Music Hall Monologue Menace

The narrator is walking down a street and pauses, with his companion, "beneath the harlot's house"  (Wilde, Longman p. 2069: 1.3).  In the next two stanzas Wilde transitions to the inside of the house depicting a partygoers atmosphere in "Inside, above the din and fray"  (2.1) and shadows of the figures inside are projected onto the blind (3.3).  This movie projector type

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.

Harold Pinter and Samuel Beckett are two of the biggest exponents of The Theatre of the Absurd. Both of their works present a world which cannot be logically explained, where the scenery, the language and the actions of the characters are almost incomprehensible and do not comply with the previously accepted norms of theatre.

The opening lines of the play describe the very claustrophobic setting ‘hedged on right and left by tall closely planted poplars’, this immediately sets the scene as being closed and private with the audience being

The torpid pounding of my heart could be felt from the base of my stomach. And, despite the fact that I’d made the conscious decision to temporarily cement my feet to the floor, I began to seriously reconsider my choice. Cumbersome footsteps, from heel to toe of the lunatic’s boots, began to slowly trudge towards me; and upon his second in my direction, the sound of his twirling pistol became most audible, and resonated throughout the club’s walls. I attempted to inhale silently; however, the fearful tremors of my chest made the task quite difficult. The once confident feeling that dwelled within me, and encouraged me to continue, then felt to have suffocated by the impending ramifications, at the expense of my buckling transgressions. However,

Sorry about waiting, I’m answered as soon as possible. Such good news, you are absolutely right and I wonder to hear that you’ll have adorable adventures in this camp. Unfortunately, I can’t join you because I should prepare for coming graduation exams in my music academy. Beg my pardon, anyway you know how I’d like to spend more time with you, moreover, find different unexpectable adventures, share with you every unforgettable moment of this summer. However, in the next year I’ll try to enter the university of arts and I’m going to spent my free time with use.

With the help of directors Geoff Elliott and Julia Rodriguez-Elliott, a play within a play comes to A Noise Within. In Six Characters in Search of an Author, six characters appear in front of actors and a director at A Noise Within during a rehearsal with only one desire: to tell their unfinished story. A Noise Within is known quite well for their performances of popular adaptations, and when Robert Brustein’s adaptation of Luigi Pirandello’s metatheatre absurdist play comes to A Noise Within, it is quite clear what the directors are trying to say. In their production of Six Characters, directors Geoff and Julia Elliott convey the theme that theatres are filled with the impressions of all the characters played there, and will always be a part of that theatre. The success of this adaptation is attributed to no one person, but the collective effort of the people at A Noise Within. This production of Six Characters provides purposeful and creative direction, dedicated actors and actresses, and a stunning use of production values that display an engaging adaptation of the play.

I have not always known that theatre is what I need to do with the life that I have been given, and by no means did this realization come to me on my own. During my sophomore year, while working on an autumn play and winter musical, I noticed that people saw something special in me. This support from directors, friends, teachers, and family affirmed what I subconsciously knew to be true. Their belief in me allowed the latent thought of a life in theatre to flourish in my mind. In the past, I was too uncertain to be led by that thought because it would have made me vulnerable and left me exposed, but knowing that the people I love believe in my talent has provided an environment for me to come into my identity, which is wholly intertwined with

Jan Pappelbaum’s stark and gritty stage design created an engaging atmosphere which symbolised key concepts within the text and allowed the audience to follow Richard’s evil as it manifested. The company smashed through the fourth wall via a raked circular stage protruding into the audience space, extending into the aisles through a staircase. Allowing for entrance and exit points through the auditorium, the performers’

Dürrenmatt believed that farce was a way of distancing the audience from the play in order for them to analyse the situation of their own world. He uses this in his 1956 play ‘The Visit’ to turn the viewer into part of the problem, as well as making the characters more and more unforgivable. None of them are exempt from the crimes of their youth, not even the children. Over the course of the play Dürrenmatt’s characters start to excuse themselves as they buy more and more of Ill’s life, and he uses the wooden nature of his characters in an attempt to make the audience notice their own faults and guilt.

When Kise saw him, he could hear something sizzle from within his chest. With a snake-like hiss, low and hushed, it snapped at him with a bite, concocting minute droplets of poison, dripping over him — burned the skin, peeling it off alive with tiny touches of death.

Last but certainly not the least in any way, the resident’s bedroom. Plaid royal blue sheets concealed the California king bed that looked only partially inhabited on the right side. Dirty clothes covered the pale carpet like hot lava at the center of a volcano. Treading lightly in order to keep everything undisturbed the special agents move to the only window in the room which was on the other side of the enormous bed. Vivid scratch marks are present making it seem as though someone struggled to pry it open. Looking at the Earth outside the tampered window the officers gasp. A body sprawled and bleeding out lay frozen still on the hard dirt. Confused, the special agents contemplate the suicide note and the letters from the unknown source.

At first, the lure of the school choir for me was the intricacy of the harmonious blend of all its parts. The unimaginable high keys of the soprano girls coupled with the subtle harmony of the altos and the bold hum of the tenors reinforced by the rich rumble of the bass boys left me awestruck every Sunday mass. The choir seemed to be able to render every song it sang with effortless dexterity and passion; they were truly a sight to behold.

f) Violent/aggressive behavior of characters: In Pinter’s plays, menace is also enhanced by the violent and aggressive behavior of the characters. Towards the end of the play “The Room” Bert becomes very violent and assaults Riley till he dies. This sudden violent behavior of Bert indicates that menace is prevalent everywhere. Nobody can bar the menace from entering his/her room as menace is both physical and abstract in form. The seemingly quiet Bert had been nurturing an intangible menace of jealousy and racial discrimination in his mind for long which found its release at the slightest provocation i.e. the sight of the negro, Riley. After Riley’s death, Rose becomes blind and it is clear that the relationship between Bert and Rose will no longer remain as it used to be in the past. Likewise, in the play “The Birthday Party” the erratic and

It is important to pay attention to the style of the play for enhancing its discussion. Harold Pinter is commonly associated with the movement called the Theatre of the Absurd. Dramatic works of this movement have their own philosophy and differ a lot form traditional plays. Dialogues of characters very often lack logic and require from the audience to make their own conclusions and conjectures. At