Analysis Of Shrek: A Life In Live Theater

Even though I was a little reluctant at first, I went with my gut feeling and I chose to watch Shrek The Musical. I must say I was very pleased with my choice. I was reluctant to choose it because at first glance it appeared a little corny and we’ve been “Shrek’d” silly over the years. However, I was surely wrong from beginning to end because this stage production kept me engaged and entertained. I enjoyed the entire cast’s performances, but the one actor that really left an impression on me was Daniel Breaker. Daniel Breaker delivered some strong performances with a high level of energy that kept the audience alive throughout the show. He was cast as the Donkey in the show. Donkey enters the scene in a frantic rush because he’s being chased

The set used for Vernon God Little was highly symbolic and simplistic; when we walked into the theatre we could visually see that there were flowers, cards and memorable items attached on the audiences seats above our heads, which already created a sombre atmosphere around the theatre.

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

Theatre is a collaboration of various forms of fine art which utilizes live performances presenting before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The message is communicated through a combination of various channels like songs, speech gestures or dances. Stagecraft skills are combined with elements of art to make the performance more physical and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy, tragedy and improvisation. Any form of these accepts integration of various production modes and collective reception to influence the artwork being presented. As a result of this cooperation of items in the theatre

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

“The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience 's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker, I know, is speaking clearly to the audience 'right now. '” This quote by English playwright and screenwriter, Lee Hall, from an essay he published in the Times of London, is central to the connection between theatre and motion picture technology. Since the rise of film in the early twentieth century, these elements have been influencing each other, and working together, to elevate the storytelling and experience of each medium and, in turn, better connecting them to the modern audience. The collaboration of these two mediums has resulted in a new form of theatre, known as digital theatre, that shows “theatrical entertainment does not have to be either purist (involving only ‘live’ actors on stage), or be consumed by the dominant televisual mass media, but can gain from the strengths of both types of communication.”(Masura). Throughout this paper, the intersection of theatre and motion picture technology will be explored through their effect on each other, in storytelling and experience, and the product of their collaboration—digital theatre.

A trip to 42nd street circa 1990 was certainly no destination fit for a family. Walls of graffiti adorn the peeling awnings of storefronts and theatres promise private dances and live nude women. Porn shops dotted the city block with colorful invitations to sex hotlines and signs prohibiting entry to anyone under the age of eighteen (Wollman 445). Decades earlier, during the Prohibition era, speakeasies and brothels lined the city, creating New York’s red light district. Today’s Times Square, however, bares no hint of resemblance to its former image of sleaze and mystery. Neon lights that once illustrated silhouettes of burlesque dancers have since been fashioned into the welcoming faces of cartoon characters. Signs visible

With the advancements in home entertainment systems, consumers are investing thousands of dollars into their own home viewing systems. They have several options to stream video content into the comfort of their own homes. Home entertainment systems have also made a large impact on the theater industry. In 2005, this technological advancement was the most sought after electronic system for new homes. It seems that consumers have finally said no to the rising price of movie tickets and concession stand snacks and beverages.

“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”

I have since concluded that community engagement must be a part of every theatre-making process. In the professional world, I’m finding myself pushed to think about the audience more actively, and am so thankful for it — both as an artist and as a citizen. Now, as the Community Engagement Manager at Long Wharf Theatre in New Haven, CT, I am certain: community engagement is not just something that’s nice to do, tangential to the theatre-making process – it is essential to the creation of the art itself.

This is obviously beneficial for the protagonist but also is helpful to the other group members, allowing them to assume the role of another person and apply that experience to their own life. The focus during the session is on the acting out of different scenarios, rather than simply talking through them. All of the different elements of the session (stage, props, lighting, etc.) are used to heighten the reality of the scene.

Starting off my group tried to use the list of movement vocabulary. That didn’t work out so instead we decided to focus on what our theme or story would be. Eventually we settled on two topics, unrequited love and love at first sight.

Defining a UDA can be very difficult, or insanely easy. Sometimes an audience can completely understand your motive, other times they can be completely clueless. The important thing is to find a good balance of intent and engagement. You want your audience to understand what has happened, and you also want them to think about what has happened after the fact. Very rarely do you want them to be completely clueless to your action. This project has offered a new outlook on to how theatre and messages can be given.

Religion and theatre have been connected in nearly all parts of the world since theatre’s earliest beginnings. In much of Asia, theatrical forms remain expressions of religious traditions and texts. Religions like Hinduism, Buddhism, Shintoism, and Shamanism have all provided inspiration and influence for the eastern theatre. Religion has effected theatre by creating traditions, superstitions, cultural beliefs, class systems, and theatrical aesthetics. In Asian countries like India, China, and Japan owe thanks to their religion for many of their theatre traditions and this is shown in their history and theatre’s origin.

The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.