Physical Theatre Research
... Franz Kafka made an impact on young Berkoff. In fact, Kafka’s plays were the major focus of Berkoff’s theatre group until his plays were recognized. This shaped Berkoff’s performance aesthetic and reinforced his interest in physical theatre. (“Steven”) When thinking about Physical Theatre, there is ...
... Franz Kafka made an impact on young Berkoff. In fact, Kafka’s plays were the major focus of Berkoff’s theatre group until his plays were recognized. This shaped Berkoff’s performance aesthetic and reinforced his interest in physical theatre. (“Steven”) When thinking about Physical Theatre, there is ...
The Taming of the Shrew - Shakespeare Theatre Company
... empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged. —Peter Brook, The Empty Space The nature of the audience has changed throughout history, evolving from a participatory crowd to a group of people sitting behind an imaginary line, sil ...
... empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged. —Peter Brook, The Empty Space The nature of the audience has changed throughout history, evolving from a participatory crowd to a group of people sitting behind an imaginary line, sil ...
Grade 12 Dramatic Arts
... because it stood for everything they believed was wrong with South Africa. The apartheid government of the day decided that Sophiatown had to be destroyed. The Resettlement Board instructed the land owners of Sophiatown to sell their properties, but the residents refused to do so. In 1955 the govern ...
... because it stood for everything they believed was wrong with South Africa. The apartheid government of the day decided that Sophiatown had to be destroyed. The Resettlement Board instructed the land owners of Sophiatown to sell their properties, but the residents refused to do so. In 1955 the govern ...
Specification - Edexcel
... appreciate how the dramatic medium and strategies can be used to create drama form and communicate meaning. Students will have the opportunity to make connections between different stimuli which support the theme, topic or issue and explore the creative potential of the material. The work produced f ...
... appreciate how the dramatic medium and strategies can be used to create drama form and communicate meaning. Students will have the opportunity to make connections between different stimuli which support the theme, topic or issue and explore the creative potential of the material. The work produced f ...
laughter and tears
... the 16thcentury and the audiences came from all social strata of society. The form spread through Europe and flourished for over 200 years. It has had significant influence on storylines and themes, theatre and comedy in the European theatrical forms to this day. The tradition of performing Commedia ...
... the 16thcentury and the audiences came from all social strata of society. The form spread through Europe and flourished for over 200 years. It has had significant influence on storylines and themes, theatre and comedy in the European theatrical forms to this day. The tradition of performing Commedia ...
Transcript - Ngaio Marsh House
... Initially, today, I was going to speak about the influence of the electronic revolution on the contemporary theatre and how it has affected the stage. After a while, this seemed so dour and so dull that I ground to a halt. I then thought how this series of lectures had been founded to celebrate one ...
... Initially, today, I was going to speak about the influence of the electronic revolution on the contemporary theatre and how it has affected the stage. After a while, this seemed so dour and so dull that I ground to a halt. I then thought how this series of lectures had been founded to celebrate one ...
Drama and Theatre Studies
... number of acting candidates in the group; ie a group with only two acting candidates should work to the lower limit, a group with eight acting candidates should work to the upper limit. While all candidates share corporate responsibility for the development and presentation of their finished piece, ...
... number of acting candidates in the group; ie a group with only two acting candidates should work to the lower limit, a group with eight acting candidates should work to the upper limit. While all candidates share corporate responsibility for the development and presentation of their finished piece, ...
1. - Deutsches Archiv für Theaterpädagogik
... There were other, considerations as well. After consulting with the two graduate students who had taught the course before, I decided to look among one-acts and shorter sketches. By all accounts, the length of most three- or five-act plays was simply too ambitious for purposes of memorization. In se ...
... There were other, considerations as well. After consulting with the two graduate students who had taught the course before, I decided to look among one-acts and shorter sketches. By all accounts, the length of most three- or five-act plays was simply too ambitious for purposes of memorization. In se ...
THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND
... (the Moor in Vienna), in England “the Moor of Fleet Street”, in Spain “il moro de Valencia” (the Moor of Valencia). This approach involves the vulgarisation of the characters: all figures are generally lowered in their social standing and their language, characters who in the original are complex ar ...
... (the Moor in Vienna), in England “the Moor of Fleet Street”, in Spain “il moro de Valencia” (the Moor of Valencia). This approach involves the vulgarisation of the characters: all figures are generally lowered in their social standing and their language, characters who in the original are complex ar ...
Lecture on Lars Norén, Cluj-Napoca
... driven by an uncompromising artistic ambition to “creep under the skin of the reality” of these relations. Or as one commentator on Norén has put it: “When it works it is not theatre but organic life, the actors don´t read their lines, they breathe the text”. Of this Demoni seems to me to be potenti ...
... driven by an uncompromising artistic ambition to “creep under the skin of the reality” of these relations. Or as one commentator on Norén has put it: “When it works it is not theatre but organic life, the actors don´t read their lines, they breathe the text”. Of this Demoni seems to me to be potenti ...
OBERON BOOKS CatalOguE
... experimental theatre company between 1993 and 2009. Based in Glasgow, it was formed of a core group of associate artists who collaborated in making groundbreaking, high-quality new work which gained an international reputation. Over the course of its 16-year history the company worked with some of t ...
... experimental theatre company between 1993 and 2009. Based in Glasgow, it was formed of a core group of associate artists who collaborated in making groundbreaking, high-quality new work which gained an international reputation. Over the course of its 16-year history the company worked with some of t ...
A Cry in the Wilderness—On Eugene O`Neill`s Plays
... our thoughts are often only the small individual surface reactions. Truth usually goes deep. So it reaches you through your emotions.” (O’Neill, 1988) In the year 1940, O’Neil wrote the play he had to write—Long Days Journey into Night—his most autobiographical play, in which he faces himself and hi ...
... our thoughts are often only the small individual surface reactions. Truth usually goes deep. So it reaches you through your emotions.” (O’Neill, 1988) In the year 1940, O’Neil wrote the play he had to write—Long Days Journey into Night—his most autobiographical play, in which he faces himself and hi ...
Theatre and Transformation in Contemporary Canada
... Schechner suggests one reason for this when he distinguishes between "social" and "aesthetic" theatre. Performance Studies primarily focuses on the former category whose largely unscripted rituals such as ceremonies and pageants make them appear "more like a game or sporting contest" (Schechner 116) ...
... Schechner suggests one reason for this when he distinguishes between "social" and "aesthetic" theatre. Performance Studies primarily focuses on the former category whose largely unscripted rituals such as ceremonies and pageants make them appear "more like a game or sporting contest" (Schechner 116) ...
the history of melodrama in western landscape - Faculty e
... in eighteenth-century France than in nineteenth-century England, since some members of the audience in France went to the theatre with their own aesthetic prejudices and were ready to criticize melodrama. In nineteenth-century England, although criticism might be present, melodrama did not cause muc ...
... in eighteenth-century France than in nineteenth-century England, since some members of the audience in France went to the theatre with their own aesthetic prejudices and were ready to criticize melodrama. In nineteenth-century England, although criticism might be present, melodrama did not cause muc ...
fragmeNTs - Theatre for a New Audience
... For better or worse, Samuel Beckett has been aligned with absurdism since the Theatre of the Absurd as a category was popularized by Martin Esslin in his influential critical work of the same name. First published in 1962, The Theatre of the Absurd is a study of post-World War II dramatists living i ...
... For better or worse, Samuel Beckett has been aligned with absurdism since the Theatre of the Absurd as a category was popularized by Martin Esslin in his influential critical work of the same name. First published in 1962, The Theatre of the Absurd is a study of post-World War II dramatists living i ...
A theatre of possibilities and contestations: Reading Jean Genet
... ideological structures beyond the consciousness is manifested on stage through characters deprived of subjectivity. Maids, prostitutes, outlaws are released from the perpetual vigilance of the dominating power structures on stage in his plays. The stage in this case does not try to mimic reality or ...
... ideological structures beyond the consciousness is manifested on stage through characters deprived of subjectivity. Maids, prostitutes, outlaws are released from the perpetual vigilance of the dominating power structures on stage in his plays. The stage in this case does not try to mimic reality or ...
Playing in a House of Mirrors
... what they witness. I call them ‘problem scenes’. While such performances are devised ‘for’ audiences, they serve as warm-ups that enable the subsequent conversations ‘with’ all participants. Other applied theatre programs begin ‘with’ the people themselves and, through a series of theatrical activit ...
... what they witness. I call them ‘problem scenes’. While such performances are devised ‘for’ audiences, they serve as warm-ups that enable the subsequent conversations ‘with’ all participants. Other applied theatre programs begin ‘with’ the people themselves and, through a series of theatrical activit ...
pre-production notes
... found a number of paintings that clearly showed the look of the period. Although the story is set around 1837, Starski and Pain extended the period by a few more years, to the start of the Industrial Revolution, so that they could put more into it. Three months of research and design were followed b ...
... found a number of paintings that clearly showed the look of the period. Although the story is set around 1837, Starski and Pain extended the period by a few more years, to the start of the Industrial Revolution, so that they could put more into it. Three months of research and design were followed b ...
Small Town Montréal: Critical Preconceptions and
... Both Tremblay’s dialogue and Pryde’s direction are littered with incongruous juxtapositions of personality and action which simultaneously go to dramatic extremes and touch the audience close to home. Perhaps the most obvious example of this is Cuirette, Hosanna’s lover, a paunchy, leather-garbed bi ...
... Both Tremblay’s dialogue and Pryde’s direction are littered with incongruous juxtapositions of personality and action which simultaneously go to dramatic extremes and touch the audience close to home. Perhaps the most obvious example of this is Cuirette, Hosanna’s lover, a paunchy, leather-garbed bi ...
NTQ121-00 (Jacobs)_Layout 1 - Cadair
... Drama as Embodied Feminist Practice One of the most important influences on the development of Cherrie Moraga’s feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes’ ...
... Drama as Embodied Feminist Practice One of the most important influences on the development of Cherrie Moraga’s feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes’ ...
WILDE ABOUT HENRY
... ategorize the play as either drama or comedy, and seemingly unwilling to entertain the notion that it can be both ...
... ategorize the play as either drama or comedy, and seemingly unwilling to entertain the notion that it can be both ...
August 2009 - Knights of Illumination
... of televised work. Another unique feature of these awards is that each distinct area is being judged in a way deemed appropriate by practitioners in their fields. The ALD was pleased to advise Clay Paky on how the theatre awards should be decided. We felt strongly that photos, or even video, could n ...
... of televised work. Another unique feature of these awards is that each distinct area is being judged in a way deemed appropriate by practitioners in their fields. The ALD was pleased to advise Clay Paky on how the theatre awards should be decided. We felt strongly that photos, or even video, could n ...
Theatre Studies Victorian Certificate of Education Study Design
... For Units 1 and 2, teachers must select assessment tasks from the list provided. Tasks should provide a variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge and skills and different learning styles. Tasks do not have to be lengthy to make a deci ...
... For Units 1 and 2, teachers must select assessment tasks from the list provided. Tasks should provide a variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge and skills and different learning styles. Tasks do not have to be lengthy to make a deci ...
The Representation of Astrology in Golden Age Spanish Theatre
... Barca. Other plays by Calderon, Lope de Vega, Tirso de Molina and other authors included characters who were astrological practitioners, and discussed astrological ideas.3 This is not unique to Spanish theatre: authors in Italy, France and England, such as Ludovico Ariosto, Jean Baptiste Moliere, Pi ...
... Barca. Other plays by Calderon, Lope de Vega, Tirso de Molina and other authors included characters who were astrological practitioners, and discussed astrological ideas.3 This is not unique to Spanish theatre: authors in Italy, France and England, such as Ludovico Ariosto, Jean Baptiste Moliere, Pi ...
Drama
Drama is the specific mode of narrative, typically fictional, represented in performance. The term comes from the Greek word δρᾶμα, drama, meaning action, which is derived from the verb δράω, draō, meaning to do or to act. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night (1956) by Eugene O’Neill.The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene, the Muse of comedy represented by the laughing face, and the Muse of tragedy represented by the weeping face, respectively. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.The use of ""drama"" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe ""drama"" as a genre within their respective media. ""Radio drama"" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.