Drama (Find Me)

Graphic depictions develop a strong clarification, which enables the audience to illustrate illusions of reality. Misto illuminates social realism through the use of props such as the motel room; fridge, bed, table and suitcases, creating a realistic scene which also develops stage direction and setting. This intrigues the audience into a “real life” re-enactment developing the feeling of being a part of the play and the reality of war. Misto manipulates our emotions through the use of stage directions exposing a certain mood, mastering characterisation throughout the playwright. This creates an instant connection to the past which adds immediacy to the actions occurring, providing the audience with a profound understanding of Bridie and Sheila. Misto’s clique use of costumes for the women express individuality of Bridie and Sheila, insisting the audience that the two women have respect for themselves and always appear presentable, such as Sheila with her gloves, illuminating the women’s age and era the play was set in. The composer illustrates vivid images to support the theme and context of war. Distinctively visual images represent and secure the audience’s mind and emotions.

A short play is usually filled with a theatrical energy of diverse anthologies. The time allotted may be only ten or fifteen minutes, so it must be able to capture and engage the audience with some dramatic tension, exciting action, or witty humor. Just as in a short story, a great deal of the explanation and background is left for the reader or viewer to discover on their own. Because all the details are not explicitly stated, each viewer interprets the action in their own way and each experience is unique from someone else viewing the same play. Conflict is the main aspect that drives any work of literature, and plays usually consist of some form of conflict. In “Playwriting 101:

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

The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicité.

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

The overall dramatic meaning of this play has been successfully shown by the elements of drama. The

The use of the dramatic element of tension is most evident when Lewis and Nick have a disagreement about the play and the mental patients. Nick’s attitude towards Lewis’ fellow actors enrages him revealing that he deeply cares for them and considers them friends. The dramatic action revealed in the stage directions would impact the audience because Nick is suppose to be Lewis’s Best friend but he betrays him. It is shocking to see men who were once friends, now fighting in such a short period of time over one silly

"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

One of Our Town’s main theme in my opinion is that life is futile. Almost every character in the play can be used to support this analysis. Throughout this paper I will examine how characters support this theme. Another theme that I draw from this play is that time goes by too fast. Time seems to be an underlying menace the entirety of the play.

A Jury of Her Peers Speaks Volumes Above Trifles. While Susan Glaspell’s drama “Trifles” uses actors to vocalize the many emotions of the story of the investigation of Minnie Wright, her short story “A Jury of Her Peers” makes the emotions very clear without making a sound. Susan Glaspell’s short story “A Jury of Her Peers” makes the reader feel the emotions evoked by Minnie Wright’s story much deeper than her drama version of the same story, “Trifles”. Glaspell uses the same dialogue and action in both works but she is able to elicit much stronger feelings in her short story by including descriptive passages to accompany the dialogue in her narration. These passages evoke intense feelings from the characters and introduce new emotions.

To begin with, in this play the author unfolds family conflicts that involve its characters into a series of events that affected their lives and pushed them to unexpected ways.

We improvised a scene with mirroring. We staged a conversation between Jean and the headmistress, with a second pair saying what the two really thought. This made us realise how harsh people are to Verity, and how stressed Jean really is. The exercise made me realise how much of a struggle looking after Verity was for Jean, and helped us sympathise and empathise with her more as you get in her head.

shall firstly do a summery of the play and give a basic image of what

The second oldest form of literature after poetry is drama. Dramas have changed a lot over the years. They use to plays that were wrote to be performed in the theater, and now they are mostly written to be performed in a movie or a television show. There are many dramas today that most people would not considered to be drama. Before reading the information in our text book, I thought drama was basically just a story or movie between people who had problems with each other; but that’s not completely true. Dramas can basically be anything that has a hero or dialogue to a certain extent. For this paper, I choose to write about the drama in the movie The Hunger Games. This movie is not just only drama, it is also adventure and sci-fi movie.

RD-M-1.0.12 Identify characteristics of short stories, novels, poetry, and plays RD-H 1.0.9 Analyze critically a variety of genre VOCABULARY: monologue, concept map RESOURCES AND MATERIALS: • Text from 4-5 monologues (novel passages, TV, radio or movie scripts, student models, dramatic excerpts) • copies of concept map for students • Overhead definition of “monologue;” student copies optional • Web sites and sources for monologues: www.whysanity.net/monos (blocked by JCPS, but assessable elsewhere) screenwriting.about.com/cs/availablescripts Winning Monologues for Young Actors (Peg Kehret, Meriwether Publishing, Ltd.) Burning Up the Stage (Vin Morreale,