Drama Improvisation

When people think of theatre they usually think of acting, directing, and maybe script writers. They would correct, all of those disciplines are part of theatre but there's more to theatre than just that; however, due to personal interests those specific disciplines will be exactly what this essay is about. What most people don't think of when they think of theatre is how much thought is put into it. The different type of methods, not just for acting but, for directing, and script writing as well. Everyone has a different method of running a show but this paper will discuss some of the legendary people that have influenced theatre the most.

It was in middle school where I lost my identity; it was crushed and altered by strangers full of judgments and opinions. I was a stain on a white shirt, my flaws easily visible. Transitioning from middle school terrified me. The thought of new strangers teasing filled me with fear. Theater arts, in a span of four years, transformed me into the confident woman I am now. The discovery of art was like entering a world specifically created for me. Confidence and self-actualization embody me like a suit of armor giving me powers that made all the negativity disappear.

The dramatic arts have had great influence on my life and on my perspective of the world. Through this artistic expression, I can take on any persona, freeing both my mind and my heart. The understanding of people’s actions and emotions has shaped me into the young woman I am. Performance and the study of performing, I find, are enlightening, priceless, and eternal. So long as life persists, the timeless themes found in plays and works will persist.

If there is a dialogue going back and forth between multiple characters, another person’s lines could help prompt an actor. But in a monologue one must rely only on oneself. Preparing for my performance, I put a good deal of time and effort into memorizing the section of the Odyssey I had chosen, and I really thought I had it well memorized. I was even hopeful of possibly adding interesting inflection into my voice to enhance my performance. However, the moment I stood at the front of the class room I could barely remember my lines. All of my thoughts were focused on desperately trying to recall the correct words or spent trying to remain calm so as not to let anxiety overwhelm me. It was disheartening. I have always had a respect for actors, but that respect had grown as a result of this assignment.

Being in a play consists of long hours spent in rehearsal trying to better yourself, which can be difficult when if you get nervous every time you say your lines in front of people. Our director gave us near endless notes of constructive criticism for us to improve on. Accepting criticism and learning to be comfortable enough to trust others was a major step I had to learn to be a better actor, as well as a better person. In my role, it was important that I knew what was going on at every moment in a scene, so that I could help others and not let them down. Even though I had a huge responsibility leading the other actors, we were still always

Dramaturgical perspective shows social interactions as a theatre that reflects the idea of an individual’s life as a stage performance ,the audience expectations and maintenance of role created by the actor.

So while “Night on Broadway” might not be a play or a musical, with seven or eigt performances, elaborate costumes and sets, and a pit orchestra, the actors and directors will be working just as hard to organize a showcase that not only fundraises for the next dramatic season, but allows students to practice their numbers once more, before performing in front of judges - a crucial step in “putting yourself out there” as a

I had to practice audition songs and study my monologues relentlessly. I remember the first time that he really pushed me out of my comfort zone when I was cast as Ellerd in The Foreigner my freshman year. My director sat me down and had a candid talk with me, “Hey, this is a big role for a little person like you. I’m going to be hard on you because if you want these kinds of roles, this is where it will begin.” This was an instant wake up call. Opening night reared its ugly head, and everyone was going through their pre-show routine. As I was getting miced up, my director found me and had another one of his famous talks, “This is a big night for you, your first big role. I want you to know that I’m going to be your biggest cheerleader out there tonight. But these past few weeks rehearsing and practicing are finally going to pay off. And I want you to know that your performance tonight will show me if you are ready for the big leagues next year. So don’t be nervous, you’ll do great.” As I was entranced by his words, it finally hit me: he wants me to be in the future productions. He must really see me as an asset to the theater department. Maybe the stage is where I belong. Maybe I’ll really blow his mind with this performance, and that's exactly what I did. I nailed every line, the dialogue flowing out of me, almost like there was no script. As we finished our curtain call, we all stumbled off the stage to meet our audience for autographs and the occasional picture, but as I was leaving to greet my fans, my director stopped me with the biggest grin on his face. He explained how proud he was. I showed him exactly what he wanted.. Because of that performance, Mr. Nesseth saw me in a whole new way that gave me confidence and the foundation for greater

In conclusion, I believe that all three of these aspects are important to being a skilled and great play builder because being a good actor involves being able to develop a character, being a good improviser helps a play builder be a quick thinker and shows how creative one can be on the spot and how fast a scene can be altered, and being great at collaborations because this involves teamwork and cooperation, due to the fact that being able to work with someone else can help advance a piece and or a character. These skills should be acquired to be an effective play

This last half term we’ve been looking at challenging stereotypes and misconceptions. To begin with we were given stimulus in the form of photographs; these prompted each of us to have thoughts on what was shown. The image showed a man or woman staring stone faced through the many legs of passers by. My feeling towards this photograph was partly sympathy; however I knew I would just be one of the many people who would walk past. Stereotypes can interfere; one of the first things that came into our minds was things like drugs and gambling. This makes you feel less sorry for the person and immediately ideas that could be entirely untrue come into your head.

The concept illustration that I have chosen is a YouTube video titled “Dramaturgy: Dramaturgical Analysis.” This video gives an accurate presentation on what exactly Dramaturgy is. It first begins explaining what the meaning of front stage self is. The video gives good examples of how we act in every day life. The first illustration it provides to us is of Maggie and Mike.

As an actor (and costume designer) in the ten-minute play: From the Mouths of Babes, I felt as if I had a role that fit and worked well with my fellow groups members. To give some background, my character was Davey; a rambunctious little kid whose devises an evil plan to kill his teacher. As an actor in the role of Davey I had to develop a somewhat cynical and occasionally sarcastic attitude. I was able to understand that when someone takes the role of an actor, one of the most important jobs is to really dig deep into the character. By that I mean, pulling apart his ulterior motives, distinguishing between different tones in the play, observing how the character reacts to stressful situations (do they take control or do they hide), and

Be Creative- You may be force at times to deviate from your set course and make a fly decision. This is where your creativity will prove to be vital. It is during these critical situations that your team will look up to you for your guidance and you may be forced to make a quick decision. It’s important to learn to think outside the box and choose which of two bad choices is the best option.

* Understanding a play’s directorial potential and existing intent relies on understanding from where within each definable unit and scene the tension arises, which can then be utilised to direct the space in which the play is performed and the delivery of lines by the actors. All to ensure accuracy and quality within the performance.

The essay investigates how a director should communicate and work with actors during rehearsal and on set to produce engaging performances. The essay investigates different acting styles, the rehearsal process, directing on set and communication between actors and director. The essay assumes the actor has formal training and basic experience. The essay then proves effective communication achievable through the “actor’s vocabulary” is key not to over-direct and building trust with the actor.