This quarter in Theatre 2, we start looking at the acting philosophy of Constantine Stanislavsky. You'll find some concepts similar and different that other philosophers studied this year.
This quarter in Theatre 2, we start looking at the acting philosophy of Constantine Stanislavsky. You'll find some concepts similar and different that other philosophers studied this year.
A2 Film A-Level Film Studies FM4 Spectatorship RevisionIan Moreno-Melgar
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
Film studies as an academic discipline emerged in the twentieth century, decades after the invention of motion pictures. Not to be confused with the technical aspects of film production, film studies exists only with the creation of film theory—which approaches film critically as an art—and the writing of film historiography. Because the modern film became an invention and industry only in the late nineteenth century, a generation of film producers and directors existed significantly before the academic analysis that followed in later generations.
A2 Film A-Level Film Studies FM4 Spectatorship RevisionIan Moreno-Melgar
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
Film studies as an academic discipline emerged in the twentieth century, decades after the invention of motion pictures. Not to be confused with the technical aspects of film production, film studies exists only with the creation of film theory—which approaches film critically as an art—and the writing of film historiography. Because the modern film became an invention and industry only in the late nineteenth century, a generation of film producers and directors existed significantly before the academic analysis that followed in later generations.
The Most Dangerous Game”Story BoardPremise You are a TV di.docxcherry686017
“The Most Dangerous Game”
Story Board
Premise: You are a TV director and you have stumbled upon this new story that you think will make a great new TV series.
Task: Offer the parts of the “The Most Dangerous Game” in a presentation format to your CEO to try and “sell” the idea.
The presentation needs to include:
1. A plot diagram (exposition, conflict, climax, and resolution).
· Identify the plot elements & explain the action in the story.
2. Point of view (Who is telling the story?)
3. Character analysis: Ivan, Rainsford & Zaroff
· Provide textual evidence & an explanation (5 sentences/character)
4. Setting & mood: examine how the setting creates the mood.
· Provide textual evidence & an explanation
5. Theme statement.
· Explain the theme in at least 1 paragraph.
6. You must make a connection between the story and its relevancy to contemporary audiences.
· Explain the connection in at least 1 paragraph.
Media: You may use PowerPoint, Wix.com (email address required), Animoto.com or another suitable Internet program with my approval. (Message me)
If you use an Internet program to create your presentation, here is how to submit your work:
Create a word document and include your name and a hyperlink to your presentation. Make sure that the completed presentation is “public” (if applicable.)
Retelling Rubric
Strong
(The student is able to explain the function of the elements of narration, how they function in a story, and how they connect to each other to create meaning for the reader)
Proficient
(The student is able to explain the elements of narration and how they function in a story)
Emerging
(The student is able to identify elements of narration in a text)
An examination of the story’s plot clearly shows the relationship between all of the elements of plot
An explanation of how central conflict and resolution support a coherent, consistent series of events is evident.
15 points
Identification of a central conflict and resolution are present but are not explained as integral parts of the plot. The story is explained as merely a series of events.
10 points
Major plot elements are identified in a list but are missing from the explanation of plot.
7 points
An explanation of point of view and how it affects the telling of a story is clearly articulated
An identification of the story’s point of view, clear explanation of how that particular point of view affects the telling of the story and an examination of how the story may change if the point of view is changed are all clearly articulated.
10 points
An identification and explanation of point of view is present, but the explanation of the how the story may change if the point of view is altered is not present.
8 points
The point of view is identified, but an explanation of Point of view is not clear.
6 points
The complexity of characters is explained using appropriate terminology related to the element of character.
There is a clear explanation of characte ...
Background Story (Exposition)We must adjust the w.docxrock73
Background Story
(Exposition)
We must adjust the way we read a play. The notion that what has already happened is dull and unexciting must be set aside. After all,
for the characters themselves, it is just the opposite. To them, the past is not dull and unexciting, but rather their own lives – everything good and bad that has happened to them.
James Thomas
To Reveal the Past!
Playwrights employ a unique kind of narration to reveal the past while the stage action continues to advance.
Exposition (Most Common Term)
Antecedent
Previous Action
Background Story
Understanding the past is an integral part of the play not a clumsy encumbrance. It helps create:
Mood / Atmosphere
Generates conflicts
Strongly influences environment and Given Circumstances
Clarifies relationships and the Environmental Analysis
(Potentially)Propels action forward in explosive surges
(Potentially)Increases the sense of urgency for the play/scene
Technique
Background stories tend to appear in three ways:
In extended passages near the beginning of the play
- HISTORICAL
In fragments distributed throughout the action
- MODERN
Or buried beneath the onstage action
- MINIMILIST (VEILED)
Historical Technique
In classic plays, those written before the rise of realism, the background story tend to appear in extended passages near the beginning of the play and at the end of scenes to reveal more about the previous action.
Advantages:
Collects essential facts and focuses attention on key elements at the beginning of the play
Allows playwright to spend more time on developing the action through the play
Establishes clear storytelling elements for the audience early on
Disadvantages:
- Long speeches at the beginning can be a drag for the audience at the beginning of plays
Modern Technique
- In the early part of the nineteenth century a man named Eugene Scribe, a scientist by trade, developed the playwritings style of the well made play. Scribe Began to employ the then novel principle of cause and effect into his plays with the intention to make the accidental seem necessary. Time, place and action were to operate according to scientific rules. The well made play has influenced modern playwrights since Ibsen, Shaw, Chekhov, Strindberg, Miller, Williams, O’Neill.
Well made plays employ some background story at the beginning of the play as in classic plays, but now, much of it is evenly distributed throughout the play with more characters revealing differing parts of the background story and is always used for maximum effect to the action
This cause and effect way of working is called the RETROSPECTIVE METHOD:
The onstage action moves forward in time as the past moves backward in time
FROM OUR PLAY ALL MY SONS….
LET US LOOK AT THE ANN AND CHRIS SCENE WHERE THEY REVEAL THEIR FEELING FOR ONE ANOTHER.
What do we learn about Chris and Ann with respect to their own past that helps push th ...
4. Choose a play which explores the theme of love in difficult circumstances. Explain how the dramatist introduces the theme and discuss how in the course of the play he/she prepares you for the resolution of the drama.
5. Choose from a play a scene in which an important truth is revealed. Briefly explain what the important truth is and assess the significance of its revelation to your understanding of theme or character.
6. Choose a play in which a character has to exist in a hostile environment. Briefly describe the environment and discuss the extent to which it influences your response to the character’s behaviour and to the outcome of the play.
7. Choose a play in which a central character behaves in an obsessive manner. Describe the nature of the character’s obsessive behaviour and discuss the influence this behaviour has on your understanding of the character in the play as a whole.
8. Choose a play which you feel is made particularly effective by features of structure such as: dramatic opening, exposition, flashback, contrast, turning-point, climax, anticlimax, dénouement... Show how one or more than one structural feature employed by the dramatist adds to the impact of the play.
9. Choose from a play a scene which significantly changes your view of a character. Explain how the scene prompts this reappraisal and discuss how important it is to your understanding of the character in the play as a whole.
10.
11. Choose a play which explores one of the following as a central concern: sacrifice,courage, integrity, steadfastness of purpose. Show how the dramatist introduces and develops the central concern in a way which you find effective.<br />
![Higher Drama Questions 2007-2010<br />Answers to questions on drama should address relevantly the central concern(s)/theme(s) of the text and be supported by reference to appropriate dramatic techniques such as: conflict, characterisation, key scene(s), dialogue, climax, exposition, dénouement, structure, plot, setting, aspects of staging (such as lighting, music, stage set, stage directions...), soliloquy, monologue...<br />,[object Object]](https://image.slidesharecdn.com/higherdramaquestions2007to2010-110406052837-phpapp02/85/Higher-drama-questions-2007-to-2010-1-320.jpg)
