lntro to Western Music- Assignment Due Tuesday, October 16, .docx
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lntro to Western Music- Assignment Due Tuesday, October 16, 2012 OEDIPUS REX Assignment: Write an essay responding to this question: Treating this production of Stravinsky's "Oedipus Rex" as a "visual" experience, how does the director Julie Taymor connect the very different elements of the work - actors, singers, dancers, puppets, Japanese ·theater techniques, and Western theater tradition to tell all the various stories involved? As you watch Stravinsky 's Opera-Oratorio based on Sophocles's tragedy Oedipus Rex, consider the following . 1. The original Greek text was translated into modern French by Jean Cocteau, and then translated into Latin. The whole wo rk is sung in Latin . 2. The music is by one of the great 201h century composers , Igor Stravinsky , who was Russian. lri composing the opera-oratorio , Stravinsky agreed, reluctantly , that there would be a narrator who would explain the story of the opera in the local vernacular language. This was in case there were people in the audience who did not understand Latin. 3. This particular production was created as part of a music festival in Japan. The local vernacular language is , therefore , Japanese. 4. The director of the performance was the American director Julie Taymor, who directed The Lion King and Spiderman on Broadway . A major part of her training involved the study of traditional Japanese art forms - Bunraku puppetry techniques , and Kabuki theater- which she employs in this production , as well as artwork from the very earliest days of Greek civilization. What do you think is the role of a director? 5. Taymor uses a number of symbols to tell the story as the music is being performed . What, for instance , do you think the circular platform might mean? Or the red ribbons? What about the relative sizes of the principal figures in the drama? What other symbols do you observe , and what do you think they might mean? 6. The Greeks believed that birds and their flight patterns foretold the future . There are many references to birds in the play. How does Julie Taymor introduce birds into her direction? Use the notes you took while watching the performance to inform your writing. You are being asked to demonstrate your understanding of the play , your understanding of the musical version of it, and how all the very different influences work together. Be clear. Do not use florid language; it doesn 't help . Essay format: Printed, your choice of readable font, 12 pt, double-spaced, AT LEAST two pages Handed in to me, note-mailed. A11" [email protected] 'el c t5 ,~ .. . ' : '· ... , . .. NOTES· for "OEDIPUS REX"- An Opera-Oratorio by Igor Stravinsky, written in 1927. This production was directed by the American director Juli e Taymor. It was performed at the 1993 Saito Kinen Music Festival, in Matsumoto, Japan. The sung text is in Latin, the spoken narration is in Japane se, and is given in a style associ ated with Japane ...
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T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
Drama Theater
This document provides information about drama and its elements. It discusses the history of drama in Western cultures from ancient Greece and Rome to modern times. It also summarizes the history and traditions of drama in India, including Sanskrit drama and modern Urdu drama in India and Pakistan. Drama in Japan is also briefly outlined, focusing on the traditional Noh drama form. The document covers a wide range of topics related to drama across various cultures and time periods.
HISTORY and ORIGIN OF DRAMA.
1. Drama originated in ancient Greece and was performed as part of religious festivals honoring gods. The three main genres that developed were tragedy, comedy, and satyr plays.
2. Roman drama expanded on Greek traditions. Important early Roman works were written by Livius Andronicus in 240 BC. In later centuries, religious mystery and miracle plays evolved into more sophisticated drama in England.
3. The height of English Renaissance drama in the 16th-17th centuries included playwrights like Shakespeare, Marlowe, and Jonson. Their works drew from Greek/Roman myths and plays and enhanced the image of the ruling monarchy.
noisesoffkioskrevision3-230421203845-42fa7c1d.pptx
The play Noises Off by Michael Frayn has a unique structure as a "play within a play." It follows the production of a fictional play called "Nothing On" and shows both the on-stage performance and the backstage chaos. The first act depicts dress rehearsal, the second act shows what happens backstage during a performance, and the third act returns to the stage near the end of the run when the actors are exhausted. This allows the audience to see the same scenes from different perspectives with increasing levels of comedy and chaos.
Musical Theater and Festivals of Asia (JAPANESE THEATER)
An introduction to musical theater and festivals in Asia but focuses on the JAPANESE THEATER (KABUKI).
Similar to lntro to Western Music- Assignment Due Tuesday, October 16, .docx (17)
noisesoffkioskrevision3-230421203845-42fa7c1d.pptx
noisesoffkioskrevision3-230421203845-42fa7c1d.pptx
Musical Theater and Festivals of Asia (JAPANESE THEATER)
Musical Theater and Festivals of Asia (JAPANESE THEATER)
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Client with Pneumonia
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2.
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3.
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Closed Form
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Open Form
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4.
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5.
Is George Caleb Bingham's 1845 painting,
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1. The United States government will always have to face the homegrown violent extremist because with the internet alone people are able to research just about anything and find their answers. The civil liberties are being violated because you have FBI and CIA looking into what people on doing on the webs. I personally believe that you gave up the right when you decided to goggle whatever it is you’re looking up. It’s also like social media site take Facebook for example people are willing to give up their rights so they can be on Facebook and be able to look or post whatever they want. But just like ever website the owner of that site has a right to delete what they don’t want on it as well. So why can’t the FBI/CIA look into and potentially stop a homegrown extremist from attacking the nation or even just attacking schools, churches, and retail stores like the mall or Wal-Mart. All these locations have had attacks from violent extremist when if they were being watched or monitored those attacks could have been stopped or at least less death could have occurred. From a political and constitutional stand point, consequences of counter-terrorism can vary. I political stand is to protect and preserve the freedom for the people. Protecting one’s Constitutional rights depends on what the politician’s plans on policies and procedures that could begin to take away those civil rights that were granted and give people the sense of freedom that the nation is built on. Policies and procedures can change everything take the mask wearing and social distancing for Covid-19, you have the people that are okay with it all and are following the rules but then you have the ones that have been protesting or fighting people over the fact that they don’t want to wear a mask. To me personally it’s simple to wear a mask but to others it’s a reason of rights being taken away by mandating it. Working for the military and DHS I personally don’t see freedom and security as a tradeoff. If agencies do their jobs correctly and protect the United States and National Security then freedom wouldn’t be at stake. I believe in freedom but the security measures in place are to help protect that freedom, without the security measures the nation would be under attack like 9/11 or worse.
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