruction, which
involves taking a part of the text which may be
altered, reassembled, deleted, or taken out of
context. It also abandons the classical linear or
narrative structure.
50. Responsibility of the Director
• The theater director brings together all the aspects of production.
Directors are responsible to produce a unified and coherent piece
that can move us, enlighten us or even amuse us. If the director
has carefully orchestrated the whole production involving good
complementation of all production elements, he will produce
meaningful, unforgettable and exciting experiences for the
audience. The director is responsible for the overall design and
execution of all other elements in theater creation.
52. • Another important element is the theater space, where
performers and audience members come together. It is
important to have a separate performance space for the actors
and audience seats for the audience. It is likewise essential to
have a dressing room for performers where they can change
costumes. This space also serves as the entrances and exits
of the actors. In theater, this space requires three-dimensional
features, hence stage space and audience need to be placed
in different configurations to allow the actual three-
dimensionality of the space.