The Drama Medium
We use the various mediums of drama every time we do any practical
work but I have chosen three of them to focus on for this part of my
coursework.
These are: space/levels, movement/mime/gesture, and voice.
Space/levels are used all the time to show the importance of
characters and there relationships with each other.
The example that I have chosen is from workshop 5 during a 'dream
sequence' involving the inspector and Mrs Birling.
The levels change frequently but the inspector always remains standing
to show that he is the person in control of the situation whilst Mrs
Birling's status always lower than the inspectors and is constantly
changing to represent her confusion and lack of control over the
situation.
Mrs Birling started the role play seated whilst being questioned by
the inspector who was circling her and constantly getting closer to
represent his pushing for answers, at this point there is a cross cut
to Mrs Birling and Eva where she asks for help but is refused then
there is another cross cut back to Mrs Birling who is asleep on the
floor and the inspector is again circling and tormenting her in her
dreams trying to make her feel guilt for what she had done.
Movement/mime/gesture are the very basis of drama so are used every
time that we do any practical work.
The example that I have chosen is from workshop 4 of a group role play
using narrating I have already used this role play as an example for
narrating so I shall give only an overview of how we used this medium
of drama.
In this role play we used mime when the other pair was talking to keep
the appearance of the conversation taking place whilst allowing the
other pair to be heard.
We used gesture to create more believable characters and to convey
information and ideas whilst miming.
Only Eva's character used movement during this role play but she used
it expressively and to intimidate the other characters.
Living the Drama by David J. Harding is a text which draws on many sociological theories that are presently relevant to the lives of many individuals. Particularly this compilation of personal accounts and theoretical connections textbook focuses on the role of neighborhood and community’s effect on the lives of present day boys. The book provides real life examples are given to demonstrate two key topics being cultural heterogeneity and collective efficacy. In neighborhoods collective efficacy is relevant regardless of the racial or socioeconomic make up of the area, as it comprises the neighborhoods trust and cohesion with shared expectations of control, which in response determines the public order of that community. In these communities we then find cultural heterogeneity, which is defined as the existence of a myriad of competing and conflicting cultural models. Cultural Heterogeneity, according to Harding, is greater in disadvantaged neighborhoods especially in relation to the topic of academic ambitions and career aspirations of adolescents in these areas. Youth and juveniles are heavily effected by the collective efficacy of an area which determines how may different social models and norms there are in the area or neighborhood in question. In Living the Drama, examples are given which indicate that higher collective efficacy would likely result in less cultural heterogeneity. This relationship between the two theories Is important as it effects the collective leadership, direction and social norms of an area and plays a role in the success or failure of the youth from that specific neighborhood.
Through strong dramatic plots, characters and music, melodrama has created an engaging, well-developed form of theatre. But melodrama is not limited to one category. Like other forms of the theatre arts, melodrama can be further broken down into Victorian melodrama and Modern melodrama. As the names entail, Victorian melodrama was practiced in the Victorian Era (1837-1901) whereas Modern melodrama is still being performed today. Both equally exaggerated and emphasizing the good vs. evil conflict, these two forms of melodrama have shaped the stage theatrically and developed complexity in character and plot development.
Pause for a second and think about a play or musical that you have seen. Consider the plot, whether you liked it or not and if the experience was positive or negative. Think about the characters, the costumes, and the emotions that were emitted. The discourse community of theatre is unique in the way that it is so complex and there are many different parts that ultimately come together to create a dynamic whole. The term discourse community is rather broad, but John Swales in his article “The Concept of Discourse Community” gives six characteristics that define it. Swales lists them saying,
Anger can be partly physiological, cognitive, and psychological, and it is also pointedly ideological. Factors such as race, class, gender, sexuality, ethnicity, nation, and religion arouse anger (Kim1). Goldhor-lerner stated that:
In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
“All the world’s a stage, and all the men and women merely players.” William Shakespeare may have written these words in As You Like It in 1600, but Erving Goffman truly defined the phrase with his dramaturgical theory. Dramaturgical analysis is the study of social interaction in terms of theatrical performance. Unlike actors though, who use a script telling them how to behave in every scene, real life human interactions change depending upon the social situation they are in. We may have an idea of how we want to be perceived, and may have the foundation to make that happen. But we cannot be sure of every interaction we will have throughout the day, having to ebb and flow with the conversations and situations as they happen.
Students will role play a character in a conflict and write a letter from their perspective.
Mental illness can be defined as a variety of disorders within the brain that can affect an individual’s mood, way of thinking and behaviour. These illnesses are caused by biological, psychological and sociological influences. Mental illnesses have become more prominent throughout communities while the seeking for help or a cure has appeared to become less evident. In today’s society, mental illnesses are portrayed through various media platforms in a way that causes such a stigma around the illness that it affects those who suffer almost as much as the illness itself.
Since the coinage of the term in an MIT Technology Review (2003) article, Henry Jenkins’ theory of transmedia has been significantly contested and edited by multiple media theorists and scholars. In short, transmedia storytelling is the technique of telling a narrative across multiple platforms. The goal of a transmedia project is to heighten the degree in which audiences participate and interact with the events, characters, and storyworld of a franchise. A transmedia project can include, but is not limited to, the use of movies, books, games, social-media, and graphic novels. These elements work together to make the story more enjoyable and contribute to richer fan-engagement. Jenkins’ best summarizes a definition himself in his 2006 book Convergence Culture: Where Old and New Media Collide; “A transmedia story unfolds across multiple media platforms with each new text making a distinctive and valuable contribution to the whole” (pp. 95-96).
McLuhan’s work with literature and culture produced the revolutionary thought that “the medium is the message.” In other words, cultures are changed not only by the “content” of technology, but also by the technology itself.
Process drama according free Wikipedia encyclopedia is a method of teaching and learning, where both the students and teacher are working in and out of role. Cecily O'Neill, Brian Way (et al) (1995) further postulates that it is a teaching methodology used to explore a problem, situation, theme or series of related ideas. Process drama is unscripted; it eliminates some of the elements that other genres of drama consist such as a script and writing and memorizing of the script. It entails mostly the use o language skills, listening and speaking but not reading, writing or memorizing. Because of this, process drama is appropriate for students of all ages, as there are no steadfast rules of how to perform and no script is needed. It is an imaginary world created by students and teachers to solve conflicts that arise daily, placing themselves in another person’s position. Process drama is a self motivated tool that assists facilitators to reflect in action. To reflect in action facilitators strategize and constantly add creative and distinctive changes to situations that need a novel approach. Process drama is used to promote literacy among students. Literacy is developed, while a vast am...
Before I started Introduction to Theatre class, I had been only to a couple of plays in my life. Just in this semester I’ve been to about ten plays and have learned so much about the art of theatre. The information I retained from class will help out a lot in the future, but the most important part of this class was the shadowing experience of A Midsummer Night’s Dream. With being able to get an inside look at this play during rehearsal and then going to see the performance was an incredible experience. By going to the rehearsal and then seeing the show, I was able to learn and understand more on how the theatre works. From there, I could understand the long process the actors and directors have to go through before the opening show happens.
Throughout literature, much has been assumed and gathered about the state of man and his purpose in life. Different poets, novelists, and playwrights have employed the powerful tools of language to broadcast their respective statement to the literate world. Many authors stand out for their overly romanticized or horribly pessimistic notations on life, but only Samuel Beckett stands out for his portrayal of absence. As Democritus, a Greek philosopher, noted, "nothing is more real than nothing," a quote which became one of Beckett's favorites and an inspiration for his masterful plays (Hughes 1). Beckett's works have astounded many through their utter divergence from the typical basis of a play. His blatant discount for the traditional concepts of character development, setting, time, and sequence of events distinguish Beckett's plays from a myriad of themed dramas. Because of such breaks from the standard, the message of Beckett's plays rings clearly. In his ground breaking play Waiting for Godot, Beckett describes two men, Estragon and Vladimir, who come to a rock and a tree beside a road and wait for an unknown "Godot" in vain day after day, idly making frivolous conversation and casually meeting another pair of characters, Pozzo and Lucky, who pass by daily. His follow up play, Endgame, creates a similar scenario with a blind, chair-bound man, Hamm, and his servantile friend, Clov, stuck in a room characterized only by two high windows and two ashbins housing Hamm's parents, Nagg and Nell. Such unusual plays portray the American Theatre of the Absurd perfectly. In both Waiting for Godot and Endgame, Samuel Beckett expertly incorporates nonconformist setting and dual chara...
This largely was done in the style of role play situations and stemmed mainly from the teaching of alternative