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Stanislavski influences on theater
Stanislavski influences on theater
Essay Of Stanislavski Acting Technique
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Topic: The conventions of, Constantine Stanislavski, can be applied to the acting styles and techniques of performers in the first scene of “The Lion and the Jewel” by Wole Soyinka.
In Wole Soyinka’s, “The Lion and the Jewel”, Stanislavsky’s method of motivation should be utilized in the performance being applied to the acting styles and techniques of Lakunle to enhance the viewer’s realization of themes in the play. The Lion and the Jewel is a play that uses comedy to address the customs of the Yoruba village. It is somewhat satirical, although, the message of the play entirely is the journey of accepting yourself and loving others.
The Lion and the Jewel is a play based on the Yoruba Village in Nigeria, Africa. In this play the main characters are: Sidi (the Jewel), a beautiful young lady whose love is being fought for by Baroka and Lakunle, Baroka (the Lion) is the chief of the village, he had many wives and is very old, he aims to marry Sidi because of her beauty and the youth he hopes she will bring back to his life, Lakunle hopes to marry her to introduce her into the modern word outside of the village. Sidi’s two suitors; the one of which she respects very much because of his authority in the village, and the other who is introducing her into the modern world, are both only after her for the personal gain of her beauty. Although, Sidi must find herself, she does this only after becoming a model on a magazine and realizing the beauty that she has outside and inside. She is then able to make a competent decision of whom she will love. This is a story that clearly assesses the cliché, that “in order to be loved by others you have to love yourself.”
This picture shows a baby kissing itself as a symbol of loving oneself.
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...thers so a person may become frustrated. To express this frustration the performer may stand with his hand on his hip with and a confused look in his face to express his confusion with her consistent denial of him. The actor’s motivation for this would be the annoyance that they is understood when being introduced to something they feel is primitive. This is much like learning how to spell cat in high school.
This is a portrayal of the action that the male playing Lakunle may take when saying these lines.
Wole Soyinka through his play gave a satirical view into the Yoruba Village, which can be enhanced by Stanislavsky’s method of motivation. With Lakunle, understanding how to portray a love feigning man who is too modernized to be accepting of the culture of others is vital because there are many actors who will not understand how to portray the character.
Love is something that is so beautiful it brings people together, but at the same time it can be the most destructive thing and it can tear people apart. Edmond Rostand's play, Cyrano de Bergerac, is a tale of a love triangle between Cyrano, Christian, and Roxane. In the play, Cyrano helps Christian make a false identity about himself for Roxane to fall in love for. Christian had the looks while Cyrano had the personality, together they could make the perfect man. Throughout the play, you see similarities and differences between Christian and Cyrano’s personality, looks, and who they love.
Dynamic characters are built by dynamic movement in film. Whether the character is sitting down giving a lecture, or is a ballerina dancing on stage, character are born through movement. Movement in emotion, or physical, a characters action and re-actions are what draw audiences into their story. The characters in the movie Take the Lead gain power through their character transformations through dance, their movement on the dance floor directly impacts the way they carry themselves through life. In this paper I will explore three scenes, each scene will show different levels of progression in each character’s life, and I will show how the characters gain more power in their own lives the more successful they become with the movement of dance.
Li’s passion for ballet shows on and off stage through his arabesques, flexibility, fouettés, grande jeté and pirouettes that were nothing less than perfection. I understood that becoming a dancer requires commitment, passion and having a great memory as there’s many moves, routines and ballet terms that you need to learn. When I was performing on stage, I felt free and that I could own the stage as it felt like it was my second home. I also felt complete within myself just as Li felt. To perform on stage, you need to be light and graceful along with connecting to the music using precise steps, poses and formal gestures. The film used dance, music, scenery, and costumes to portray a story characterised by Li’s dance. Classical ballet dancers require the utmost grace and I’ve found that you also need a tremendous level of concentration and memory. This portrays when his choreographer Ben Stevenson asked Li Cunxin to replace the main male role due to an injury on the day of the performance to memorise new dances and perform them in front of an enormous crowd. Many of my performances have been in a group where we all need to be in sync and work together. This film highlighted that in order to become a professional ballet dancer, you have to prepare to work extremely hard no matter how gruelling the schedule is in order to
In Shakespeare’s famous play “Hamlet” the characters Hamlet, the prince of Denmark, and Laertes, son of Polonius, who also acts as a foil to Hamlet’s character, both display traits and respond to conflict in certain ways through out the play that can both be compared and contrasted.
Through the use of animated technology in The Lion King and a theatrical play in Hamlet, both forms are able to portray a mutual truth and entail impeccable level of quality that enables the audience to become invested on a personal level. A theatrical play is more effective in capturing adults’ interests due to the specific and intrinsic characteristics that a play withholds. Whereas in The Lion King, animation is utilized to represent animals as opposed to humans, to add a gentle tone and eliminate the harsh violence to appeal to children. Despite the simplicity and lack of complicated layers that would traditionally be present in Shakespeare’s play, The Lion King is still capable of including adult subject matter through childish and friendly scenes that allow children to comprehend the same universal message. Animation is appealing towards children due to the unique physical attributes of the animals that are aesthetically pleasing. For example, Simba as a child possesses a soft and gentle nature, strengthened by a “cute” factor that allows children to relate at a personal level. Additionally, the use of animals is symbolic to humans, and is used to make violent scene less freighting as opposed to two humans committing murder. The use of animation allows children to be introduced to adult topics through the use of visual effects that cause the children to overlook the negativities of adulthood. This is accomplished through musical elements that are interspersed in the film that contain a fast tempo as well as crafty lyrics coupled with colourful visuals. These song numbers are used to lighten the mood as well as keep the impatient children entertained aided through the film’s relatively fast pace and several comedic-relief sce...
...t pure?” (621). This rhetorical statement is the final stroke to his satirical masterpiece: it forces the reader to laugh at the outrageousness of the statement, which is the final key of his subtle attempt to expose the full absurdity that is the hedonistic Ukiyo lifestyle. By having the reader sit at the door step of the old woman’s hut and listen in on her stories with the various characters she meets, Saikaku is able to convey how Ukiyo’s superficial, unequal, and hypocritical nature is a breeding ground for corruption. Through Life of a Sensuous Woman, he paints only one conclusion: the dangers and pitfalls that Ukiyo poses to society far outweigh the thrill and pleasure of the “floating-world.”
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
The classic play Romeo and Juliet by the famous playwright William Shakespeare is one of the most beautiful love stories of all time and has captured and inspired readers everywhere. Regardless of the fact that it was written in the 1500’s, it is still being performed and extolled today. There is a multitude of reasons for such continuance of the play. First of all, its everlasting themes of love and hate enable people to deeply relate to the story. Secondly, its memorable characters deeply imprint on the minds of readers. And lastly, above all, is its magnificent language which many writers today regard in awe. These three elements make the acclaimed play, Romeo and Juliet, one of the most timeless stories of our lives.
Through providing a micro-level analysis of the “self” through theatrical dramaturgy, Goffman supplies an adequate account of how modification of the “self” happens via performance. Taking parallel theories and ideas, each author builds upon the arguments of the other and Goffman provides enough detailed examples of social development through performance to satisfy the treatises of Berger and Luckmann’s account. Therefore, the arguments of Goffman and Berger and Luckmann work best when combined, giving us the most insight into the “self.”
In William Shakespeare's tragedy Hamlet, Laertes, Fortinbras and Hamlet find themselves in similar situations. While Hamlet waits for the right time to avenge his father's death, Laertes learns of his father's death and immediately wants vengeance, and Fortinbras awaits his chance to recapture land that used to belong to his father. Laertes and Fortinbras go about accomplishing their desires quite differently than Hamlet. While Hamlet acts slowly and carefully, Laertes and Fortinbras seek their revenge with haste. Although Laertes and Fortinbras are minor characters, Shakespeare molds them in order to contrast with Hamlet. Fortinbras and, to a greater extent, Laertes act as foils to Hamlet with respect to their motives for revenge, execution of their plans and behavior while carrying out their plans.
Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.
Laertes’ in Hamlet mainly functions as a foil for Prince Hamlet. Their differences in personality and behavior highlights the negative aspects of Hamlet’s personality to the audience, and implies their direct affect on Hamlet’s fate and the fall of Denmark, ultimately, to Norway.
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
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.
In Conclusion, this story portrays a woman who is insecure, lonely, and looking to love and to be loved. This love is something which Olenka searches for in males, both adults, and boys, she thinks she finds this love, in her husbands and, lover. She what she thinks to be love, in her first husband, and then her second, but the third male in her life, her lover, known as Voldichka is there only for his satisfaction. Olenka does get the fulfillment of love needed y Voldichka. Olenka than tries through a boy named Sasha, Voldichka’s son. It is true to this reader that even though Olenka experienced these relationships with these men and the boy, Sasha, she still never found a complete fulfillment in life. Olenka did not experience respect as a woman, but someone who would be there as needed. Olenka never earned respect as most women do, she to this reader only was a filler for others, others of the gender known as male.