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Characters And Characterization In Shakespeares Works
Characterization of shakespeare plays
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Table of Contents Introduction 1 Aims and Intentions 2-3 Critical and Contextual analysis 3-6 Staging and process…………………………………………………………….3-4 Interns and my process………………………………………………………….4-6 Evaluation 6-9 My roles and contribution……………………………………………………..........6-8 Show week, Complications and self-evaluation…………………………………........8-9 A Contextual analysis of the third year production of the Musical Watertight Introduction In the following documentation, I shall be addressing and discussing the process and development within the musical Watertight and the student’s production specifics. Therefore, beginning with and including an overview of the musical and the requirements, furthering on to later conclude with an evaluation and include any complications the team were addressed with. This musical, which was performed at the University of Central Lancashire, on the dates commencing the 24th of March to the 29th by a group of third year students for their final year show, was written by Playwright, Douglas Maxwell and composed by Richard Taylor. Richard and director Roger Haines attended the university with intent to adapt the original musical for a larger cast of 24, with the script being originally written for 16 musical theatre students in Scotland, therefore, in order for the content within the language to be understood correctly, Douglas made the decision to rewrite and expand his work. The musical is categorised as a murder mystery and contains thirteen suspects, two inspectors, a community support office and eight interns. Aims and Intentions Watertight, meaning to “have no flaws or loopholes” (Answers.com, 2014) is referred to as something impossib... ... middle of paper ... ...ger they were a true inspiration to the group and allowed me to gain back some of the confidence I had lost. Bibliography Answers.com, (2014). watertight. [online] Available at: http://www.answers.com/topic/watertight [Accessed 27 Apr. 2014]. Gill, N., 2014. The Greek Chorus. [online] About.com Ancient / Classical History. Available at: [Accessed 18 Apr. 2014]. Hodge, A. (2000). Twentieth century actor training. 1st ed. London: Routledge. Merriam-webster.com, (n.d). Greek chorus - Definition and More from the Free Merriam-Webster Dictionary. [online] Available at: http://www.merriam-webster.com/dictionary/greek%20chorus [Accessed 18 Apr. 2014]. TheFreeDictionary.com, (n.d.). Greek chorus. [online] Available at: http://www.thefreedictionary.com/Greek+chorus [Accessed 12 Apr. 2014].
Martin, Thomas R., “An Overview of Classical Greek History from Mycenae to Alexander.” Tufts University. N.d. Web. Feb 16, 2014. Retrieved from < http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0009%3Achapter%3D14>
Hunt, Lynn and Thomas R. Martin, Barbara H. Rosenwein and Bonnie G. Smith. “ The Greek golden age,” in the making of the west volume 1 to 1750 2012, edited by Denise B. Wydra, 75-108. Boston: Beford/St. Martin’s, 2012.
Matz, David. Voices of Ancient Greece and Rome: Contemporary Accounts Of Daily Life. Santa Barbara, California: Greenwood, 2012. eBook Collection (EBSCOhost). Web. 9 Oct. 2013.
"A Brief History of Ancient Greece: Politics, Society, and Culture [Paperback]." Amazon.com: A Brief History of Ancient Greece: Politics, Society, and Culture (9780195156812): Sarah B. Pomeroy, Stanley M. Burstein, Walter Donlan, Jennifer Tolbert Roberts: Books. Web. 13 Apr. 2012.
On a Wednesday night I saw Texas State Theatre and Dance Department's performance of A Chorus Line. The main plot of the musical entails the audition of 17 dancers for several Broadway roles on the chorus line. However, during their auditions the director Zach asks for personal stories of each dancer's life. Though the plot of this musical is seemingly simple in its twist on the traditional audition, it explores themes that reveal the human experience, the search for individuality, and the sense of self.
The circular area in the middle of the theatre is called the orchestra. The music of the orchestra. In ancient Greek times this area would have been used for dancing and where the ‘chorus’ would sing and perform. A ‘chorus’ was. a group of people who would play a major part in ancient plays often describing scenes much like a modern narrator.
Pelling, Chris. "UCL Department of Greek & Latin." The Ancient Olympics. 28 Aug. 2015. Web. 16 Oct. 2015.
Morris, Ian. Classical Greece: ancient histories and modern archaeologies. Cambridge [England: Cambridge University Press, 1994. Print.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Rent. To most people it is associated with an apartment, house, or another object. This word rarely conjures pleasant memories, but more often annoyance and stress. However, when someone mentions rent to me, my mind races to some of the most memorable experiences in my life.
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
In answering this question, I will look at the question in two ways. Firstly, I will look at the role of the chorus objectively, examining the basic role of the chorus in the play, and looking at the role of the Chorus as Sophocles would have intended the role of the Chorus to be understood. However, I will then look at how I think the Greek audience would have perceived the role of the Chorus and then how the role of the Chorus is perceived today by a 20th century and examine the key differences in the two different sets of perceptions. Finally, I will look at the importance of the role of the Chorus to a 20th century audience and a Greek audience respectively.
The Chorus is very much an important part of Euripedes’ Medea, and indeed many other works written in the ancient Greek style. In this play, it follows the journey Medea makes, and not only narrates, but commentates on what is happening. Euripedes uses the Chorus as a literary device to raise certain issues, and to influence where the sympathies of the audience lie.
Undertaken to determine what features make a song germane to the story in successful musical theater, this study outlines some characteristics of Shakespeare's use of song. Chosen from the plays with which the present author is most familiar-the early comedies-are three substantial pieces (each headed in the play by either "Song" or "sing," and each with at least two stanzas and refrain): "You Spotted Snakes," "Sigh No More," and "Under the Greenwood Tree." A close reading of the lyrics and surrounding text will establish the contribution of the song to plot, theme, and character, and a study of the form itself will support these aspects and perhaps explain the success of the lyrics in making a song.
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.