Daughter Overboard Play Review

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

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

Characters, such as Mash, were depicted and conducted themselves in specific ways to demonstrate their unique characteristics compared to the others. Mash’s nonchalant and uninterested attitude towards the idea of true love was portrayed by the way she sat on the side of the stage during other scenes as well as her presence during the scenes that she was in. Emma’s bombastic presence was always clear, whether she was breaking up Trigorin and Nina’s romantic moment or sitting on the side of the stage. I was able to truly connect with the characters and appreciate their acting due to the director’s choice of their almost constant presence on the stage as well as their ability to completely immerse themselves in the individual’s personality.

The dynamics are shown all throughout he film as they demonstrate the characters personality so that the

A distinctly visual aspect of demonstrating the experience of the characters kindles curiosity in the audience to involve and instill emotional understanding of the context. Through the use of distinct and unique techniques, composers create an emotional response that can have a significant effect on the responders’ attitude on the world. The play ‘The shoe-horn sonata’ explores the crisis of circumstances as John Misto depicts the forgotten history of the women captured and imprisoned during WW2. Misto explores the experiences of the Australian nurses and the government’s response to their pleads of salvation, to emotionally bind the audience and the characters. Likewise, David Douglas Duncan involves the audience by evoking a feeling of pity and empathy in his Korean War photograph. He creates sentiment for the loss of innocence and employs distinctly visual elements to convey the horrifying nature of war. He profoundly highlights power in the photograph to explore the despair felt by the weak fleeing Korean citizens. Hence, both authors elevate the context with a visual representation of the individuals’ struggles to create curiosity and emotional rapport with the audience to improve the understanding of the characters experiences.

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

Caesar Cruz once said, "Art should comfort the disturbed and disturb the comforted." A true artist’s purpose in life is not to entertain but is to change the way the way audiences view the world and each other. The playwright by Angela Betzien challenges the audience to view the world they live in a different light. Throughout the play, Girl Who Cried Wolf, the audience is forced to see that not everything is as it seems and the world around them is made up of a web of lies and truths.

In this scene the performance is based on a particular delivery and facial expressions of that of one emoting to channel tension, anger and regret.

"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

This shows the audience the desperate state of the times and the death that the people of the time were faced with. I believe that this is most expressed is when the troupe is

The dramatic element of movement was manipulated by the actors in order to transform the characters into realistic, three dimensional beings. An example from the

Brown Ash’s ability to transport the audience to different times in her life is very commendable; the simple yet thoughtful transitional techniques are able to shape the dramatic action so that the audience feel like they physically a part of her journey. Audience participation was a big part of the storytelling, meaning that the work was successfully a dialogue between the performer and the audience. Lines such as “You will be playing my sixteen year old self”. Having the audience fully participate in various roles from within Brown Ash’s stories helped one of the dramatic meanings of the importance of home and that home is to be communicated effectively because

The danger of hysteria and how quickly and vastly it affects people is a key idea within the film. Body language and movement are film techniques used to identify this idea. A specific example of this being used within the film is when Abigail, a lead protagonist within the film, begins to make false accusations within a hectic, hysterical court. The girls all tense up and look up to the rafters in search of a "yellow bird" about to take flight, the court is then taken outside by hysterical, crying girls flailing their bodies about and running out to a lake. The use of this body language and movement within the film shows the directors intended target at the idea of the dangers of hysteria and

The play’s focus is that three aboriginal sisters have gone their separate ways in life, but they reunite at their mother's funeral. Before this all their mother failed to care for two of the sisters, the oldest two, this led on resulting in them acquiring different thoughts that can be considered depressing or even containing anger towards their mother.

with the power of the audience in the play as well as the story seems