All Of Sarah Kane 's ' Cleansed '

11. Point out some moments in the play when the playwright conveys much to the audience without dialogue

In the play “Grand Concourse,” the talented playwriter and actress Heidi Schreck develops a plot based on the natural human conflict about the forgiveness toward unintentional actions. Heidi Schreck is a recognized writer who has been awarded with one-year residency by New York's Playwrights Horizons (Silk Road Rising 17,18). Named after the main street of the Bronx in New York City, the play shows the conflict that its characters face in the internal war between goodness and evil. The opposition between the actions of Emma (antagonist) and Shelley (protagonist) shows the complexity of human compassion towards the evil (sometimes unintentional) actions. Looking at the main actions of Emma in the play she egotistically seems to manipulate all the characters to feel better about herself. However, a deeper glazing indicates that her depression leads her to hurt people around her unintentionally; she tries to get forgiveness, but she realizes that the solution it is more complex that just an apologize.

On Thursday 29th September 2016, we attended a performance of ‘The Woman in Black’ at the Fortune Theatre in the West End, London. It was set in a traditional proscenium arch theatre which is situated on an enclosed street which applies to the horror genre and the idea of isolation. The size of the theatre was alarmingly small with compact seating, creating a sense of claustrophobia, suffocation and lack of escape from ‘The Woman in Black’. The stage seemed diminutive with the curtain, and the minimalistic set with old-fashioned props instantly set a Victorian impression. The minimalism conveyed how the actors could present a play without ostentatious props and keep the focus on themselves. The monochromatic colours of the programme enhance

Richard Gremel’s original comedic play, The Mysterious Murder at Manchester Manor (TMMMM) premiered at the Vail Theater of the Arts. This show was directed by Richard Gremel himself, and the cast was Empire High School's Advanced Drama class. This play report will emphasize the performance of an individual actor, Emily Gates (portraying Nancy Waters), under a rubric of six traits: movement, believability, beats & intentions, subtext & inner monologue, physical score of action (PSA), and overall performance.

4) How did the work of established and recognised theatre practitioners, and/or the work of live theatre, influence the way in which your devised response developed?

‘DNA’ was written in period of post-modernism where metanarratives such as religion have declined and society has fragmented, engendering the formation of our own beliefs and choices. This is significant in Kelly’s writing about good and evil as his ideas are often more ambiguous and inquiring than Golding’s. Additionally it enables Kelly to explore the flaws and strengths of humanity on a wider and more open spectrum, in which he voices a cornucopia of theories and perspectives. This is supported by the fact that Kelly wrote ‘DNA’ in the style of dialectical theatre and it can be read in the style of the playwright Brecht who focused on involving his audience in his exploration of theories. He uses theatrical conventions such as rhetorical questions to consciously draw the audience to comment on matters of science and the nature of humanity- good and evil. In comparison to ‘Lord of the Flies’ (which offers a far more assured depiction of humanity) the role of the play is not to simply present us a story, yet to compel audience members to question the many issues raised on our nature as it progresses. I think this is most clearly demonstrated by Leah’s monologues, which, as Phil ignores them, seem to be implicitly directed to the audience, almost ‘breaking the fourth wall’. An example of this is the question: ‘Are we really that simple?’ Here Kelly puts Leah in the role of the chorus, influencing audience members to

Lynn Nottage’s play, “Ruined”, is an eye-opening story that takes place in the Democratic Republic of Congo during the Civil War. The play is centered around women who have been sexually abused, and are living and working in a brothel owned by the protagonist Mama Nadi. The play gives deep insight to the hardships women had to go through during that time. The play is a melodrama and a great example of a contemporary version of realism. This play also illustrates three important characteristics of storytelling we discussed in class: stories teach, stories allow us to personalize issues, and stories build compassion.

An evaluation of the play ‘War Horse’, showing your understanding of the medium and elements used and your response.

The production ‘The Park Cleaners’ produced by theatre company Backbone focused on teamwork and friendship as the two characters overcame obstacles to eventually result in a clean and creative park. In this essay I will be focusing on the different elements of drama utilised in the production and how they benefitted the dramatic meaning.

In the context of the play, rather then ignoring the problematic elements, Anne Barton (1997)

This film will provide you with an enhanced understanding of the play. Although, it is misleading at times, this version of the play will keep you fully entertained for the full 111 minutes and provide you with extra knowledge of the play. Casting The majority of the cast was well selected,

I have never been involved with the production of any kind of play, so my partner and I decided that we would watch multiple versions of this play. There was Kenneth Branagh’s version which was sort of lack characteristic that we thought would be suiting for our “soap opera” themed performance.

Write a paper that explains how history is portrayed in a particular play emphasizing what a certain historical event, personage, or situation enables the playwright to communicate. Discuss what effect the playwright's transformation of historical reality has on an audience.

Academic and artistic interest in something is usually a sure sign that matters are unclear, conceptual boundaries are blurred and that old certainties are anything but that. There is also little doubt that the major challenges we face: the media revolution, globalization and migration, climate change, the erosion of public finances and services (to name just a few) – have all in some way a bearing on the public sphere, the realm where issues are debated and where citizens are free to enter and engage in discourse. As the public sphere is primarily a discursive arena located outside and between state bureaucracies on the one hand and economics and business on the other, it occupies a crucial role in the functioning of so-called free societies. The question to be explored here is what role theatre and performance in practice play in this realm and how performance and theatre theory can contribute to the debates.” (Balme

This idea is relevant because on the stage, the Restoration actress, is nothing but an ornament in the male gaze. This attitude is apparent as Thomas Shadwell links the new phenomenon of female performers with painted theatrical scenes, both innovative commodities for audience consumption: