Practical Constraints

The theaters of that time did not use scenery but focused their efforts on costumes and special effects. They consistently used fireworks, trap doors, and dramatic flying entrances. Unlike today’s theaters, they were open-air and used natural light, with performances occurring in the afternoon hours. The theater’s circular structure surrounded a central rectangular stage (Thomas). The behavior of the audience often became very rowdy, joining in on the action occurring on stage, threw rotting vegetables at the actors (Thomas). This theatrical atmosphere forced him to write with an interactive, responsive audience in mind, drawing out emotion and passion in each scene

Theatre is a collaboration of various forms of fine art which utilizes live performances presenting before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The message is communicated through a combination of various channels like songs, speech gestures or dances. Stagecraft skills are combined with elements of art to make the performance more physical and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy, tragedy and improvisation. Any form of these accepts integration of various production modes and collective reception to influence the artwork being presented. As a result of this cooperation of items in the theatre

The “Ensemble Theatre” which held this great theatre play, is a very small Regional Theatre with a Proscenium Stage or picture frame (also called Fourth Walls). The Proscenium stage

The “Ensemble Theater” which held this great theater play, is a very small Regional Theater with a Proscenium Stage or picture frame (also called Fourth Walls). The Proscenium stage

This unique work of art by Madison Bragg captured my attention instantly. I was captivated by the abstract and informal form of the paintings and the colours themselves caught my attention as well- with a primary mixture of cool blue and yellow tones. I chose to do the standard discursive portion of the project, as I wouldn’t consider myself to be a particularly creative person. On the other hand, I do love and admire art and therefore I figured the fine arts section of the discursive project would fit perfectly. I really enjoyed being able to check out the art at the Owen’s Art Gallery, and was surprised just how amazing the pieces were. Upon seeing the piece, I instantly formulated an opinion on what it meant to me.

For the show’s finale, Edwards skillfully stitches together a vibrant selection of artist prints and sculpture from the museum’s collection that provide broader context for Francis’ work. They enable visitors to explore European aesthetic developments taking place during Francis’ study and artistic

Our company will workshop the project over several months with fine local and regional actors, guiding them to the truth within the given circumstances of each scene. At that point, we'll match this realistic foundation of performance with an inspired, contemporary production designer (who understands minimalism, projection and the abstract/non-traditional use of an environment) to create a freshly immediate

1. What details of mise-en-scene (the process of setting a stage, with regard to placement of actors, scenery, properties, etc.) seem to contribute to the overall mood or tone of this film?

October 23, 2016 Lesley Telford and Project20 performed at the Roundhouse Performance Centre, presented by Dance Allsorts. Two ensemble works with a history and structure of similarities as well as differences. This mixed program was an exquisite society physicalizing emotion and concept in very technical vocabularies. My personal experience with this show has much to do with my prior knowledge, connection to the artists involved in Lesley Telford’s work, as well as my uninformed and non-preconceived perception of the work Project20 by Donald Sales in which I only knew anything about from the program I got handed at the door. Lastly, a question and answer period after the performance which became a part of my experience and critique of the

At the club’s second meeting, members each went up to the document camera to showcase and give a brief explanation of three of their own art pieces. Though some might consider this type of activity to be nerve wrecking, the energy within the room was nothing but inviting. The audience was met with different reactions, ranging from bewilderment to the famous question of the night- “Was this made with

As a group, contrasting from Stanislavsky to Brecht, we selected to continually break the fourth wall, giving the assurance to the audience that what they see is fiction. In order for the audience to appreciate the art of theatre, not just the entertainment value nowadays is influenced by film and television; but the poetry, the verses, the hymns of theatre currently ‘lost in translation’ with the emergence of money-mongering

Her image as a performer comes through as a visual metaphor for equality regardless of sex, race, sexual orientation, or social status. Gaga’s work shows evidence of a strong surrealism influence that I will make a connection to in this writing. I will link together Lady Gaga’s performance persona with the body of work and study of surrealist artist and playwright Antonin Artaud. Artaud is known for being the founder of the Theatre of Cruelty movement and I will compare some performance tactics that Gaga implores that Artaud himself outlines in his book, The Theater and Its Double in his description of Theatre of Cruelty. Lady Gaga has earned her place in a long list of surreal artists of visual art and theatre history and has been influenced by surreal artists such as, Andy Warhol and Salvador Dali but none more than the ideals and performance theories of Antonin Artaud; it is this particular influence

Olafur Eliasson developed the visual concept for the stage design of the 2015 contemporary ballet ‘Tree of Codes.’ The overall concept for the ballet was developed and executed in partnership with acclaimed choreographer Wayne McGregor and award-winning music producer and composer Jamie xx. ‘Tree of Codes’ takes the audience on an immersive journey that combines modern dance, visual art and music in a way that has never been seen before. It was collaborative effort by Eliasson, McGregor and Jamie xx to create a new take on multimedia dance performance triggered by Jonathan Safran Foer’s work of the same name. Jonathan Safran Foer’s sculptural object is essentially the Bruno Shultz’s story ‘Street of Crocodiles’ that has been cut down and redacted

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

This idea is relevant because on the stage, the Restoration actress, is nothing but an ornament in the male gaze. This attitude is apparent as Thomas Shadwell links the new phenomenon of female performers with painted theatrical scenes, both innovative commodities for audience consumption: