Knee Deep Analysis

acques LeCoq, a French practitioner and Augusto Boal, a Brazilian practitioner both aim to take their actors and the audience on a journey of discovery. Both Practitioners believed in ‘Freeing’ the body and making it ‘De-mechanicalized’ to enable full interpretation. LeCoq and Boal both use emotion, imagination, extensive body movement, playfulness and political matters to create their methods of theatrical practice.

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

Franklin D. Roosevelt stated in his second inaugural address that “The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little.” The Great Depression was the deepest and longest-lasting economic downturn in the history of the Western industrialized world. In the United States, the Great Depression began soon after the stock market crash of October 1929, which sent Wall Street into a panic and wiped out millions of investors. The U.S. could not emerge from the pit of a national crisis without profound social and cultural changes. This era affected people through spending cutbacks and unemployment, but also brought the American people closer to their

In 1994 Denning Aaris, a cheerleader, was practicing stunts, gymnastic and acrobatic feats, with her school’s cheerleading squad. She was injured while participating in a stunt referred to as a “cradle” wherein one participant is launched into the air by two others, touches their toes, and is then caught by the cheerleaders who launched them initially. Miss Aaris' leg was injured when the launched student fell on top of Miss Aaris.

As I sat enveloped in her story of overcoming conclusions, she taught my heart to embrace each quirky part of myself. I identified with Elle Woods’ need to prove herself. This idea of accepting individuality provided me with the courage to audition for my first show, the Arvada Center’s production of Footloose. Since that first nerve-racking, nail-biting experience, I have come to find myself through each move I dance onstage. Getting my first big role, the Dragon in a production of Shrek, I poured my heart out, knowing the people ready to judge and mock were watching. After the show, the peers who judged my intelligence approached me, saying things like, “I never knew you could sing like that.” Through performing I found myself again. I shifted back to the girl I was, the girl who cared about her morals. I want to perform, hoping to provide audience members with the ability to connect with characters who can offer them a point of realization, as Elle Woods did for me.

This scene comes directly after the nurse yells at the mute actress and slaps her across the face. It seems the whole movie she is trying to be nice to this woman and the one time that she stands up to her, she runs away. The nurse is begging for forgiveness. This scene really proves how weak the nurse is emotionally and mentally. She is sobbing and in a state of hysteria and the actress still will not forgive her. This reveals a lot of the actress's persona too. It shows that she does not really care much for the nurse, even though she is just trying to help her. The scene ends with the actress walking off and the nurse running in the opposite direction towards the water. She stumbles and cries and then the scene is over. This scene tells us, the audience a lot about the personality of both women not just in this scene but in their lives. The nurse is a caring woman who will do almost anything for her patient or probably anyone at all. The actress seems to be a heartless unforgiving bitch. These points are proved throughout the movie, but I believe that this mise-en-scene is the most powerful of them all.

The amount of risk that the circus performers have to deal with on a daily basis is flat out remarkable. They look a death and danger and smile like its nothing to them. Only a special group of people to have enough courage, or as some might say “stupidity” to do this line of work and love it. But the greatest thing of all about them is that they don't care how dangerous something is, if they think they can do it, they will do what ever it takes to accomplish it. We can all learn from that kind of

Whereas Anthony though taller, seemed to make himself feel small and become inferior, something that surprised me. This was observed through the use of movement of the performers. From hands being shaky, to sanding still, to sporadic gestures, the collaborators brought out the frustration and conflict Rosemary and Anthony shared.

I disagree with Lauren Slater’s theory that throughout a person's life, one will only surround themselves with ideas and people similar to their own because, it is easy to see that people enjoy controversy and over the course of our lives, our beliefs and ideas can change.

She started to grab the baby with one hand and then used the other to try to hold up the mother as she started to fall. Unfortunately, she wasn't able to stop the mother's fall, but she was able to keep the baby safe as the whole thing happened.

Every record put out by the world-class jazz bassist Christian McBride is well worth checking out. After digging Live at the Village Vanguard with his trio, the bassist returns to the big band format with Bringin’ It, an honorable follow-up to the 2011 Grammy Award winner The Good Feeling.

With the actors energized and compelling, they embodied their characters physically, vocally, and emotionally. The physical gestures made the actors more active and mobile. Their vocals made the performance very projective, and the musical numbers

On stage you will see 14 dancers experimenting with plastique, light and music. They will be donning various images, turning every ritual into farce. They are incarnating myriads of lives never repeating, they are utterly candid. The objective of their everlasting experiment is to cognize themselves so deeply as to dispense with their masks. Yet, the spectators will be the main participant of their

In the first chapter of They Say I Say, it talks about the indication of "They say" which in other words mean state your ideas as a response to others. The point of this is to teach students how to interpret and reply to the writings of others. Many student needs to first learn how to originate an idea in their own writing so that they can determine what their thesis will be. The idea can be someone else’s or it can be their own idea but they need to learn the right ways of introducing these concept or ideas into their specific areas of writing. TS 13 suggests that many people must remember that when going into a conversation one must start with what others are saying about a particular topic or idea and then utilize their own opinion as

In Kabuki theatre, everything that is seen on the stage is the result of a meaningful inner dynamic which completes the performance by the coordination of the actors with all the various components of the mise-en-scène and then by the traditions of all the various elements being assembled into an organic whole (Kawatake 1990, 247).