Stage Combat Impact

When you step on the rink you should only have one thing on your mind and that is to win. There is no reason for anyone in any professional sport to go onto the playing surface with intention to injure someone else out there. They do not get paid to hurt people they get paid to play the game just like teachers get paid to teach. When the players drop the gloves they do that knowing they are subjected to injury, however that is a part of the game that is against the rules and could result in an injury but both players are aware of what is going on. A sucker punch or a stick over the head only has one of the players aware of what is happening and leaves the other one subjected to major injuries.

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

This falls mainly on the defensive player, the player that is delivering the hit. When playing football everything happens in a flash. You have only a few seconds to react to everything going on. The defensive of player goal is to prevent the other team from scoring at all means possible. If they can’t break up a pass before a receiver grabs the ball the only other option is delivering a blow to the receiver to stop him from gaining more yards. In the result of this he may launch himself at the receiver and make contact in the upper head area. In football this would be considered a defenseless receiver depending on the case but it is still hard when playing at full speed to determine this. This also takes away from the physical aspect of the game having to think where and how hard you can hit someone when running 16-20 miles per hour and weigh 200 or more pounds. Some players jump off the ground with over a thousand pounds of force meaning if they jump off the ground into another player it will cause some serious pain. This is just player playing and it’s kind of

The first big issue is that players are all geared up, to the teeth, literally. From helmets to neck guards to mouth guards, we don’t expect that any amount of force is going to cause enough trauma to cause any damage. But

Dividing the stage was effective because it emphasised the actor’s use of proxemics and showed the different rooms. There was also a staircase that contributed to the actor’s use of levels. They also used the apron of the stage by placing planks across it; there was a particular scene where this was effective when Kipps suddenly fell down a hole in the planks. At the beginning they used the space effectively when the actor came out of the audience, it made the audience feel they were part of the performance.

Hockey is a fast paced sport with little time to react or prepare for a hit correctly. The knowledge of knowing how to take a hit is just as important on how to distribute a hit. Both can cause significant harm to both players if not done right. The biggest rule to follow when you are about to get hit is to have a low base. This means to have your knees bent at about ninety or so degrees and to put most of your weight on the ball of your foot. This way your center of gravity is lower and you have more balance. This also protects more of your limbs from getting hit. As opposed to standing up with makes you unbalanced and prone to worse injuries. Another crucial part of the game is how you give a hit. Many clinics have been set up to show how to properly hit, but boys tend to ignore the rules and just try to hit someone has hard as they can. This is why during practice during the regular season it should be practiced on at least once every week or two weeks. But even the knowledge of how to hit and how to take a hit isn’t enough. Proper stretching and strength training has proven to strengthen muscles and to allow flexibility and decrease injuries (Mick). More players should take advantage of doing a full, warm up before a game. This decreases chance of injury while also increasing the performance of the

In order to make this moment in the production have a powerful impact on the audience Neil made use of the stage craft elements to highlight this event in the script. The use of sound in this scene is different from the rest of the production. From the very beginning of the show there has been an underscore either mimicking the sounds of the Australian bush or playing general music but for the first time in this scene there is silence while the narrator speaks. Then after the narrator says the word show there is the sound of a drum to signify the shot of a gun, then silence before the next name is said where the audience hears another shot. This almost dream like sequence takes place on a bare stage, which is then slowly littered with bodies as the scene progress, highlighting the impact that the massacre is having and leaving the audience with an image of the natural untouched landscape being subject to such devastation.

Richard Wright's Native Son provides us with an exemplary example of the way the black race was conditioned in the 1930's. He does this by telling us about an adult black male named Bigger Thomas. Wright titles each book in the novel the way he does to give insight into the various actions and feelings of Bigger.

Deputy stage managers play an important role, by organising and running the stage productions to ensure the performance runs smoothly. The DSM role is not restricted to just the live performances. They attend rehearsals right through to live performances. During the rehearsals they will make a prompt book that has all information about the performance, meaning if the crew or cast have any issues the DSM is the person they will seek help from.

While serving in the Marine Corps infantry, it was drilled into my head that in order to win on the battlefield, one needed to strike faster, harder, and more aggressive than the enemy. These tactics have proven to be very efficient on the front lines, and have won countless battles for many U.S. troops. Though our actions on the front lines may be very effective, they are not the only deciding factors in winning the war. Without the support from the people back home, our battlefield objectives would be very hard to obtain. America learned this lesson first hand during the Vietnam war, and more specifically, during the attacks of the Tet Offensive.

According to U.S Department of Commerce, in 2008 a household of 2 combine incomes was increasingly better and well of that than a 1 household income. Consequently, income inequalities before 1950 was just as bad as it is now. In 2008, a married couple’s median income consisted approximately around 50,303, while a single parent’s median income was 4 percent less of their counterparts. It is important to note that two-parent household income matter as much as they used to. Together, a two-parent household income can provide an opportunity to be stress free from the burden of paying bills and having enough money left over for the rest of the week, also, a two-parent household income allows for the chance to put money into a saving account, and lastly, a two-parent household income creates an environment where both parents can spend more time with their children.

Using Daniel Wrights group as an example, they used sound and physical theatre in their scene. They used physical theatre when Daniel Wright and Lydia Taylor outstretched their arms towards each other to symbolise a train door. They then used sound when saying the words "This is Crewe Station" This is effective as it gave people watching a clear indication of what they were doing and how they fitted in within the scene.

Operation Market Garden was the biggest airborne operation in history. It was a real attempt to use airborne in a strategic role in Europe.

Starting off my group tried to use the list of movement vocabulary. That didn’t work out so instead we decided to focus on what our theme or story would be. Eventually we settled on two topics, unrequited love and love at first sight.

The onstage performance can be you or anyone else putting on the act. To put on an act, we need props and most definitely an audience to judge our performance. For example, there was a situation I was in a couple weeks ago where I was at a family gathering and I was talking about the upcoming fall semester. I talked about how I am going to be attending Cal State Los Angeles and East Los Angeles Community College at the same time. On top of that I am going to work at a library after school and also try to fit in time to go to the gym. My role performance was to appear like an adult, and to be happy about where I am in life. I wanted them to think I was happy. Also, that I was mature because not only was I going to be working but also going to school and having my personal time. I told them what I thought they wanted to hear, because if I complained they would have told me things like “I had it worse when I was younger