Theatre Experience: Response to Amadeus Act one of Amadeus begins with whispers that fill the theater. The theater is dark with some lighting that shines to identify the actors. In the beginning, words can hardly be recognized from the whispers, but as the play continues, two words, “Salieri” and “Assassin” stands out. Then the “Citizen of Vienna,” is heard from the stage after which an old man is seen seated in a wheelchair with his back facing the audience. Act two begins in a similar manner with the old man, Salieri, who addresses the audience. This marks the last moments of his life as he narrates the events that transpired in the creepy moments of the manuscripts. The play does not only involve Salieri but other minor characters including …show more content…
It begins with Mozart arriving in Vienna, where Salieri went to perform with the hopes of meeting the prodigy son. When he is at the emperor's place, he is nervous, and this exaggerates his high-pitched laugh further. Mozart shows a lot of respect to the emperor and Salieri but flatters all other key players found in the emperor’s court. At the first contact, Salieri does not appreciate the talent that Mozart had from the first performance. On one occasion, Mozart demonstrates some mistakes that are found in some of Salieri's pieces, which leaves him wondering why God had blessed the Youngman with such an exceptional talent. Salieri thinks that this is unfair since he had lived a holy life but remained in mediocrity while Mozart, vulgar and immoral, had such as outstanding talent. The play wraps up with Salieri telling his story that touched the young priest. He Concludes that it is God who killed Mozart. Amadeus is an exciting play in which the author displays high levels of experience in using different styles to present various themes. Flashback and narration form an important component of the techniques that the playwriter uses. Throughout the play, Salieri tells the story of his youthful life and the encounters he had with Mozart and other players. It is amazing how lighting, décor, and other film styles have been utilized to bring out the various themes of the play. Just from Salieri’s narration
This very much represents the physical crossing from the ‘normal’ world into a world which is not seen from the outside, and pushed to the edge of society, and further resembles a glimpse of hope for the patients’ recovery. In the later scenes of the play, during the performance of Mozart’s opera, the entire theatre has been transformed into something completely different, with its white walls, the bright, colourful costumes, and Mozart’s “music of the spheres” echoing within the once dark and dismal place. The new theatre in all its splendour metaphorically resembles the transformations of the characters themselves, and from this, the audience is encouraged to realise the significance and therapeutic nature of art, in this case theatre and music: “the music of this opera will keep the world in harmony”, especially in contrast to hopeless treatments such as shock therapy. Through his play, Nowra also encourages the audience to agree with his personal view that war is unnecessary, and in a way is a kind of madness itself, due to its chaotic and uncontrollable nature.
The elements the filmmakers choose to use in the film, i.e. the music, location, editing techniques and special effects, help tell the story. Zeffirelli uses his elements to ease the viewer from scene to scene, he is employing the Classical Hollywood Filmmaking technique. A smooth flowing pace, where the viewer does not notice the cuts, plus the music assists in the movements within the cuts. Nothing daring is done in his film, he stays true to the historical appearance of the film, uses ideas that have already been exhibited, such as period piece music and historical costumes. The world famous balcony scene (Act II, scene II) is an example, Zeffirelli employs the same blocking that Shakespeare probably intended. This is one of the few times, Zeffirelli interacts with the locations, and his locations is a town within walls, perceived to be a small town, the location is bare and not crowded.
The film commences with the declaration of “Mozart! Mozart!” as opposed to the play’s “Salieri! Salieri!” In the play, Salieri doesn’t mention Mozart in his speech until the end. He goes on and on about his undying passion for absolute music and his dedication to his father, the Lord, until finally “The same year I left Lombardy, a young prodigy was touring
In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through compositional and musical techniques. Doing so heightens the audience’s understanding of the characters, their motivations, and the relationships between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience’s understanding of the characters. This is highly apparent in his last opera, L’Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh
Through the use of techniques and themes, a composer is able to create distinctively visual images when describing the setting and characters in detail which help us to understand and form meaning of what the composer is trying to convey in their texts. The use of techniques such as body language, symbolism, lighting, music and photographic background slides create distinctively visual images same with themes that are being used within the texts such as truth which is evident in the dramatic text ‘The Shoe-Horn Sonata’ by John Misto, the song ‘Lose Yourself’ sang by Eminem, and the film ‘The Eye’ directed by David Moreau and Xavier Palud featuring Jessica Alba. These three texts demonstrate how the responders are impacted and what is
Through studying and analyzing ‘Maestro’ ,written by Peter Goldsworthy, and by viewing and analyzing the film ‘Edward Scissorhands’ directed by Tim Burton, it is evident that the composers of these texts allow the audience to see distinctive experiences with our eyes as well as with our minds through distinctively visual. The many visual, written and literary techniques have the ability to create a significant and impacting visual.
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.
The purpose of this essay is to analyse the original drama text with a newer film version, while comparing the
Wolfgang was busy during his childhood, playing, and practicing his music; he did not get much of a chance to really experience being a child. His father was constantly pushing him to be better, to play hard, and to make more money. Mozart and his father were evidently close, there are many different views to how Leopold fathered his children; some say he was a money hungry truant, others say he was sweet, sensitive, wanted the best for his children, and that the money didn’t matter. I believe that Leopold want the best for his children, and maybe a little money out of it. Eventually, Mozart wanted to leave his native home of Salzburg, he was most likely tired of his father constantly trying to control his life. Having knowledge of the lack of jobs in Vienna, and disregarding his fathers pleads, Mozart left his home anyways, heading for Vienna with no steady job.
Innovative the time, Berlioz devised a program to be given out to audience members at the performances stating it is “indispensable for a complete understanding of the dramatic outline of the work.” Berlioz’s outlines the story in the preface of the program for his Symphonie Fantastique (1830):
"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
Screen and Visual images are important in the film; The Piano directed by Jane Campion. The screen and visual images are represented by Motifs. They are related to the dominating characters which makes them important.
This paper will take a look into the movie Amadeus, to see if the film accurately
One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.
It is for this lack that Salieri so resents God. To the priest, he says, “All I ever wanted was to sing to God. He gave me that longing. And then made me mute. Why? Tell me that. If he didn’t want me to praise him with music, why implant the desire, like a lust in my body, and then deny me the talent?” It is not the fact that this contradiction occurs in