Modern World 's Longest Lasting Forms Of Theatre

The play is episodic. Tension builds throughout each scene so that the audience can see the deeper mystery and bigger

The audience is seated, the lights dim, and all of a sudden, through wild anticipation, the music cues as a notification that the show is about to begin. Theater is a creative outlet for the soul to paint a picture towards showcasing a short story. This past weekend, I attended a play at Crabpot Players Theater to observe a parody of one of Shakespeare’s most famous pieces, A Midsummer Night’s Dream. As a whole the play was fairly decent, but there were a few minor issues that held the piece back. It is officially time to analyze the good, the bad, and the ugly.

Once seated, we saw that the stage was mainly bare with a chair on the left hand side of the stage. This suggested to the audience that the play would be non-naturalistic unlike, a west end theatre production.

A short play is usually filled with a theatrical energy of diverse anthologies. The time allotted may be only ten or fifteen minutes, so it must be able to capture and engage the audience with some dramatic tension, exciting action, or witty humor. Just as in a short story, a great deal of the explanation and background is left for the reader or viewer to discover on their own. Because all the details are not explicitly stated, each viewer interprets the action in their own way and each experience is unique from someone else viewing the same play. Conflict is the main aspect that drives any work of literature, and plays usually consist of some form of conflict. In “Playwriting 101:

Creativity of this production is the reason for the success. Their expertise in the field proves that they were qualified for this wonderful production. The theater environment of this play was thrust structure, which allows them to innovation stunning method to display all of scenes.

Its where they go to be comfortable to be men and to freely discuss topics in a comfortable environment. As you step in the theatre, you are immersed in the world of the barber shop. The actors interact with the audience. They dance with them, take photos with them, and even give them “haircuts”. The audience seated in the round allowing us to see the characters in a multi-dimensional way. Though I have a seat with a restricted view, I mostly saw everything. With the theatre being in the round, I felt that it added to the multi-dimensional aspect because you get to see the character in many different angles as opposed to a typical proscenium view. During this ensemble piece, where all expect for three of the actors played multiple characters throughout the play, I had a hard time separating the characters and remembering the pervious encounter they had when we are re-introduced to them. It always took me a couple of seconds to figure if this was a new character or an previously introduced character. The costume design did help distinguish each character even when the actor fall short. Because all the action happens on the same day, all the recurring characters wear the same costume throughout the play and each new character was dressed is a new costume as well. For example, when actor Sule Rimi, who played three different character, came on stage as Elnathan he was wearing a mustard leather jacket. Each design department’s choice

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

First of all, it is something new to read a play. It is not like a normal story, because I found it quite more difficult. This because there are more short story in between the whole play.

The other Japanese form of music is in theatre that combines, drama, dance, and music. This was a traditional form of drama and culture in Japan. These theatre would go on for all day. They would wear makeup and dress up in costume and dance while acting out they play. Nearly every full-length play occupies five acts. The next three acts correspond to ha, speeding events up, culminating almost always

In a scene from The Five Rings, an actor with a face white as chalk, his hair arranged in an elaborate Japanese traditional style, stares out at the audience. His eyes are slightly crossed, his teeth bared, his tongue hanging far out of his mouth. He meets the world salivating, spit dripping down his chin and mixing with the white paint, his eyes unblinking. It is almost difficult to take in a person with such extremity, such brutal singularity. This overt challenge to the viewer is part of what makes butoh such a fascinating theatrical form. Arising in Japan in the late 1950’s, butoh thrives on mystery, provocation, and primal energy.

Matsukaze is one of the most popular Noh plays of the third category, originally written by Kan’ami and revised by Zeami Mototkiyo. Matsukaze tells the story of two lingering sister spirits, Matsukaze, which means Pine Wind, and Murasame, which means Autumn Rain. The play begins with a traveling priest asking about the memorial for the girls and we soon learn all about their life story. As with other Ancient Japanese Noh theatre, this play shows us one prevailing emotion throughout the text. The most noticeable emotion found in the text of Matsukaze is the overwhelming sense of melancholy. Through text and Japanese Noh conventions, I can convey the emotion of melancholy in Matsukaze.

Atsumori is definitely a type of Noh drama. In categorizing the type of Noh play, I think that the play, Atsumori, would be under the category of warrior play. I feel like this play just fits the criteria for a warrior play because the historical background started from a battle between two clans. Also, this play is mainly about two former warriors. This play is heavily based on suffering and Buddhism as well. I assume that Rensei becoming a monk majorly gives out the clue of Buddhism. I think the overall theme of this play would be forgiveness and kindness. I do not think this was a happy play at all. It seems very regretful for me. I am even imaging the chorus singing or playing the instruments in a sad melody throughout the play as well.

To determine how Japanese theatre employs the body, I first describe the myriad of components and techniques that Noh actors learn to utilize on the audience.

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).

On Sunday, March 9, 2014, I had a great opportunity to watch Nihon Furisode Hajime, a Kabuki play held in Kabukiza theatre in Tokyo, Japan. The production was written by the pen name Chikamatsu Monzaemon whose actual name is Nobumori Sugomori. The play was formerly created for the puppet theatre, Bunraku, and was first staged in Osaka in 1718. Also, it was first performed in Kyoto after it has immediately reformed to Kabuki during the same month.