Analysis Of Richard Bean 's The Servant Of Two Masters By Carlo Goldoni

Despite their controversial nature and subject matter, both achieved wide success and popularity. The two plays were also manipulated in pre-production to better suit their audiences and produce a more “box-office friendly” show.

Performance features of the performances were directed straight to the people. The amount of credit the audience gave the actors, determined the energy of the charcters. For example, if a crowd cheered Arlecchinos antics on, he would play this up by continuing it for a longer period of time. Such was the improvising nature of commedia conventions.

Chavez started a tradition of a play series produced once a year solely by the students. The playwriting class would write ten-minute pieces, and the directing class would take it on with the company. We attacked the chance to create independently with ferocity. I was in the playwriting class taught by Mr. Chavez. When my pages were read aloud I was so nervous I could taste iron on my tongue. I started to talk rapidly over the scene, attempting to apologize for how terrible it seemed. He told me to take a deep breath and not to respond, just listen. I did. For the first time, I allowed my ideas to exist in creative space without ego interfering. He spoke with me sincerely about the rise of my five-act structure, the character’s depth, and where the act turns could flow smoother. A month and a half later I saw my very first play on stage. I was not afraid to call myself a playwright. Because of Mr. Chavez, I was genuinely proud of myself for the first

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

The Influence of Commedia dell’arte on Much Ado About Nothing by William Shakespeare Commedia dell’arte had great influence of Shakespeare’s comedy “Much

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

It all begins with the playwright when it comes to theatre as they are the artist who develop the characters, dialogue, theme, and the story of a play. However, playwriting is restricted to dialogue and stage directions so it is up to the director to have the artistic vision to transform the play script into a production. In this paper, I will point out how Valerie Curtis-Newton directed Sons, a play written by Oni Faida Lampley, with regards to the theatre size, actors, and different production aspects. Sons revolves around an African-American family living in the troubled neighborhoods of Brooklyn, New York, and it is about 17 year old Artest as he strives to find his place in a society that provides limited opportunities for young black men. This paper will examine the acting, lighting, and costume design used by Valerie Curtis-Newton and analyze how effective these mediums were at bringing Oni Faida Lampley’s script to life.

Hamlet is one of Shakespeare’s most well-known and most frequently performed plays. Many people have enjoyed reading and watching hamlet, both on stage and theatrically. Directors often add different styles to their pieces to invoke different moods. These styles change as time progresses; predominant in the comparison between Franco Zeffirelli's and Kenneth Branagh’s direction of William Shakespeare's’ Hamlet act 3 scene 1. Zeffirelli's interpretation of Shakespeare's Hamlet act 3 scene 1 is more effective than Branagh’s interpretation.

(Bradby XVI) It was then that Molière encountered Commedia dell’Arte, the characters and comedic style of which he frequently utilized in his plays. Molière’s creation of comédie-ballet may even have been inspired by the use of lively music and dance in Commedia performances. (Gaines 95-95)

Before I had applied for the Summer MA program for theatre educators, I knew my teaching of dramaturgy was lacking. I had no systematic way of analyzing a script and being able to pull out the important aspects of the author’s intentions. Many aspects of theatre history and dramatic interpretation had been left out of my education. After classes my appetite had been wetted, I purchased a number of books to continue my education over the winter break, one of the books was “History of the Theatre 10th Edition” by Oscar G. Brockett and Franklin J. Hildy. Even though an overview of some much history it has lead me to want to teach so much deeper lessons to my students. After the eye-opening dramaturgy classes my mind has been washed with ideas on how to proceed, so much information had been given to us, I find it hard to concentrate on a single area. I truly look forward to teaching this year and these lessons.

Stanislavsky regarded theater-production as a genuine attempt obliging devotion, order and respectability. For the duration of his life, he subjected his own particular acting to a procedure of thorough masterful self-examination and reflection. His improvement of an estimated praxis—in which practice is utilized as a method of request and hypothesis as an impetus for imaginative advancement—recognizes him as one of the colossal cutting edge theater professionals.

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

There are many different things that go into a performance. Either it is the planning of a play, getting the costumes ready, using emblematic tradition or illusionistic traditions. These two types of traditions are important in a performance. They both have great meaning in a performance and help the audience distinguish different meanings of an object or a character. Below I will discuss these traditions and their meaning.

Commedia dell arte is considered a place where professional actors are born and it is also the birthplace of improvisation. Commedia dell arte was famous all over Europe from 16th to 17th century, because of their improvised performances, comedic plays, their stock characters and their masks. I based my essay on the idea that commedia dell arte made huge impact in the history of theatre and our modern society. Famous people like Shakespeare and the French play write Moliere and so much more, they were all influenced by this unique style. Even nowadays commedia is still going strong in other theatres but mainly famous in the television shows in our modern days.

When considering anti-theater the observation of not only the performance, but also the mise in scene should be taken into account. Among other occupations, Antonin Artaud was a theater director, and in his book The Theater and It’s Double he explains how the totality of the work is given power through language and the mise in scene. This essay will consider how anti-theater incorporates these aspects of a play in the works of Luigi Pirandello and Anton Chekhov.