Sleep No More, Directed By Felix Barrett And Maxine Doyle

Punch-drunk is a British company that performs a wide variety of theatrical performances and transforms them into the wild and the peculiar. It was founded in 2000 (En.wikipedia.org. (2017) by Artist and Director Felix Barrett, who was award an MBE on July 5th 2017 for his work in the theatre industry (Anon, (2017). The Company has been producing shows for 17 years, taking classical storytelling and adding their own twist on the story. The stories are then turned into real-life pieces that are not staged in a typical classical theatre, but in various locations that are well-suited to each part of the story for example, an old warehouse or an ancient asylum. This gives the audience a sensory perception of the world around them and presents them with a joyful experience of witnessing a story told in a way that’s not just the lifeless classical proscenium arch stage layout and more of a place where they can watch the action at different angles taking audience awareness out of the picture and applying the “Fourth wall technique” used by Dennis Diderot (En.wikipedia.org. (2017). This keeps the audience on edge and scares ordinary audiences away from Punch-drunk as the work that they produce is regarded as “out of the ordinary “by most classical theatre audiences. Some of the parts of the story contains physical theatre (Punch-drunk (2017). making the performance non-naturalistic and naturalistic, simultaneously.

William Shakespeare’s masterpiece, Macbeth, is a tragedy brilliantly brought to the 21st Century by Rupert Goold. Although Shakespeare’s Macbeth is a play set in 16th Century Scotland, Rupert Goold modernizes the play by changing the setting to a Soviet-styled country and implementing modern elements into the characters and theme. Although Shakespeare’s Macbeth and Rupert Goold’s film adaptation share many ideologies and a general storyline, a difference exists in the setting, the characters, and the overall ambience of the story.

On February 18, 2017, I attended a play production at the Bean Brown Theatre located at Shelton State Community College. The name of the production was The Real Queen of Hearts Ain’t Even Pretty. As a spectator of the play, with no foreknown knowledge of its content, I enjoyed the play. It had many comedic components.

This is a must watch Broadway show that makes your fine, terrible, or even boring day, an absolute blast. The Play That Goes Wrong has finally made its way to America and right at the heart of New York City near Times Square at the Lyceum Theatre. Therefore, the experience is a win-win situation for the audience. The Lyceum Theatre’s architecture is astonishing as it is filled with ornaments, I also realized the letter ‘L’ around the theater, but the most interesting fact is that it is a landmark. It has a proscenium stage while the audience is in the orchestra, balcony, or the mezzanine seats, like where I sat, and there is barely any space if you are a tall person. My seat was near the far end of mezzanine, I couldn’t see a part of the left side of the stage, so I found myself bending sideways to see what was going on, but I saw nothing. I found the side stage lights and a side balcony blocking my view and yet I had a great time.

Shakespeare's tragedy, Macbeth, is a play that transcends time due to its timeless and universal themes. The themes presented in this play are just as relevant to modern audiences as they would have been to contemporary Elizabethan audiences. The play has been able to maintain its textual integrity, withstanding the fact that it is now performed out of its original context to remain a successful play for modern audiences. The issues of heroism, abuse of power and the deceptiveness of appearances are all key within the play, conveyed through the use of dramatic and literary techniques, are issues which still resonate with contemporary audiences. Shakespeare has tested the parameters of the conventional tragedy that was extremely popular during his lifetime and in doing so has created text, which is still relevant today.

In the play ‘Macbeth’ written by William Shakespeare a dramatic scene in the play is act 3 scene 4. In this scene Macbeth and lady Macbeth hold a banquet with the royalty of Scotland. Macbeth hears news of Banquo’s murder and Fleance’s escape and is approached by Banquo’s ghost causing confusion within the guest and fear in Macbeth. Through the use of Language, irony, stage direction and the contrast between Macbeth and Lady Macbeth Shakespeare is able to powerfully create dramatic scene.

In Macbeth, Shakespeare sets the themes of seduction, ambition, and deception amid a correlating backdrop, whether you are giving chase on a battlefield, standing in foul weather, or seeing apparitions of bloody daggers we sense danger from the opening act. The play commences with ominous

Before I watched the play, I expected it to be terrifying and nightmare inducing, using different dramatics elements to strike fear. I was unsure on how they’d effectively use minimal props and actors and the final scene where the wife and child died. I thought that the timing of the performance would

Macbeth is a very disturbing and dramatic story. Throughout the play, more and more unfortunate events happen to the characters. This plays into the very dark and dreadful feeling of the whole story. The felling also brings dark and even true to life themes within the story.

Macbeth, by the playwrite William Shakespeare, is one of his most amazing tragdies and additionally one of his most well known plays. The play has picked up infamy (being great known for some awful quality or deed.) for the mischances that occurred all around its numerous stagings to such an extent that it is otherwise called "the Scottish play" to keep from needing to say its name. The spooky Lore surrounding the showing of the play is fitting given the events that take place throughout the plot.

This section of Greenblatt’s book describes the the skillful and deliberate way in which Shakespeare and his company, the King’s Men, developed their play, Macbeth, in order to cater to the chaotic environment of Jacobean England around them. Primarily, the text focuses on how the play was adapted to fit the needs of King James most importantly, but also the needs of society and functions as a “collective ritual of reassurance” (337). Shakespeare starts by taking into account the king’s past of murdered parents and fear of sorcery to shape his play around. By watching another play by Matthew Gwinn where “the king's pleasure must have been evident,” Shakespeare alludes to a few aspects in Macbeth, for example the trio of welcoming witches to

When dealing with scene II act II from Macbeth, we can’t miss Shakespeare’s mastery in stagecraft. This story of crime and punishment culminates here in a climax of horror and terror, which exposes to the 17th century spectator the features of the two plotters of Duncan’s murder. Thus, the audience are invited to attend the inevitable and tragic downfall of these protagonists.

Macbeth   Sleep is a time when our minds are at rest and the subconscious comes out to play.  Sleep is oftentimes considered the place where we are able to see into our future and perhaps figure out how to solve our problems.  Sleep is also what heals and cures our minds and bodies.  Without sleep we slowly begin to disintegrate.  Mind and body no longer cooperate without the healing force sleep brings with it.  Shakespeare uses sleep both as a reward and as a consequence in his plays.  If a character is innocent and pure, he is allowed restful, fulfilling sleep.  If the character lacks these traits of goodness, he is condemned to a lifetime

Dramatic techniques play significant roles in William Shakespeare’s Macbeth, allowing for the idealistic perception of the historical audience to develop into a further empathy with the characters in Macbeth. Shakespeare achieves this by playing on beliefs held in that era, such as the Great Chain of Being, and interweaves them to bring further emphasis to his themes of ambition, masculinity and the conflicting moralities/idealisms in fair and foul actions/in what can be defined as fair or foul.

As a virgin to The Shakespeare Theatre, I was pleasantly surprised when my recent encounter with Macbeth was a stimulating and enjoyable excursion. The two and a half hours I had predicted to be less than enchanting were filled with symbolism, and an overall attitude towards the Shakespeare classic that I had never contemplated before.