One class lecture that resonated with me was the discussion and activity that we had on February 12th, foregrounding the body as an interpretive tool and In the Heights. For this class we were required to read pages 21-34 in Interpreting the Play Script by Anne Fliotsos. For this particular class we did not really have a discussion to begin. We did a tableau vivant (see appendix 1) activity. This was really interesting because we were actually practicing the technique that we had just read about. It allowed us to see everybody else’s interpretation of the music from In the Heights. We were split into small groups of about 5 or 6 people and were asked to create three frozen scenes to describe what we were hearing in the music we were listening …show more content…
Even though each group had listened to exactly the same song, every group had a very different version of the show. My personal favorite was the first group that had very metaphorical scenes. They did not do anything literal, like a grocery store scene. Instead they had people reaching for one another or had them looking off into the distance in very different poses. This opened my eyes to a new way to view the music we had just listened to. I was so worried about getting the scenes to match the words that I didn’t even think of them on a grander scale. I was also really happy when we performed because our peers’ reactions were all positive. One person even commented that she felt that we really embodied the characters that were in the show. This was amazing since I had no idea what the characters in the show were really like. In performing the tableau vivant, the music took on a new meaning. Instead of being something very impersonal, it became very personal. After performing our scenes I felt more connected with the show. I felt like I could be another character on the streets of Washington Heights watching all of the events unfold in person. That is the point of tableau vivant. It is supposed to give you a deeper understanding of the show. It is also meant to incorporate your body as well as your mind into your interpretation of the
In the introduction, Mordden explains that “all its [musical theatre’s] artistry dwells in the historian’s key buzz term ‘integrated’: the union of story and score” (Mordden x). It is important for audience members to understand that musical numbers aren’t put into shows just for pure entertainment. Rather, the numbers are there to not only further the plot, but to also tell more about the characters than can be said in words. As many shows say: sometimes you just have to sing about it. Mordden also points out that “the historian recognizes other aspects of integration—of dance as a thematic and psychological instrument…” (Mordden x). Just as musical numbers reveal more about the character, so can dance. If the character is shy and reserved, their movements and dances will reflect it with smaller movements and less flashy numbers. If the character is big, over the top, and dramatic, the choreography will be huge, take up a lot of space and most likely require a lot of energy. If these numbers are
The music and sound effects are in the same pont with what the author nedded to say in that play. In the smok and sword fight on the first act we thought will be a play where every body is confusing and fight each other. The phone ringing all the time and this help the actors to play around in the hury and action come up with rehearsal process. The purposes of the phone is any time we heart that something is going to happen, so we expectin to change the sequence in the play. Ringing the phone open a problem, hanging up the phone close the problem. Opening and shoutting the door of dressing room as a slamming it create for the audience understanding the flow of the show and leaves the flexibility as we see white and black to the performance. Crying with tears make the player dramatic, but afraid of discover which it trying to keep things together laughting and
I attended the performance of “The Diary of Anne Frank,” the new adaption by Wendy Kesselman, at the Stage Door Inc Theater in Pasadena at their Friday evening showing. This production is one that I could relate to because I read the novel in high school and while watching this live I remembered details from the novel that was incorporated into this production. The theater was an intimate proscenium stage. There were around 7 straight rows of seating that all faced the stage. The seats were raked so there was no problem seeing. The stage was small but the props and setting was beautifully made.
Every performance was presented with charm. The flashing, changing colors seem to go along with the performances. The director was humorous. The performers outfits were on point too. I liked the color coding of the vocalists, Jeremy, Jordan, and Rowan. Also, Julie wore a pretty suede dress and had a great voice. It was nice to see her come out for the 2nd time to sing. When Spencer kept playing his saxophone in some of the performances, it was just amazing. Some of my favorite performances were Sittin on the Dock of the Bay, Ain’t too Proud to Beg, In a Sentimental Mood, and more. It really made me feel like I was in New Orleans all over again. I absolutely love Otis Redding and The Temptations music, so I wasn’t new to these songs they played. I was sitting in the back (R-125) where I felt comfortable to bob my head to the music. If I ever come back to see another concert, I will make sure to get a seat in the back again. I adore Jordan that did sung the Temptations song. I thought it was exciting to see his enthusiasm while on stage keeping us engaged, but everyone did great in their own way. The song by Duke Ellington made me feel melancholy, the piece was soft. I just couldn’t believe how well everyone contributed and gave an outstanding
The sound design and choreography intensified the overall musical. They created the time, place, and mood through rhythm and great energy. The actors had wireless, behind the ear mikes, that attached to the mike pack which amplified the sound, making it very clear. I could easily understand what they were talking about or singing.
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
Throughout the musical, the prowess of each individual performer was on display. Every performer, with the exception of Kristine, expressed a power and vibrato that was breathtaking; the highest notes lilting and the lowest notes thundering. I was in awe during a majority of the performances because of the commanding singing in each performer.
In this magical experience, the volunteers that put on the enactment were extremely resourceful. The sets were a little intricate to acquire, especially when the donations, and fundraising, were few. The cast and volunteers were impressive on their improvisation for sets they couldn’t buy, like using a projector to set the atmosphere. However, some sets weren’t so great. They could have improved on some sets and the complications like the microphones being sometimes on and off. Overall, the sets were improvised skillfully, and the show was exceptionally concluded.
The production had many elements which for the most part formed a coalition to further the plot. The characters, the three part scenery and costumes represented well the period of time these people were going through. As far as the performers entering and exiting the stage, it could have been more organized. There were a few times when the performers exited at the wrong times or it seemed so due to the echo of the music. At certain moments the music was slightly loud and drowned the performers. Many of the songs dragged on, so the pacing could have been more effectively executed. Though the music was off at times, the director's decision to have most of the songs performed center sage was a wise one. Also the implementation of actual white characters that were competent in their roles came as a great surprise to the audience and heightened the realism.
I thought it was interesting that you can look at the audience and be able to see the their reactions and really see the quality of the show. The audience remained extremely quiet and attentive, focused throughout the entire performance. I even thought many people were asleep but, I later realized they were just zoning into the moment, really taking in the essence of the music. It looked like it brought out a lot of emotions from the people in the audience, giving them time to reflect and really think. The concert was a different experience for me. The concert covered different types of styles and different artists. My favorite piece was the last piece which was Piece d’ Orgue, by, Bach because it reminded me of a horror movie, and horror is actually my favorite genre. Overall, going to this concert was a bit unusual and out of the norm for me but I would definitely consider it as a very wonderful and very interesting experience. It was very
By the twelfth song which was the last I could still feel the atmosphere, the pride and the gratitude of the people. We were just happy to be in their presence. For the last song the whole crowd moved together in a bizarre, alternative. dance. I am a sassy girl.
Tennessee Williams has mastered the idea of plastic theater throughout the plays he was written and “A Streetcar Named Desire” is no different. He incorporates many elements of plastic theater throughout this play to take you through a journey unlike any other. One of the main elements of plastic theater that is heavily used is the music. The music plays a vital role in this play in setting the moods for each scene. The “Blue Piano” and The “Varsouviana Polka” are prime examples for playing major roles in the scenes Williams used them in.
The concept that we discussed throughout the semester that was most surprising to me was that of meditation. Coming into this class, I had a biased view of meditation. As a senior in high school, one of my teachers used to make us meditate every Friday for an hour during her class. As seniors, stressed about college applications and lack of sleep, we all thought that this was the perfect opportunity to take a nap during the school day. From my experiences with meditation in that class, I really didn’t believe that meditation was helpful in any way or served a purpose. After taking this class, however, I now understand that meditation is more than just sitting in one position for long periods of time.
After the show had ended, I felt slightly empty. I had waited years and months for that night, and it was over in the blink of an eye. Although I was sad that the show was over, I felt completely content. Now, when I hear their songs, I get to remember what it felt like to hear the band perform them live. I can watch the videos and try to wrap my mind around how it was real. Going to my first concert was an unparalleled experience that I will always cherish. The ambiance, the band’s performance and the unity the audience
In William Shakespeare’s Twelfth Night, the art of music appears in the opening of the speech as the unhappy and lovesick Orsino tells his musicians, “If music be the food of love, play on” (I.i.1) In the speech that follows, Orsino asks the musicians to give him so much musical love i.e. food that will “surfeit” and cease to yearn for love any longer. Shakespeare uses music in opening line of play and at the end by Feste singing his song. It reveals that Shakespeare has presented on stage a romantic comedy which is not detached from our everyday reality. Thus songs are used by Shakespeare with surfeiting desire not only for the purpose of entertaining the audience but also closely linked to the play’s theme.