A Chorus Line is a musical that focuses on Broadway dances who are auditioning for spots on a chorus line. Throughout the play, the different backgrounds and struggles of the different dances are shown to the audience, explaining the behavior of the dancers. As the past of each of the dancers is unfolded, the audience understands and appreciates the musical more and more. Not only does A Chorus Line portray the difficulties that performers must overcome to be successful, it also demonstrates the
training of some kind. Before a production begins, an actor must memorize all lines and cues for the first rehearsal. Once in rehearsal for a show, it is now even more critical to spend numerous hours on their own time to go over blocking and songs. “EVERYTHING IN LIFE IS ONLY FOR NOW.” (Avenue Q) Unlike regular jobs that you can stay in for a lifetime, acting jobs are usually short-term. The average chorus job could last for around five months. Lead roles however could last for
Josephine Baker While Jim Crow laws were reeking havoc on the lives of African Americans in the South, a massed exodus of Southern musicians, particularly from New Orleans, spread the seeds of Jazz as far north as New York City. A new genre of music produced fissures in the walls of racial discrimination thought to be impenetrable. Musicians such as Louis Armstrong, Duke Ellington, "King" Oliver and Fletcher Henderson performed to the first desegregated audiences. Duke Ellington starred
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
Fiddler on the Roof- A Chorus Line A Chorus Line and Fiddler on the Roof have one major connection, they are both about tradition. A Chorus Line follows dancers in the middle of an audition, hoping to get this job. To dancers trying out for shows is almost like a tradition. Every dancer who wants to make it out there is gonna work their butt of to try to get a job in the chorus. Audition after audition after audition you try just to get a small part and keeping that tradition can be very hard.
of the chorus, who has the necessary perspective to provide unbiased commentary in Antigone. Throughout Antigone, the chorus constructs a judicial hierarchy in which the subjects of the polis must submit to the laws of their king, and the king must fulfill his obligations according to the universal law established by the gods. The judicial hierarchy of Antigone is established early on in the tragedy, and is finally articulated clearly in the final lines spoken by the chorus. For the chorus, justice
Role That the Chorus Plays in Euripedes’ Medea 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. In the list of characters at the beginning of the play, the Chorus is stated to
and Agamemnon’s return. Beacons are set up from Troy to Argos; when one beacon is lit, the next one will be lit, until the last. The play starts when a palace watchman discovers the beacon and tells Agamemnon’s wife, Clytemnestra, the good news. The chorus enters relating the story of Agamemnon and his brother Menelaus. When Menelaus’ wife, Helen, ran away to Troy with Paris, the prince of Troy, Menelaus gathered an army, led by Agamemnon, to attack Troy and retrieve Helen. Most important about the
Changing Views of The Chorus in Antigone The chorus, a group of common people who follow the actions of the play Antigone, waver in their support of either Antigone or Creon, depending on their actions during a particular part of the story-line. Early in the play it is evident that they are extremely pro-Creon, but a short time later they seem to sway into the direction of Antigone and support her actions. This incongruency about the them, however, was an extremely interesting
portray what is right in the eyes of the chorus and darkness to reproach the other side. As the play is carried out, the chorus is constantly changing its opinions, first believing in the actions of Creon with respect to nomos, then unsure of what to believe, and finally seeing that Antigone's actions are more consistent with the morality of the gods and the truths of physis. Light and darkness are used to support in an emotional way the action of whoever the chorus is siding with at these various stages
physical excersize. I believe the fact that Athenian youth were starting to ask questions of the elders in the city really bothered Aristophanes. I think he really thought it to be dangerous and detrimental to society; as can be seen through the line Strepsiades yells towards the end, "revenge for the injured gods (II.i.1506)." I believe Aristophanes to be part of the group that accused Socrates of not accepting the recognized gods of state, which many believed to be a part of the corruption
Mr. Tambourine Man Chorus Hey, Mr. Tambourine Man, play a song for me I’m not sleepy and there is no place I’m going to Hey, Mr. Tambourine man, play a song for me I’m the jingle jangle morning I’ll come following you Though I know the evening’s empire has returned into sand Vanished from my hand Left me blindly here to stand but still not sleeping My weariness amazes me, I’m branded on my feet I have no one to meet And the ancient empty street’s too dead for dreaming >Chorus Take me on a trip on
experience of man and woman do appear to be set up against each other. On the one hand there is Admetus and the chorus of the citizens of Pherae and on the other, there is Alcestis aligned with other second-class citizens, the servants. The chorus sympathise almost exclusively with Admetus and the servants with Alcestis. The servants and Alcestis are associated with each other from line 192: "She took each one by the hand, and spoke to each...even the humblest." Alcestis shows how
strophe visualizes scene on Mount Citihaeron, while antistrophe is a credo of the chorus - Dominant metre is dochmiac (short long long short long), a metre associated with intense excitement - Strophe and antistrophe can be described in four movements: move within A from Pentheus to the vision of Agave, and within her from Pentheus to the vision of the chorus; correspondences are mimetically precise 1. Lines 1-5 Strophe evokes the hounds of Madness running to the Bacchants in the mountain
are in a darkened theater and on stage are the actors. Behind the actors you can see the scenery. Down in front of the stage, in what is called the pit, is an orchestra and a conductor. As the orchestra plays, the actors on stage do not speak their lines they sing them! Opera is the combination of drama and music. Like drama, opera embraces the entire spectrum of theatrical elements: dialogue, acting, costumes, scenery and action, but it is the sum of all these elements, combined with music, which
he clamours for the return of his "loving" King. Clytemnestra is never mentioned by name, as the sentry is afraid of punishment for saying too much ("I never say a word"). Her influence is all around, even if she herself is not present. The Chorus sing as Clytemnestra moves around the stage, lighting fires and unmoved to their appeals for news. Their song tells the history of the Greek expedition's problems as they set off for Troy. It would seem that, whilst uplifting the name of Agamemnon
poets influenced each other. And. Their voices are significantly different. Each has a personal style one cannot deny. And. Each boy added his separate beat to the music they created as a generation. A beat generation. Jack's buddhistic jazz/ blues chorus poetry is domesticized/ tainted Christianity-wise. And. Allen's sound becomes zentific without Christianity/ hanging on a cross in the backbeat of his prose poetry. While each may have his own personal style/ both poets use the same technique in sound
open-air theater. The word tragedy is derived from the term “tragedia” or “goat-song”, named for the goat skins the chorus wore in the performance. Originally these songs were improvised and rhapsodical as time passed by they were “poetized or rendered literary” (Nicoll 9). The word “chorus” meant “dance or “dancing ground”, which was how dance evolved into the drama. Members of the chorus were characters in the play that commented on the action. They drew the audience into the play and reflected the
The 1st Stasimon in Sophocles’ Play, Oedipus the King The 1st Stasimon in Sophocles’ play ‘Oedipus the King’ is mainly showing the Chorus’ confusion in regards to Tiresias’ accusations made towards Oedipus. The Chorus seem terrified and powerless, and, like Oedipus, do not want to believe the accusations. They feel that the gods know the truth, yet will not reveal it, thus feeling as though the gods are of no real help. There are many issues and techniques to be discussed in regards to the 1st
Analysis of Aeschylus Agamemnon Characters- The Watchman Clytaemnestra The Herald Agamemnon Cassandra Aegisthus The Chorus 1). The Watchman: • The watchman sets the time and place for the play (Agamemnon’s palace in Argos, the house of Atreus); he describes the many miserable nights he has spent on the rooftop of the palace watching for the signal fires that will herald the fall of Troy. • The watchman is one Aeschylus’s small characters, but like the herald he serves an important