Director and playwright Kenneth Haigh once said, “You need three things in the theatre—the play, the actors and the audience, and each must give something.” (Robertson 159) How true that these three components must work together toward the success of a play; each contributing to the beauty of live theatre. Upon directing a play, one ought to have complete control of the first two aspects (namely, the play and the actors) as they are consciously chosen and painstakingly molded and manipulated. However, the audience is an entirely separate matter. One does not necessarily get to hand-pick one’s audience; yet, control is still possible.
Theoretically, theatre-goers will contribute two things to a production: first, they will bring with them a personal history, and secondly, they will have a reaction informed by this history. Thus, an awareness of what the audience might bring to the play is crucial in anticipating their response. Of course, every spectator will be different—culture, age, race, politics, religion, gender and any number of factors will all play a part. But with careful consideration of these possibilities, a good director ought to expect what response the audience will have to different aspects of the production. This can only be an advantage, as preparing for the crowd’s contribution will allow one to direct the play and actors in a manner that will produce the desired response. An audience’s tears, laughter, horror, confusion, shock, applause, etc. should all be controlled (to a certain degree) by the director.
In taking this into consideration, plays written in the past—intended for theatres and audiences of the past—can take on great and exciting changes when brought to audiences of the present and future. William Shakespeare’s Henry V is no exception to this rule. In light of recent circumstances in the United States of America, a contemporary performance of Shakespeare’s Henry V would be quite poignant by staging the character of King Harry as a mediocre (but at times likeable) leader, in order to expose the humanity of men in times of war.
The parallels between Henry V and the United States of America’s current political affairs are quite notable. Drawing upon these in a present day performance of Henry V would be quite engaging and inviting to the appropriate audience. Initially, King Harry is remembered as a “vain, giddy, shallow, humorous youth” (2.
Shakespeare’s Twelfth Night is a comedy that has been interpreted in different ways, enabling one to receive multiple experiences of the same story. Due to the content and themes of the play, it can be creatively challenging to producers and their casting strategies. Instead of being a hindrance, I find the ability for one to experiment exciting as people try to discover strategies that best represent entertainment for the audience, as well as the best ways to interpret Shakespeare’s work.
In many novels written by J.D. Salinger, there is a recurring theme of love that
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
Iago’s hatred for Othello has developed through the influence of not only his personal values, but the social and contextual values of the time. Thus, Iago is compelled to manipulate Othello and cause the tragedy. It is evident that Iago’s upbringing in the Venetian context of valuing and prioritising reputation and power, has caused him to have a strong sense of arrogance and selfish entitlement. Therefore, Iago is seen to be extremely greedy, as he not only seeks power, but also a better reputation and social standing. However, Othello denies him of this position, leading Iago to resent Othello and start his plan. Iago openly admits that he will “follow him to serve
The Brechtian style of performance is a style of theater in which the audience is balanced between two modes of viewership. On the one hand the Brechtian style requires that the audience watch the show engaged emotionally, but not in the classic Aristotelian cathartic way. On the other hand it requires that the audience stay critically active in dealing with the performance, thus, achieving an alienated political and educational response among the members of the audience. Naturally this style of theater produces a conflict of interests in the direction of a show. Should the performance focus on garnering political influence and sway, or should the production be emotionally compelling and relatable, or perhaps a combination of both? In order
In William Shakespeare’s The Tragedy of Othello, Iago demonstrates a mastery of manipulation over people who had previously trusted and confided in him. His sudden turn from Othello’s loyal ensign to rage-filled villain seems indicative of a man who can no longer accept his position in life. Iago’s plotting of Othello’s demise starts as idle talk of a disgruntled 28 year-old career military man passed over for promotion. Iago believes that such a promotion may never come after Othello rejects his candidacy and makes it clear that he did not believe him suitable. He sees Othello is only concerned with personal and political gain with his choice of Cassio as lieutenant. When Iago teams with love-scorned and desperate Roderigo, he begins to construct Othello’s downfall. Iago is declaring an all-out covert war on Othello, Cassio, and anyone else who gets in his way. In Iago’s first speech in Act I Scene II, he proclaims hatred for Othello and lays out his plan for seeking vengeance. “After some time, to abuse Othello’s ears that he is too familiar with his wife (Shakespeare 1473).”
Powerful theater combines intellectual ideas and artistry of language with the visual power of movement and physical strength. The theater I most appreciate involves the actors’ equal commitment to their bodies as to their voices. This theater makes art of the entirety of our evolution—biological, linguistic, and cultural—and represents the ultimate artistic elevation of the human spirit. This is the theater I strive to create. I believe the director is ultimately responsible for providing the distinct, guiding perspective of a production. A strong director brings the audience a cogent, well-reasoned interpretation of the play and ensures consistency among the actors and design elements to create a production that is clear and effective. To do this well, a director must explore the history of the play and the playwright's inspiration as well as look for corollaries to the play’s style and subject in other media, culture and intellectual ideas, and ultimately, compile this information into a coherent blueprint for realizing the world and presenting the themes of the play. It is precisely this studied, integrative aspect of directing that I am most attracted to, and, I believe, that makes me a strong director.
The practice of theatre is an inherently political act. By telling a story onstage, performers, playwrights, directors, and designers alike are presenting audiences with complex messages that are unfolding right in front of them; this shared experience engages the public and provides them with an opportunity to experience the world through a variety of lenses. Since its invention, theatre has possessed the power to spark important dialogues that propelled audiences to question society’s role in their everyday lives. Theatre provides an opportunity to confront social and cultural unrest in a way that utilizes creativity, intelligence, and empathy; rather than blindly disagreeing with something, the theatre artist explores all facets of a social
On stage, these points were, looking at the opinions of a majority of both the audiences and the critics, presented successfully by Brook and the cast he worked with. From the prison guards who loomed in the background, clothed in butcher aprons and armed with clubs, to the half-naked Marat, slouched in a tub and covered in wet rags, forever scratching and writing, to the small group of singers, dressed and painted up as clowns, to the narcoleptic but murderous Charlotte Corday, Weiss and Brook offered a stage production that both engaged and amazed the audience, while at the same time forced them to question their role as the audience; no better exemplified than at the very end of the play, where the inmates, standing menacingly at the edge of the stage, actually begin to applaud the very people who applaud their performance, aggravating and confusing some, but forcing most t...
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Before Theater 10, I viewed theater on the surface level: cheesy plot lines with dramatic scenarios for entertainment purposes. Throughout the course, I have learned what it means to appreciate theater, such as understanding Brechtian and Chinese theatre; however, I believe understanding theater’s ability to convey crucial historical and social messages, such as in the production of RENT, is more relevant and important for theater appreciation.
The second stated reason for Iago's hatred would be the suspicion of an affair between Othello and Iago's wife, Emilia. During the play, Iago says, "And it is thought abroad, that 'twixt my sheets, He has done my office" (1.3.387-388). He is basically saying that there is a rumor, which Othello is doing his business with his wife.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Warwick J. McKibbin, and Andrew Stoeckel. “The Global Financial Crisis: Causes and Consequences.” Lowy Institute for International Policy 2.09 (2009): 1. PDF file.
The survival of theatre lies in the very nature of humankind: its inner voyeuristic drive. The desire to watch other people dealing with their conflicts and fates challenges as well as reinforces values and the morality of society. The theatre provides an exciting opportunity to watch stories and situations as if they were real life, showing us the truth of our nature.
A mere mention of the term theatre acts as a relief to many people. It is in this place that a m...