Eclectic Theatre

Lively theatre is a live production that never stops. Lively theatre can happen anywhere. Lively theatre can be displayed when you're having a conversation with friends or even when you're speaking to your teacher. Lively theatre can make you think, be vulnerable, and can bring out emotions that you did not realize you had or was felt about a particular subject. Just like in a production , lively theatre has a plot , lighting, costumes, makeup and many other aspects. There is always a stage around us whether it is the classroom, house, in your car, and many other places. Our conversations and dialogue can be categorized as a specific type of genre. A conversation could make someone possibly laugh, cry, empathize so, just like actors and actresses , we can affect someone's mood in a instance.

Before the 20th century, people used music and dancing to tell stories, but it had nothing to do with developing musical theater. Musical theatre is a type of play that tells a story through songs, spoken dialogue, and dancing. During the 20th century, there was a lot of change going on in Musical Theatre. Musicals are different from other types of stage works such as opera because a musical would not be a musical without the music, story line, or dancing. European operetta was becoming more popular than American Musical Theatre. The two main types of opera that were being made were called ballad operas and comic operas which had romantic plots. American composers sought to come up with something new, since Musical Theatre was not very popular with the general public. There were a lot of components that helped shape musical theatre in America , but most think that it was mainly developed because of the different tastes developing, likeable styles, spirit and energy by composers in America, it was not. Although musical theaters origins are not certain, Musical theatre gradually developed using influences of ballad opera, comic opera, operetta, vaudeville, and burlesque.

The use of descriptive language is important for the writer to entertain, persuade and teleport the reader into their work. Descriptive use and imagery allow the reader to experience the setting, sound, taste, and mood as if they can live through it. Which takes us to Shakespeare's play Hamlet. Not only does he use exceptional details and imagery throughout the play between the characters, but the way he uses word allows us to put ourselves into the play as if we can feel what they feel. It also allows us to experience and go through the play as if we are in it also. So in this paper, I would like to focus on a few major moments where I believe Shakespeare descriptive language is the strongest.

The emotional and social setting of the play relies heavily on one of the most prominent Southern Gothic features – the various types of realism which influence everything from the work’s mood and atmosphere to its characters. As this genre emerged after the Civil War, disillusioned writers from the South – the losing side of the war – reflected the experienced horror and shame with macabre and grotesque motifs, which in turn introduced magical realism: a mainly realistic setting with supernatural elements. Since A Streetcar Named Desire was published in 1947, soon after the end of World War II, and the author himself is Southern, there is a similar connection explaining why his play conforms to psychological

Theatre has evolved over the many years. As it has grown, it moved to include more diverse performers, crew, producers, and audiences. This is an exploration of the expansion of diverse theatre.

Authors often times use diction, figurative language, and dialogue to convey different ideas that highlight the importance of certain characters and the way they feel. Manipulating language allows an author to give insight into the characters, expand the plot, and amplify the reader’s understanding of the piece as a whole. Edmond Rostand does this very successfully in his play,“Cyrano de Bergerac”. The exchanges between characters allow the story to develop, and put an emphasis on the importance of characters through dialogue. By writing “Cyrano de Bergerac” in the form of a play, Edmond Rostand successfully employs dialogue to reveal characters’ inner conflicts through how they interact with each other.

Built in 1855 the Longstreet Theater on Greene Street at the University of South Carolina is one of its oldest buildings. Completed two years later than predicted, it was supposed to be a college hall. However, it was first used as a military hospital during the civil war, and then as an arsenal and armory, before being remodeled into a theater house in 1976. Resembling a Roman temple, the theater has four stories; one of which is underground, with access to the surface by an elevator. The theater room is circular, with a “theater in the round” stage that allows the audience to get a full view of what is happening. Nevertheless, in some situations the stage is made into a temporary “thrust stage” according to need. Moreover, the room was dark

Australian Contemporary Theatre is a form of Theatre which addresses the concerns and aspirations of Australian audiences; with the use of diverse and complex characters Australian Contemporary Theatre is able to connect with the audience making them reflect and challenge identities. This is shown clearly in the texts Ruby Moon written by Matt Cameron and A Beautiful Life written by Michael Futcher and Helen Howard which we have studied throughout topics.

One of Jane’s great passions is acting. It was one event that gave her the motivation to pursue her acting dreams. In the year of 1969, Jane was nine and she had never experienced the enthralment of acting before. At the time, she lived on a farm in Queensland which meant that there weren't local schools around her area. Jane completed her primary education through the Charters Towers School of the Air. This meant that instead of having to travel for hours everyday, Jane would use her radio to listen to her teacher and she would do her schoolwork from home. Every year, Jane's school held school plays and it was in 1969 that Jane auditioned for Thumbelina (based on the book by Hans Christian Anderson). To Jane's delight, she was cast as

It’s well understood that the Great Depression devastated many parts of America. Many people and buisnisses were devastated by the crash, and although most don’t think of it theatre also suffered. After World War I, a new generation of creative theatre emerged. Performing arts, costume, and set designers worked within the material and financial limitations of the depressed economy. The heavy-handed decorative design and hyperrealism of pre-war theatre began to fade as the increase of supplies and labor forced a new group of designers to develop a more cost friendly theatre.

One of the definitions of the word ‘illusion’ is ‘an idea or belief that is not true’. This means that illusions are essentially lies and lies happen to be plentiful in A Streetcar Named Desire. This is why I decided to approach this essay by analysing instances in the play where characters have told lies, whether to themselves or to other people. There is an interesting dynamic in the play with characters being completely caught up in their own lies to the point of believing them. At the same time they’re very aware of the lies others are telling.

Illusions Within “A Streetcar Named Desire” A magician making a dove fly out of a hat is one of many illusions where what the eyes see and believe is not actual reality. Instead of the the dove appearing out of nowhere, it is simply an illusion in which the dove is carefully hidden somewhere else and shown to “appear” out of the hat. Within a fictional played written by Tennessee Williams called “A Streetcar Named Desire”, visual illusions are apparent throughout the play, although these illusions are much different than a dove appearing out of a hat. Instead, the play features illusions on a deeper level that originate in the minds of the character it affects.

For example, in The Visit, there is an emphasis on justice, but it is very extreme. Claire desires to attain justice “for the wrong that was done to [her] in Güllen [by] Mr Ill” by having him killed (32). I thought this was a very radical method of achieving justice, but I better understood it after this presentation because it relates to taking justice to logical extremes and also to theater of the absurd. Also, I noticed that Dürrenmatt’s description of Güllen was very accurate in regard to the town being poverty stricken. This relates to his belief that the hardships of life should be accurately represented and should not be pacified. I also noticed various characteristics of theatre of the absurd, including existentialism, which is a philosophical principle that stresses freedom of choice and responsibility for the consequences of one's action. This is seen in The Visit, as the citizens of Güllen have complete freedom to choose to accept Claire’s offer and kill

What is the absurd? Camus categorized as the “belief in the absurdity of existence must then dictate his conduct” (Camus, 6). What Camus means is feeling of absurdity goes hand in hand with having a meaningless life. We get so used to doing the same routine that, we as people don’t think we just act like a robot. Camus asks “Does its absurdity require one to escape it through hope or suicide? And does the absurd dictate death” (Camus, 9). Camus says, “An objective mind can always introduce into all problems have no place in this pursuit and this passion” (Camus, 9). The problem with this is if we were always based on facts then we would not be able to base our opinions on experiences. Camus also relates the feeling of absurdity to exile, we as people what to have meaning and or purpose in our own lives. The absurdity displaces us from having a meaning life. Camus says, “Mean who die by their own hand consequently follow to its conclusion their emotional inclination” (Camus, 9). Camus considers this an absurd reasoning because this feeling of exile can turn anyone crazy leading into suicide which both the absurd and suicide are linked together.

Tennessee Williams’ A Streetcar Named Desire, Alice Walker’s The Color Purple and William Shakespeare’s Othello share the universal social desire for the personal independence and liberation from the patriarchal society from which these texts were set. In regards to A Streetcar Named Desire and The Color Purple, these texts could be seen as feminist works of literature with both antagonists seeking to break the typical, ideological roles for women without making it evident to the reader that this is their purpose. The differences between these texts however is that Walker uses ‘womanism’, a phrase she coined herself, to tell the story of Celie’s journey to freedom, whereas Williams uses Blanche’s victimisation perhaps to subtly show condemnation