I think the first thing that becomes more difficult to do in a musical then in a straight play is the casting. Musicals can require hiring a larger cast and a bigger artistic panel, which can be good or bad thing. The good thing about a larger group of people is that you get to work with a variety of unique talents and this can also allow directors to try more artist direction on stage. The bad thing is that with a larger group it can also mean artist butting heads which can cause tension in rehearsal and make for a long show.Then when you start to cast the show you have to look for actors that not only have the look the director envisions for the part, but also who can sing and dance. It can raise the question of which characteristic is more important; an actor who can sing or a singer who can act? Also musicals usually have a dance number or two so then you have to start thinking about how important is it that the lead actor or actress can dance? Are you looking for someone who has years of tap training or could you get away with someone who taken a tap class every few months? I can imagine that all these different aspect can make selecting the right cast even harder. In a straight play you mainly have to focus on the actors acting ability and if they have good chemistry with …show more content…
Which means finding a musical director and a choreographer that you work well with and that you like to collaborate with. If you find people that you work well with then the process, from casting to opening, can run a lot smoother. The three of you then need to work out a schedule for when you want to run through music and work on dance numbers. The musical director need to work with the actors on their songs. If you are working with a live orchestra then you can change the music to coincide with the actor’s sing voice, but if you are working with track music then the actors needs help to form their voice to working with the
A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.
For a play to meet with success, it is essential that it include a cast of interesting and captivating characters. Without interesting characters, the audience would not only be confused by each unimportant character, but possibly puzzled by the plot, disinterested in the theme and ideas, and worst of all, bored by the entire story.
Since theatre was established as an art form, it has constantly been changing and developing as new methods of theatre styles came to light. This is also true with how musical theatre developed into how we know it today. Vaudeville and burlesque were forms of theatre in the late 1800’s and early 1900’s that forged the way for the American musical to emerge. The elements that writers used from vaudeville allowed for not just musical acts to be performed during the course of the story, but eventually became a way for the story to further be told. The American musical was not always as big as it is today, and vaudeville and burlesque acts made it possible for such a type of performance style to develop. Musical writers used multiple elements, not just the song element, in their stories. This change did not just happen overnight. The evolution from vaudeville and burlesque was a gradual one, taking years to further develop the performance styles into the Broadway musical we can see today.
Because musical theatre inspires people to be themselves, a person can learn how the process of an audition goes.
I am going to start my essay by looking at the way in which plays were
As in all genres, the musicals have had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular and they have left a long lasting effect on the American art and culture.
Musicals, a play in which singing and dancing are essentials parts that developed from light opera in the early 20th century. Now because of our technological advances musicals are able to come to life in movies such as the West Side Story. This is not the only change that has happened, there is also the genre of music used to tell their story. Hamilton is a great example of this change.
I will first contact the director so that we can collaborate on ideas. Then I will start thinking of choreography, spacing, and places for the big dance number. I will create an outline for how to run rehearsal and what I need to teach. I will warm up the cast before every time we dance. I will break down the choreography to the cast in order to teach it to them, while gradually bringing the choreography up to tempo. I will run dance rehearsals. I will attend rehearsal to learn blocking for other scenes and dance numbers. I will help with polishing the choreography for the
production begins, an actor must memorize all lines and cues for the first rehearsal. Once
The first strictly female-based shows were released in the 1950’s. These musicals attracted more female-based audience members and ticket sales rose exponentially. Musicals such as The Sound of Music and My Fair Lady showed how women were an important part of life, whereas musicals such as Spring Awakening, Aida, and Wicked showed extreme women empowerment. Gender inflicts and shapes every aspect of the musical. ”Gender is a constitutive element of Broadway musical theatre, fundamental to the musical’s architecture, and as vital a building block as music, lyrics, orchestration, spoken text, choreography, and dance, lights, sets, costumes, and props. It shows from the very beginning the role to be played” (Wolf, p.6)
A crew includes a screenwriter, whose job it is to provide the written blueprint version of the entire film. This is basically the starting point for any movie. Next there is the producer. There are many types of producers; executive producers, co-producers, assistant producers and line producers. They all do very different things. Some are the producers are responsible for raising the funds for the movie while others are responsible for the production that goes on during the filming of the movie and still other producers are in charge of what physically goes on the set. Then it is time for the director. The director is in charge of the actors. The director works with the actors to visually bring to life what was written on the screenplay (Fortunato, Who Does What on a Film). Now the idea needs to come together. The idea of writing, “what you know” is not always true and writing, “what you come to know” is in fact a more accurate way to write. Other good ways to formulate ideas are to use existing plays, novels, short stories, life stories, new articles, or even past TV shows and film. When using existing work a person needs to make sure that one secures the copyrights before starting write. Securing the copyrights does not mean one is finished yet. Now a person needs...
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.” ― Meryl Streep. I love exploring and gaining knowledge about the beautiful craft of acting. During my journey of being an actor, I notice there are two types of actors: stage and film. Stage and film actors are different in their times of rehearsal, their relationship with an audience, and their emotional challenges.
Before the rehearsals begin I will meet with each of the actors individually and talk with them about what they believe their character is truly about and what their objective in the play is. I will then tell them my ideas and conept and we will bounce off different ideas of how we can make the two ideas work or clash with each other and as a result we will have different viewpoints of the play but which will all add to what the concept of each individual is, and that is what the audience will do also. In my opinion it is my role as a director to help bring the best out of the actors but not tell then exactly what to do as then it would not be effective. They need to understand what they are trying to convey through the character themselves and not just what I tell them to do. After this meeting we will have several rehearsals to concentrate on how to convery this meaning. As there are not many lines, the actors will come in and do a full run through of the play so I can see what their take is on it. I will make notes and give them feedback on how I would interpret this play if I seen it and if that was what we were setting out to achieve. After this I will rent out an empty hall or some other big space and have some rehearsals there as I do not want to have miscrophones or sound system needed as the echo in the Winchester Rifle factory would provide enough sound, but because of this the actors would need to be able to get use to the different levels needed in their voices. I would have the director practice in makig his voice loud and boisterous, showing his authority over all of those in the play. The assistant would have an even voice but still loud enough to be heard clearly by the audience. There would also be a few rehearsals dedicated to movement because I want their characters traits to come out in this, for the protagonist to
of interest to the play making it a great play to read and also act