Rebellious Youth Storms the Stage On Thursday, April 14, 2016, I attended the final dress rehearsal for Spring Awakening in the Harvey M. Powers Theater, directed by Gary Grant and choreographed by Dustyn Martincich. This musical version by Duncan Sheik was based on the play written by Frank Wedekind in 1891. As it had been adapted as a rock musical, I was unsure what to expect from the clash of cultures. I feared that the disconnect between the setting of 19 and Americanized rock soundtrack would feel jarring. I did not find this to be the case, however. In fact, I found the soundtrack dissonance actually helped enhance the central theme of the play, which explored the necessary coming of age (or sexual “awakening”) that teenagers …show more content…
It served as a nice contrast to the period costumes and props, though I think the overall multilevel set design could have been more clear in what it was. The music contributed to some of the more emotionally poignant moments of Spring Awakening. Most notably for me was during “I Don’t Do Sadness” sung by Rodney West as Moritz. I felt this was the climax of the musical, even more so than the end of Act One with “I Believe”. I think this was because the song itself felt like an internal struggle with Moritz facing up against his future, of course climaxing with his decision to end his life. His performance was impossible to ignore because of how close he felt to audience, thanks to the extended stage which he fully utilized. I felt connected to his predicament and I’m sure many school age folk can relate to thinking that poor grades can be the worst thing in the world, especially in a society that reiterates the importance of grades so much. Though of course it was blown hugely out of proportion, West portrayed well the need to get out of his predicament using the only method …show more content…
He felt very dimensional and realistic. I think a young teenage me would have related closely to his sexual frustrations as well feelings of being overwhelmed with the importance of grades in something that just isn’t working, and having it all manifest itself in his dreams. I think it would be an interesting challenge to tap into these turmoilfilled subsections of my past and current self to better play this role, although West’s performance would be difficult to top. I think the hardest role for me to play would be Calleja as all of the adult males. It’s so hard preparing for just one role, let alone 6+. I feel it would difficult for me to really get deep into the state of mind of the characters and pull off a scene like Moritz’s funeral because I’d be spreading myself thin. How can he go from such a defeated character to being the ultimate authority as Headmaster of the prep school? Also, the fact that he was playing “the man”, essentially what everyone else is rebelling against, would be tricky for me as I don’t see myself as an uptight authoritative figure. I see myself more taking part in the rebellion with the rest of the
In the article, “From Degrading to De-Grading”, by Alfie Kohn he discusses the harmful effects grades have on students. Kohn argues that there are better ways to assess students’ progress other than letter or numerical grades. Grades are a great concept but they tend to be more hurtful than helpful. Cheating can become a problem, students won’t take challenges, and they develop unhealthy competition between one another. There have been many studies conducted over the years that support Kohn’s argument.
Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the
mind and severed him from the reality of the real life he was living with his family in the small
The third act was lovely Eli Womble. He is not only a music major, but also on the soccer team. He was not alone and with him on stage were his very good friends. Firstly, he gave a shout out to his mother and girlfriend who sat on the front row. They played two songs clearly Womble had the most fans in the audience. There were a lot of soccer players in the audience who sung along with his song and clearly enjoyed their teammate talents. His teammate, Catawba soccer defense player Jared Bieber said, “He just gets better and better every time I hear him play, he is going to be a superstar.”
In these two movies, the right music and visuals had to be chosen in order to get the ambiance Hawke and Branagh tried to obtain. Each director chose different music and images that were very visual and auditive for an audience’s appeal. In Hawke’s version, visuals of New York and Times Square were appealing to an audience. Modern music at the beginning of the film caught the interest of the younger generation. As well, close ups of Hamlet were revealing to an audience and it was easy to feel infatuated by the character’s nihilistic despair. Branagh’s version used supernatural and dark visuals of ghosts, statues, and castles to produce feelings of awe and fear. The scene of the ghost was quick and staggering, and it created an automatic feeling of anxiety and fear. As well, the traditional use of classical music did a skillful job of creating suspense. Both directors appealed to an audience by using music and visuals that created an ambiance the directors desperately
For example, the people filming the movie sometimes had the camera far away, which would then make the lines that the characters said harder to hear. If the camera was too close to a character's face, it was displeasing to look at, like when Johnny was in the hospital. Also, when watching the whole movie, it was hard to concentrate on the actual movie because I was too distracted on the voices to music ratio. Typically in a motion picture, the music is lowered enough so that the lines can be heard, while having it be loud enough for the audience to hear it, and bring the point across that it's an important moment to have that type of music. To give an example, in Ponyboy’s dream, it was very quite, then all of a sudden, extremely loud music and sounds erupted as I struggled to cover my ears, and I couldn’t pay attention to what was happening on screen because of all the piercing noise! Then, when Ponyboy woke up it was all normal volume that barely transitioned. There were a lot of other scenes that did the same exact thing, such as when Johnny went to back to his house and the volume of the parents fighting in the background almost cancelled out the other important lines and music. There are other problems than this particular one, some being no music at some points when it was most likely necessary to get the emotions that the characters were feeling across, or when the characters lines and volume were so quiet that you could barely to not hear them at all, or when the outside wind was so deafening to pay attention to anything else. It was somewhat comical to me every time one of these moments occurred, because it seems the creators didn’t care enough to fix
The first play was performed by the combined choirs which called “You are the new Day” composed by John David. The shorter version of the same song was played at the end of the concert. The shorter version of the song was as the
Ayn Rand gives us a short novel Anthem which shows us a society in which people are too afraid to be themselves. Rand wrote the novel around the base of World War II, during this time the nations had all become narrow-minded in the ways to live. The citizens were being brainwashed into sameness. Rand wanted to show the far-reaching of individuality and how it is more important for your wellbeing than living in the fear of being different. The citizens of Anthem are forced to fit the false beliefs of the worlds council. They are raised in the society to fit the needs of their ways and the things around them. The economy teaches them to do nothing but please the people of power. Rand uses Equality
These vocals become more prevalent in the second part of the film, after Lola failed the first time. We understand from the visuals and Lola’s internal thoughts that she means to succeed.
One would have to say that one of the most notable features of the film would have to be its soundtrack, which incorporates no music but only diegetic sound, from the preliminary noise of the river flowing under the bridge through the even louder sounds of the forthcoming American tanks to the quaking clamors of the ending battle scenes. A prodigious example of sound transpires within the middle of the film. It is when the boys are woken from their cots and called into combat; the sequence features electronically distorted sounds that together equally insinuate the boys’ disorientation as well as the disorientation of the viewers.
These vocals become more prevalent in the second part of the film, after Lola failed the first time. We understand from the visuals and Lola’s internal thoughts that she means to succeed.
was when he finally had completed his change to a whole different person. "Memorizing lyrics left me little time to think about
to be labelled a rebel she must belong to the class of rebels that act
This clearly explains the significance of music and the role that has in motion pictures. Music has to match the emotions that the actors are showing and the environment they are in. If fail to do so, the movie could be a dreadful thing to watch.
The modernist style would have only distracted from the plot line instead of adding to it because of its emphasis on unresolved dissonance disorienting the average listener. The audience expects certain aspects of music to occur. They naturally desire to hear certain forms, harmonic rules and guidelines, or the tonal music their ears are accustomed to hearing. These ideas are still present in some cases, but with the absence of tonality and a larger focus on dissonance, the audience can have trouble devoting attention to the film itself. This causes modernist music to be jarring and distracting from the narrative, but that doesn’t mean it’s always avoided. In plot lines there are often villains who need to make the audience feel uncomfortable. Many times in both Hollywood’s past and present composers will pair the modernist style of dissonance and uneasy expression with that of an antagonist. This proves to be successful in making the viewers feel uneasy (Audissino 2014, 25-35).