Drama Portfolio
How did the first drama exercise develop your ideas?
We first tried a simple drama interview with some prejudice. We
thought we could develop it by adding more drama strategies. We also
thought that we could increase the prejudice of the interviewer and
maybe, instead of him saying his own inner thoughts, he could have a
conscience/alter-ego to say it for him. This lead on to the thought
that we could make his alter-egos control him and his actions.
What were your first thoughts?
We discussed several meanings of the poem. We all thought that the
poem was about prejudice in the workplace. The main character is
interviewing people and discriminating against them because of their
differences. We thought that a good drama developing from this poem
would be in the form of an interview.
What did your group decide?
Our group decided to do the interview. We had 3 interviewees. Each
would have a different characteristic i.e. colour, mentality,
disability etc. They would be interviewed by a very prejudiced, racist
person who would become increasingly so after each interview.
Strategies, media, elements
We used 2 main strategies within this drama. The interviewer had what
we called, an alter-ego or conscience. There was a good (angel),
neutral (everyday man) and an evil (devil) conscience. These
controlled him. As each interviewee enters, the scene would freeze and
the conscience would give their inner thoughts about the person. The
alter-egos were placed on chairs, above, and surrounding the
interviewer to show control over him. We build this drama up to a
string climax. One second, noise and business, and the next, silence
and solitude.
What did you learn from other peoples' ideas and work?
I learnt, from one of my group members, that you should think beyond
the actual drama and use as many drama elements as you can to develop
your drama. Also, to offer and accept good criticism and/or advice
about how people can improve their acting abilities.
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What would you like to work on next?
The next thing I would like to try would be to see how prejudice
affects people in other ways e.g. at home, school, etc. and to develop
a few dramas on that. Also, I would like to focus on one particular
aspect of prejudice/discrimination e.g. racism, ageism, etc. and use a
drama to get the message across as to how these prejudices are wrong
and why these people are no different to any others.
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You feel adequate to the demands of this position?
What qualities do you feel you
...he theme of the poem is that no matter how young or old you are you are still a subject to racism think what happens in your childhood affects who you are in the future. Countee Cullen experienced racism at age eight from a white kid who was not much older than him. This most definitely shaped how he viewed whites in general.
In this analysis includes a summary of the characters and the issues they are dealing with, as well as concepts that are seen that we have discussed in class. Such as stereotyping and the lack of discrimination and prejudice, then finally I suggest a few actions that can be taken to help solve the issues at hand, allowing the involved parties to explain their positions and give them a few immersion opportunities to experience their individual cultures.
preparing us for the tragedy. I will be focusing on Act 3 Scene 1 and
Many people who study sociology use a perspective called Dramaturgy to account for interactions between people in everyday life. The use of dramaturgy then leads us to the use of the dramaturgical perspective. The dramaturgical perspective is a sociological theory that is an outlier within the sociological community. This is because it is a theory that does not study the behavior of humans but instead gives the behavior of humans a context. In an example of the dramaturgical theory social interaction is analyzed in terms of how people live their lives like actors performing on a stage. Goffman viewed theatre as a metaphor and the actors with in it to the way we as people interact with each other in social situations. Within the dramaturgical
Through the use of dialogue, stage directions which enable us to envisage the scene on stage and characterisation we can see how dramatic tension is created by Miller. These aspects are to be explored for each act.
The poem uses symbolism to show how it is possible to get through racism. The narrator believes that his father is a symbol of Christ. The concept of his father being able to return “from the netherworld / easily as riding the elevator to apartment 14-F,” directly paints the
Adopted into sociology by Erving Goffman, he developed most terms and the idea behind dramaturgical analysis in his 1959 book The Presentation of Self in Everyday Life. This book lays out the process of human social interaction, sometimes called "impression management". Goffman makes the distinction between "front stage" and "back stage" behavior. “Front stage" actions are visible to the audience and are part of the performance. We change our hair color, eye color, complextion. Wearing make-up, the way our hair is styled, the clothes we wear. The demeanor we present to the world to the. All of these things lead to an outward appearance of what we want others to think we are. People engage in "back stage" behaviors when no audience is present. We whine and moan about the customers we deal with. Hair goes un-styled, make is wiped off. Clothing is comfortable and unrestricting. When a person conducts themselves in certain way not consistent with social expectations, it is often done secretly if this ...
For this paper, I will be focusing on Erving Goffman’s concept of dramaturgy. Erving Goffman was a sociologist who studied social interaction, and is well known for his work on ‘the self.’ His book, Presentation of Self, continues to be an important and relevant book in sociology since it explains by social interaction within humans is important. In his theory, Goffman explains that people are like actors performing on a stage because of how they live their lives. Drama is used as a metaphor for how an individual presents their self to society. In his work, Goffman explains that ‘the self’ is the result of the dramatic interaction between the actor and the audience he or she performs to. There are many aspects of how an individual performs his or her ‘self’.
reach into the ideas and themes of the play so we will have a good
Kabuki Theater is quite different when compared to other types of theater. Its distinctive yet traditional traits are what make it so different. It is also a very traditional form of theater. Kabuki Theater in the 14th century was largely influenced by the events happening in Japan, is shown thrown the play Migawari Zazen.
of the cloth was a bench on which lay a shape that looked like a body.
When you read this play, take special care to remember the difference between the work of a playwright and that of a novelist. Novelists may imagine their audience as an individual with book in band, but a playwright writes with a theater full of people in mind. Playwrights know that the script is just the blueprint from which actors, producers, stagehands, musicians, scenic designers, make-up artists, and costumers begin. You will need to use an extra measure of imagination to evaluate this play before you see the Goodman production.
... tragedy. I think as a director the acting skills I would use most likely with my actors is to know if they are capable approaching indirect action on stage, I think that’s something that the production will consist of repeatedly. The theme throughout the play is constant illusion of self awareness and others around you. I need an actor who can go on stage and become the place and time. The set would consist of few elements, major obstacles of what I want to get across to the audience, by doing that it won’t take away from the feel of the play and what’s it trying to convey. This is a story of an idealistic son of a corrupt merchant exposes his father’s duplicity, but in the process he destroys the very people he wishes to save. Gregers Werle forces his friends, the Ekdals to confront the truth about their lives, but the truth only serves to wound them further.
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
instance in our scene we had to enter a lift but to show this in a