Composers have the ability to influence how we the audience views and responds to characters and issues. Through viewing and analysing ‘The Shoe Horn Sonata’ by John Misto and ‘Saving Private Ryan’ directed by Steven Spielberg, it is obvious that composers have the ability to impact and influence our views on characters and issues that occur.
The cast of the play are unaware of the audience, however, the audience is able to listen to dialogue that occurs throughout the theater, whether it is in the headsets between technicians, on stage between the actors playing their characters in the play and between the director and actors who make adjustments when necessary. The third fourth wall was at its edge of breaking, where the audience is almost unable to tell whether what they are experiencing is real or not. As an observer of the rehearsal of this play, this wall was broken when I understood that what I was watching was a rehersal of a play, of a rehearsal of a play. It was difficult to describe or understand when the cast of 10 out of 12 were actually in or out of character. The complexity of this play lies in the use of metatheatre, which has been exploited to its fullest extent
The black box theater is a very intimate setting to begin with, and as I took my seat in the theater, I felt that intimacy. The theater was dark, and the audience was virtually silent before the production began. As I sat waiting for the performance to begin, I took in the lighting, the props, and the set as a whole, and I began to feel as if I were sitting just at the edge of a different time period. The design element that stood out most to me was the lighting of the river because the gobos and the selection of down lights made the river come to life, almost as if it was another character in this production. I was definitely drawn into the world of this play due to the intimacy of the black box theater and the lighting design of the
Through emotional and physical trauma, the actions of many individuals undertake, are haunted by such actions and try to reconcile with others to move on from the past, which is the final element to evolve and overcome adversity. Reminiscing on the emotional and physical trauma faced is a catalyst for the reconciliation between Bridie and Sheila. Mistos intention of using the Shoe-Horn Sonata as a memorial and tribute to those women in the WW2 POW camps of Singapore. Using the interview as a catalyst, Bridie and Sheila are forced into talking about their experiences they faced during the war and are a culmination of all women POW in WW2. During their
Everyone is dirty, unclean, and in tatters however the group is focused on making the best final product. The colors in the second act in comparison to the first are lively and bright. They give a new sense of life to the group in direct contrasts to the first where everything is dark matching the mood. The final act gives a new and royal ambiance to the play. This is clear and drastic time shift in the future.
The geographic location was made clear form the beginning by the scenery that was present on stage. The wood planking, chests, crates, and mast-like column combined with the water reflection lighting effect presented a location of a port or dock. While onboard the ships, a miniature model of the corresponding ship was constantly being held up by an actor and made to look as if it was sailing, to reinforce that the ship was where the scene was taking place. The flashing lights and rumbling sheets of metal made it obvious that the current circumstances were taking place during a storm whereas the later sunbeam spotlight made it clear that it was morning and sunny. The opening monologue of the play laid out the setting verbally, confirming suspicions
“Noh plays are extremely intense” (Introduction to Noh). With a specific end goal to express something so theoretical as a feeling, words are frequently insufficient. As the play advances, movements and music are utilized to express the play's story. Different components which add to a heightening of the state of mind are the bare simplicity of the stage which permits no diversion from the principle character, and the stunning outfits of the primary character himself (Introduction to Noh).
Thesis Statement: design elements, actors performances and theatre space, overall approach contributed creating an unsettling overall approach about life and the production.? (P1) The particular acting performances that helped me experience and understand the play more fully were the grieving scenes of Herman and Nara. Both characters go through a series of emotions trying to find new ways learning how to live without their loves ones being physically present. Each character goes through the grieving process differently.
It is all designed to show how determined it is to attempt to adapt a classic film to the stage. Although it would be an impossible task to create something just a fraction as good as Hitchcock’s brilliant works, Barlow’s script maintains the heart and mind of the original storyline. Barlow’s script accepts the wonder of the storyline and the uncertainty of the heroes’ actions with only three actors playing a multitude of citizens, villains, spies and
The biggest applause I received from performing music was when I stopped playing midway through a sonata and graciously bowed and smiled off stage. I was also four years old and performing at my mother’s recital. As a pianist, my mother taught me the C Major scale before the alphabet. As a four year old performer, stage fright did not exist in my vocabulary and neither did self-consciousness. As we grow older and become more aware, that boldness begins to fade. However, being aware and gaining new knowledge has its benefits. Some may call it the Dunning-Kruger effect and others may say that ignorance is a bliss. In other words, it is crucial to thirst and crave new knowledge and understanding, for it teaches us far more greater lessons than hiding in our comfort zones of ignorance.
Act 4 Scene 1, on the other hand, is both a key developmental component and an incredibly sophisticated scene that could have been created by an author as skilled and adept as William Shakespeare.