Essay on The Language of Performing Arts

The actor must recreate his work, each time he repeats his part, with sincerity, truth, and directness. It is only on that condition that he will be able to free his art from mechanical and stereotyped acting, from “tricks” and all forms of artificiality. If he accomplishes this, he will have real people and real life all around him on the stage, and living art which has been purified from all debasing elements. (Constantin Stanislavski)

Set design is another key visual element of theatre production, as its primary function is to create an environment for the performers and audience, set the mood and style of the production and establish the locale and period in which the play takes place. Set design was practiced within our in-class workshop as we constructed a design of the Lennox Theatre stage, assembling the stage setting with the use of a cardboard box. We constructed a set design with the use of cellophane for the coloured stage lighting and small cardboard cut outs for the objects that were on stage, the stage setting we created re-contextualised the setting of Macbeth to suit a much more modern approach and audience. The element of visual production for set design can be used to communicate the ideas of royalty and power explored within Macbeth and can be modified to suit a modern day

“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)

4. Performing: Performing, occurs when the group has matured and attains a feeling of cohesiveness. During this stage of development, individuals accept one another and conflict is resolved through group discussion. Members of the group make decisions through a rational process that is focused on relevant goals rather than emotional issues.

Having knowledge and involvement in both the acting and the technical aspects of theater, I expected the production to deliver a qualitative performance that gave its audience the full experience. This experience is achieved by the elements of theater such as acting, lights, sounds, props, costume and set design

One of the wonderful aspects of live theatre is that no two productions will be alike. Even productions of the same play will vary, sometimes to a great extent. The choices that the different actors and directors make changes how the audience interprets and understands the play. Costumes are one of the elements of a production that vary, and costume choices and design can vary greatly, but can give the audience an abundance of details about a character. Secondly, the way an actor delivers his or her lines vary, and can change the meaning of the line depending on how it was said. Lastly, the most noticeable element of a production that varies is the set, and this too can provide a wealth of information about the characters. These elements may

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

To truly come to life on stage, he believed the actors had to express true human emotion, and to achieve this he encouraged them to bring their own life experiences and feelings into the theatre. In addition to emotion memory, Stanislavski understood that although achieving authentic human emotion was important, the actors had to remember that they were still playing characters on the stage - not themselves. He therefore created exercises that allowed actors to explore the motivations of their

The work of a team and active participation craft the stage performance. Beyond the actors onstage, designing the set, costumes, lights and sound all cause a massive influence on the audience’s experience. Viewer’s unique opinions can alter and influence actor’s moods, characterizations and in certain venues, their reactions can affect the story. Improvisation or interactive theatre rely on people from the audience, sometimes for their creative input or for them to join actors onstage. However, in traditional theatre, performances can change in small or large ways dependent on audience reactions; humor can be tweaked or minor costume changes if certain aspects “just aren’t working.”

The concept of Authentic Performance (“AP”) is an artistic ideal involving playing a piece of music as

In the unceasing act of time, change is considered a mutually exclusive act on the world, its unprejudiced nature therefore unifying elements of our world through the basic understanding of transformation. Such transformation has may be clearly seen in the tradition of art, as medium, material and subject have refined, added, and evolved preexisting notions of art. Since performance art’s introduction as a legitimate method of artistic expression in the early 20th century, it has become a implicit in the world’s unbiased action of change, and therefore has evolved in the passing of time. As performance art was created in part to challenge orthodox norms within art and culture, as the world’s evolution lead to more nuanced understanding of

Therefore, understanding the very concepts of performance types themselves, is a lesson in understanding literal different systems of framing. A staged performance has been rehearsed, the participants work towards the same predetermined objective. Also, risk is minimal because it is artifice. Whereas in real life, each individual’s motivation, objective and end goals can differ. Real life contains self-reflexivity that theatre does not as it is an artifice (the character’s reflexivity is a rehearsed and predestined contrived by actors, writer and director). The theatre can be a liminal space to prompt reflexivity.

Each day in our daily life is filled with a variety of new events, activities and happenings . On many occasions such events stay captured in our minds as we start to reminiscent about them sub consciously and somewhere relate them to our lives. Art carries that magic which allows us to express our emotions and feelings so freely . If I watch a wonderful live stage play or a live musical performance , that would be the amazing genre of performing arts experience for me. Going to a museum for example would give me the experience to explore the historical and cultural roots of art . Watching an animation cartoon on television or preparing a collage of fond memories , each carries significant form of art . A piece of an artifact or a painting

9' This content downloaded from 216.7.224.227 on Mon, 15 Aug 2016 13:45:23 UTC All use subject to http://about.jstor.org/terms 92 Anthony Kubiak which performance and performativity arises and is problematized because it is the site of the obvious, of repetition or "the scripted." Said another way: the- atre, the "seeing place," is the site of distancing, of what we might call, emerg- ing from consciousness, Brechtian alienation or critical thought. Theatre, then, as I am using the term,2 often seemingly subtends theory, apprehends it--some- times proleptically, like Artaud's "hairs standing on end"-and sees both itself and its theory through the illusions of thought, or thoughts of illusion. And yet theory-as in Butler's work-often assumes itself subtending or demystifying theatre when, in fact, in assuming such an illusory, "transcendent" position outside mise-en-scene, it is frequently apprehended by theatre, especially when it fails to take theatre into account. When this happens, the distance closes, as Brecht understood, and we can no longer see theatre, though it is still there, peering through the

This book is designed to examine the relationship between scenography and performance, and is another collaboration of works by different experts. Although it does mention different types of space in the first section after that the purpose of the text is to highlight the possibilities for theatre in the future thanks to technological advances and new media. This again meant that it was only the initial section of the resource that I felt able to use for my work. Thanks to how it breaks up space I was still able to apply this to my analysis of Freeman (2017). Its ability to divide space into its different theoretical capabilities helped me to do the same with the performance and see how they had utilised the space to the advantage of the story. A clear description of what performance space is and how it can be applied to a performance is given in this book. “The potentials of spaces for performance are necessarily spaces where reality and illusion are both a simulation of the material world but also, and simultaneously real” (Oddey and White, 2006: 15) highlights how the space can be used for both the real and the illusionary in theatre and helped to tie my section about space into the analytical framework of phenomenology which our group also discussed.