Man Of La Mancha Play Analysis

During the first half of the play, I did not really notice the lights except during the scene transitions. The main reason I did not notice them is because their job during the early parts of the play were to establish the location. We were in a standard basement that had one window above the stairs, so most of the light in the room had to be coming from an artificial source, most likely a lightbulb.

Each element gave the stage a different feel that matched every scene , complementing each brilliantly. The only element that lacked for me was lights, although very bright ; in my opinion the reoccurring blue wasn't the best option. I feel if the lighting designer would have had more warmer colored lights against the already vibrant set pieces, it would have made the stage pop more. But one thing i did particularly fancy, were the costumes the characters wore and how they fit each character. Each character's’ costume showed the dichotomy between the personalities and tastes of each individual. For example Ilona played by Jane Krakowski was dressed in a scarlet / pinkish dress with a high slit up the left side; showing her seductive character type. Meaning when i saw Ilona on stage, I immediately knew who i was looking at . Lastly the sound effects included , like the door jingle sound or The bike bell , added to the whole idea of being inside and outside of a retail building. These effects gave the stage an outdoorsy feel , drawing you in , giving the audience illusions of really being in 1930’s

And the picture of you that was out front with all the casting actors, wow you looked gorgeous! Once again I was extremely impressed by the stage design. The back Catholic Church wall was such an amazing structure. The paint and texture that was used to build the wall, gave off the appearance of a real stone wall. The wall design was flawless, and the size and scale it in which it was done in is astounding! Ms. Livingstone office was also well placed; it kept a focus point to the center of the room. The decision to go with a see through glass desk and small offices chairs allow the stage space to seem larger and didn’t block or hide when the actors sat down or walked around the desk. The area with the steps that lead to Mother Ruth desk was also well crafted, but I felt it was not utilized enough. It was barley used and wasn’t sure if it was Mother Ruth office or apart of the church altar. The church pew was a nice addition as well. I was also really impressed with the lighting effects, especially from the church windows. I first thought the stained glassed windows were fixed lights that couldn’t be changed, but once Livingstone took center stage and began to speak the colors changed to a red color (I think). When that happened it felt like the world froze in place while she spoke, and resuming when the light turned back to a bright morning light. I also liked how the lights would change throughout the play to set a different mood. For example, when Ms. Livingstone was hypnotizing Agnes, she told Agnes to imagine herself being in water all of the sudden the room color was

To begin with, the scenery of the play wasn’t traditional by any means. Rather than this being a common stage with a large crowd, this was a black box theatre play. Basically, the stage was in the middle of the room and the audience surrounded the performers. The room was about the size of an average high school classroom, which made the play more personal. In fact, the actors would interact with the crowd at times throughout the play. Next, when I first entered the room, I sensed a smooth vibe from the way the room looked. It was very dim and the director played songs by black artist from our generation to serenade the audience with black culture. At this moment, I began to feel very

Such as, when the show began there were a few moments of music with the lights blacked out. When the song was cut, the lights were switched on and the production began. This faint, yet dynamic lightwork left me impressed and wondering about the hours went into making it so precise. Further into the play, I noticed that the lights were fully lit in the centre where all the actors were. But on the sides, upstage left and center stage right, I noticed that it was more dimmed at those areas because it was not our main focus as an audience. For music, she used only two songs for the entire play. Creatively, they used a “radio” and their voices as their music. For sound effects, she used telephone rings, chimes and gunshots. Overall, even though Jacq did not focus too much on lighting and sounds, I find that she did a great job especially because she didn’t try to overdo it with just

It established the transition from reality to fairytale and set the mood of many of the fairytales. It supported many of the choices that were made on stage but didn't overshadow anything that was happening. The lighting design also did an excellent job of being a support to the show, not a distraction. It also helped establish transitions and mood, but did nothing to distract from the telling of the story.

Throughout the play, it was amazing how they used the lights to transition when tragic events occurred in play like a cliffhanger. In part three, when Shane confesses about the wrong deeds Kippy did, the light shines only at Darren and Kippy to make the event look serious; which made event suspenseful for the audience to capture their attention.

The lighting in the Royal Court Theatre was used to depict suspense. At the beginning when Hero was deciding to go to war or stay home, the lights became brighter and brighter. This resembled the time leading up to the decision he had to make in

enemies would be left to rot, but in his own reality, he is doing the only

The lighting of any production is the most important part in my thought. the lighting puts you in the mood that you have to be in, in order to fully understand that part of the show and to actually live it like they do. For example, when they were in the park and it was raining, they had their umbrellas, and the background effects of rain made it really seem as if it was raining in the theatre. The lighting was always focused on every part of the stage, especially on those who were the main parts in that scene.

The lighting and sound were important and they played a major role in telling the story of the play. The lights brought the stage out from the background and the colors helped tell the story. For example in the office it's bright with an

Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.

People choose to live their lives their own way and some of these people end up unhappy, and feel that their life is not worth living. The choice a person makes on how they want to live their life, ultimately determines their future. A person should choose to live in an illusion which leads to hope, rather then reality which leads them to despair. The musical play "Man of La Mancha", written by Dale Wasserman, is a perfect example of this because in the play, there are characters who live in illusion and characters who live in reality. Illusion leads a person to hope, and hope gives a person something to live for. One persons hope can inspire another to change and to believe. Reality can lead a person to despair, which can lead that

Factors like the colour, position and angle of the lights will all serve a different purpose. When Guido is portrayed hiding Giousé in the locker there is blue light all over the scene. All over, except for where they are. It gives the sense that they are not in danger, but they are close. The light remains steady while Guido talks his way into Giousé's cooperation and even goes as far to ensure Giousé's survival if Guido did not return which is a fantastic display of persistence. After dinner when Guido calls for Giousé, the two beams of light pouring out of the door and window houses Giousé's height as he runs. It is a symbol for how Guido's persistence has kept them away from German influence. Shadows are used everywhere, especially on the Nazis to empower them or make them look evil. They are eliminated on the faces of the protagonists to make them look appealing. There is back-lighting on Dora when she is listening to the opera. It makes her look innocent and appealing. Fires/smoke are used as a symbol of Guido's life. When he dies, every fire is extinguished, but smoke remains. The smoke is now a symbol of what he has left behind. A life for Giousé and Dora. It could be a mere coincidence that there was time between his death and the fires' death but, it is more likely to be a subliminal message. Lighting is used in distinctive ways to show

The Parable of the Talents therefore refers to the metaphor "life is a precious possession." If you have many talents, you must "invest" them wisely--use them as you should use material goods, in a charitable way. If you have a few talents, you must invest them wisely as well. Even if you have only one talent, you must invest it wisely and do good in the world with that talent.In an important way, the play Everyman demonstrates the ways in which a person who does have talents (Good Deeds that are trapped in the ground) wastes them, like the servant who buries his one talent in the ground and is cast into the dark, the "place of wailing and grinding of teeth." According to the play's allegory, what forces in