Analysis Of Chasing The Lolly Man

During Mr. Rosenberg’s leave we learned different dramatic elements such as script analysis, stasis and intrusion, dramatic conflict, etc. This helps us to understand the different elements so one day when we have to apply the elements we will already be mindful of them. Additionally, we also learned about the beginning of theater dating back to ancient Greece and their different ways of displaying theater.

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

Michael Hoffman’s 1999 film version of Shakespeare's midsummer night’s dream was able to modify the audience experience of the play. Michael Hoffman had successfully turned the play into a film and was able to show a visible expression of the characters to the audience. He had also made some changes, like the settings and made his version modernized. Though the film was based on the Shakespeare’s play, the audience’s experience is still different.

To play one of Shakespeare’s most complex roles successfully on stage or on screen has been the aspiration of many actors. William Shakespeare’s Hamlet has been the focus on various accounts throughout the 20th Century, each actor attempting to bring something unique and unmarked to the focal character. Franco Zeffirelli and Kenneth Branagh, both film directors, introduce varying levels of success on the screen through downright differences in ways of translation and original ideas. Zeffirelli’s much shorter interpretation of the film is able to convey the importance of Hamlet as a masterwork by using modern approaches to film but still capturing the traditional work behind Shakespeare’s well-known play.

Williams presents the conflict between old and new in Scene Two in different ways, such as the manner in which Williams portrays the three characters Blanche, Stanley and Stella, as well the added tension through the structure of the scene, and finally in the stage directions. Through the use of these techniques, an atmosphere of tension is seen and felt by the audience, and the contrasts of the characters motifs are clearly highlighted.

Our performance was effective because of how clear and straight forward it was, even though it was mime. The audience where aware of the setting and it being around a dinner table due to the two chairs being opposite each other with a ‘table’ in the middle, the audience where aware of which characters were which as we characterised the roles very well. For example, Anna was very giggly and hyper, contrasting Catherine’s formal demeanour and John and Maureen were a typical married couple. We used physical theatre for the oven and the stairs, which was stylistic and different for the audience to see, this fit in with the overall style of the lay as most of the stage directions involve physical theatre as in ‘The Brussels Sprouts Scene’ “the whole of this scene is performed stylistically with people frantically changing roles, playing scenery, properties and characters”. The use of thought tracking helped the audience to figure out which character is which. The use of gestures was also used, Maureen slapped Anna’s hand instantly giving away her very paternal and motherly role as Maureen. Our scene was effective also because the crackers being pulled apart in itself is representing the family being pulled apart for many reasons not just the economy, but the toll Catherine’s anorexia takes on the whole Dunbar family in different ways. Looking at Bleu’s group I could definitely see how they marked the moment: the tempo

Pretend you are playing the role of a character named Jordan, while discussing Erving Goffman’s theory of dramaturgy. Jordan finally made it. Jordan finally graduated university and has been lucky enough to receive an offer for an interview at the institution that he had been working towards his entire university career, an interview at the top law firm in all of Toronto. Now it is time to prepare. It is time for Jordan to show the firm that he is meant to be there. To show the firm that this position was meant for him, he must be the best version of himself. Jordan is competing against hundreds of other university graduates, but he must show them that he is the one. Jordan’s first impression matters, he must show them the qualities that they want to see to ensure that he receives the position at the law firm.

Brechts work is based on the concept that theatre is a means of political persuasion for the masses. He sees the theatre as a tool to manipulate the audience, and to influence their day-to-day living once that have thought about issues raised during the performance.

In William Shakespeare’s Hamlet there are many unanswered questions such as if Hamlet is really mad or if it is just an act. There are many film adaptations which use their movie elements in order to hint towards the answer of these questions. In Gregory Doran’s film interpretation Hamlet starring David Tennant, David Tennant truly shows the raw emotions of Hamlet. He shows how Hamlet feels through his movements and facial expressions. These little things allow the viewer to see the true meaning and intention behind Hamlet’s words.

The visual that a play presents is a dominating factor in the quest to invite an audience member into a world of which they feel a part. In a play such as Bus Stop by William Inge, this is especially important because Grace’s Diner plays a primary role in the storytelling. Inge’s use of the iconic American diner to tell his story is ingenious. Simply setting eyes on the set inevitably evokes pleasant feelings of familiarity and comfort in the minds of most audience members. A diner is a place where people gather; a place where individuals from different backgrounds share a similar experience. Inge crafted his characters meticulously in order to create contrast, conflict, and chemistry that would drive the plot through the forced

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.

The common formula for these second act, rehashed tales often disappoint. The thrill is gone and producer’s resort to trickery such as, far fetched story lines and metaphors to capture our attention. They have to dig deeper into the psyche and personal lives of the leading cast, which often leaves a lackluster taste on our cinematic palates. It is very difficult to spin the same old tale time after time, this

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

The first Element of Drama, human context, can be found in the characters of Dr Marquee DBM and the Chef Mark Oliver in the performance of ‘Chasing the Lollyman’. The human context was shown in the actor of Dr Marquee DBM as the situation was that he was to teach the audience about ‘finding your inner Aboriginality’. Dr Marquee DBM had a role of the teacher in the performance. You could tell this as he wore a scarf and glasses and he held a clipboard. Most teachers are recognised by these things. There was also a blackboard in the performance as this is what most classrooms provide. This means that Dr Marquee DBM wants the audience to think that he is the teacher and they are the students. It is easy to say that the actors of Mr Marquee

Willy Loman is a father in the play death of a salesman written by Arthur Miller. Aristotle's definition of a tragic hero is, “A tragedy is the imitation of an action that is serious and also, a s having magnitude, complete in itself; in appropriate and pleasurable language;... in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.” This play is a tragedy because not only is it relatable but it shows many characteristics of a tragic hero. A tragic hero is someone who has excessive pride, intelligence, and is wounded spiritually or emotionally by decisions that either they made or a decision that is out of their control. “I believe that the common man is as apt a subject for tragedy in its highest sense as kings were.” This is a quote from Arthur Miller's essay. Arthur Miller believes that common man makes the best tragic hero because the common man shares the same struggles with everyone else. Willy loman is a tragic hero because not only is he a common man, he possess the will to make the audience sympathize with him throughout his greatest triumphs and downfalls. Willy is a tragic hero because he has excessive pride, he also makes the audience sympathize with him, and he is wounded spiritually or physically.