The Fourth Wall Film Analysis

In the 3rd century B.C. a philosopher Aristotle formed what he called the “Six Elements of Drama,” which are thought/theme/ideas, action/plot, characters, language, music, and spectacle. Little did he know that two millennia later, we would use these guidelines in order to evaluate or develop an exquisite play. Twelve Angry Jurors followed these guidelines to pull in their audience and cause them to be attached to characters or intrigued by the plot in such a way only a play of high excellence could. This play was performed in Merrol Hyde Magnet School. Twelve Angry Jurors demonstrates the excellence in the thought/theme/ideas, action/plot, characters, language, music, spectacle also known as the “Six Elements of Drama”

In times of great cultural stress, theatre can form a platform to lead a conversation and to invite a community to discuss the central issues at hand. Kenneth Lin’s Warrior Class seeks to do just that. However, before any social dialogue can be incited, a playwright must, not only understand the issues they wish to talk about deeply, but also have the technical skill necessary to achieve the desired effect on an audience. In Aristotle’s Poetics, Aristotle defines the elements of dramatic form that can create a play that truly acts as intended. For example, plot is a series of incidents, or scenes, while characters are driven by dramatic actions; needs, wants, and desires. A new analysis of Aristotle’s definition of plot defines it as the playwright’s politics. Lin uses all of these devices within his play to, not only provoke an audience into thinking clearly about themselves and understand their own motivations and relationships, but to also get an audience to think of their larger responsibility to the community as a whole. Articulating the thought of a play is not solely the playwright’s job, though. The production itself must do what it can to communicate these ideas to an audience as seen through the Lyric Stage production of Warrior Class in Boston.

The point of this paper is to show how the chorus in Greek Theater tragedy performances affect the way the play Antigone is performed. Through the use of mask, staging, and speech, Sophocles best distinguishes the chorus.

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

.the movie was called psycho the original version). The year of release was in 1960. the principle characters are Anthony Perkins, Janet lei and Vera miles. 2. conflict of the film is that this lady gets all this money and the police is looking after her so on her getaway mission she hides out a hotel and it comes to find out that the owner of the hotel is a killer.

Since the theater perforce exaggerates, amplifying its pathos and stylizing its diction, it takes a specially marked degree of amplification and stylization to dramatize the theatrical, as Schlegel realized. Conversely, when matters pertaining to the stage are

The chorus is an essential feature of Greek classical drama. Instances of various types of dance, singing, and speech are some elements of a Greek chorus. “Composed of similarly costumed men, they performed on the orchestra located beneath the stage. The chorus stayed in the orchestra for the duration of the performance from which vantage point they observed and commented on the action of the characters.” Oedipus is a play written by Sophocles, a respected playwright, and it is “generally assumed that the main function of the Sophoclean chorus is a philosophical one; that it serves above all as the spokesman for a certain view of life.” The chorus can be dramatic in the following ways: “through the personality of the group forming the chorus and the appropriateness of their relationship to the action and the characters, through the iambic lines spoken by the coryphaeus, through physical participation in the action and through the choral songs.” The chorus is an important component of the Greek Tragedy Oedipus. Aside from its responsibility to effectively represent the people of Thebes, the chorus in Oedipus has a powerful influence over audience perceptions and emotions.

In ancient Greek plays, the role of the chorus was to sing lyrical passages. The lyrical passages were set up

Breaking the fourth wall is a technique implemented in works of fiction where a character in some way crosses the invisible barrier between themselves and the audience, thereby acknowledging that they are aware of the viewer’s presence or the part they play. The term originates from stage theatre, where a typical set would be compromised of three physical walls with the fourth being the open space between the performers and the audience. The acceptance of the empty area as a fourth wall is part of the suspension of disbelief that allows the audience to enjoy the fiction as though it were reality. It is when someone on the fictional side of the relationship breaches the silent agreement that the wall is broken. In film and television, the transparent

Greek theatre and medieval drama were both very popular artistic events in their own periods of performance. However, from ancient Greece to the renaissance, time has set them apart in terms of methodology; their practitioners use a creative process based off of different mindsets. Therefore, the significant time lapse between the two genres has had an evident impact on the way theatre was perceived and presented. In comparing aspects such as religious motivations, conditions of violence and character development, the distinct theatrical natures of Greek theatre and medieval drama will be made apparent.

Our choice to tell stories should exist in the same moment that we identify an audience who needs to hear that story – now, in this context, in this time, and in this medium. The best relationship with an audience begins dramaturgically, at the beginning of a rehearsal process. We must ask: How can we keep our minds open to the audience we have and also to the audience we want and the audience with whom we hope to collaborate? How do we enter a community and work with new people, learn from them and hope they learn from us? Partner with our similar goals and share resources. Work with them and never for them. Theatre isn’t a service—it’s a

The possibility that the glamour of Hollywood evolved from an ugly goat creature, transpires as not very prestigious; however, this actuality may not be too preposterous. Various commentators have puzzled over the intertwining of the theater originating from both “tragedy” and “comedy.” Perpetually, its first phase becomes appropriately formulated from the Greek Tragedy Plays; which follows after the shadows generated by Pan.

In answering this question, I will look at the question in two ways. Firstly, I will look at the role of the chorus objectively, examining the basic role of the chorus in the play, and looking at the role of the Chorus as Sophocles would have intended the role of the Chorus to be understood. However, I will then look at how I think the Greek audience would have perceived the role of the Chorus and then how the role of the Chorus is perceived today by a 20th century and examine the key differences in the two different sets of perceptions. Finally, I will look at the importance of the role of the Chorus to a 20th century audience and a Greek audience respectively.

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.

In today's busy world, people usually struggle to find time for fun and a way of relaxation but when it happens, they often spend it on entertainment. One of those forms of entertainment is watching stage or film productions. Theatre and film have lots of aspects in common and depend on each other, however, they involve differences. People choose between theater and film based on factors and their own preferences. The purpose of this essay is to compare and contrast between those two forms of art.