The Theme Of War In Trojan Barbie

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

When people think of theatre they usually think of acting, directing, and maybe script writers. They would correct, all of those disciplines are part of theatre but there's more to theatre than just that; however, due to personal interests those specific disciplines will be exactly what this essay is about. What most people don't think of when they think of theatre is how much thought is put into it. The different type of methods, not just for acting but, for directing, and script writing as well. Everyone has a different method of running a show but this paper will discuss some of the legendary people that have influenced theatre the most.

Over the past years a lot of archaeological and literary evidence has helped us gain a better understanding of the history of Troy. Much hard work has gone into the excavations there by many archaeologists, and many interesting artefacts have been found. The story of the Ancient City of Troy is a great one, however many people believed it didn’t exist and that Homers Iliad, the story of the Trojan War was just some story. This has since been proved untrue as the city of Troy was discovered, and the pieces of this amazing puzzle have fallen together. Homer described Troy as an exceptionally large city with large high powerful walls, wide streets, twisting paths and large houses. Some of the archaeologists that have contributed to the

The scenes and props complimented the attire of the performers, blending together create a magnificent display. The scenery was realistic enough to afford the viewer an escape into depths of the show. The setting was beautiful and the structures almost lifelike, excepting the absence of a front screen door. It seems that almost all plays and television shows I have viewed neglect this detail. The stage lighting played a key role in the show by setting the mood of the performance during soulful, pensive songs. In contrast, the lighting proved to be a detriment by overbearing the performance of the artists, in that one’s attention was drawn to the glare of extreme quantities of makeup rather than the actions of the characters. This was most notable during the final portions of the production.

According to the Encyclopedia source the Author Mark Cartwright defined the Trojan War as the way the Ancient Greek culture was viewed up to the 21st century. It depicts the story of gods and heroic warriors and offers acumens into the warfare, customs, religions and attitudes of the ancient Greeks. “The war was also the subject of a long oral tradition prior to Homer’s work, and this, combined with other sources such as the fragmentary Epic Cycle poems, give us a more complete picture of what exactly the Greeks thought of as the Trojan War” (Cartwright).

In Dead Man’s Cell Phone there were a lot of design elements in that helped express the time, location, and underlying theme of this play. They were shown through the set and costume design. However, costume design is different as to where it is more personal and gives us more information about the character and how he or she contributes to the play. These elements are space, line, shape, form, color, texture and Light. Through using examples from the play, these elements will be used to describe what the set and the props say about time, mood, season, place and character.

The live performance I have chosen to write about is ‘Warhorse’ which I saw on the 3rd February at the New London Theatre. In this essay, I am going to explain and analyse how the staging and the lighting together created the different atmospheres and moods such as fear and tension. Throughout the play, numerous themes are illustrated such as the barbarity of war and the cruelty of man. The themes of loyalty and hope are also illustrated and portrayed. Not only did the set and lighting help portray these

Costume designers begin delivering the idea of the writer by setting up the time period, location, social class of characters,as well as stating who is the main characters who tend to wear the most extravagant clothing. The costumes tell audience that this character is of this social class from this age in this type of society. For example, Nora would wear the most extravagant dress compared to Kristine in order to show that Nora is the main character. Similarity, the students of Fermi High would wear attire that shows a 50 style school kid attire, while Jonny with his famous black leather jacket shows his bad boy main character attributes. Both in a play and musical the set designer plays a role in the delivery of the time era and place of these specific events. Set designer has to create the inside of Nora's house, which shows a realistic house, while also creating the design of a high school in the 50s. The main difference is in Zombie Prom is that they were many shift of scene from a high school to a radio talk show to a high school prom. A musical uses changes of background in order to give it more liviness and energy and may even shift the background during a musical number to give a sense of wonder to the audience, while a play will keep the stage the same because plays use stage to set the time and space giving it a realistic attribute, but not part of

In Trojan Women there were so many different elements in the play that made the production successful but the one that stood out for me was the costuming. It was very convincing to the audience, and it added a necessary element. So in this paper I am going to write about the how the use of costuming demonstrated how the social systems/ economic systems were set up in the ancient times. Right from the get go, we could see the different socials classes from the colors of the clothes they wore.

On Friday, November 6th, 2015, I went to Delaware Theatre Company in Wilmington, Delaware to see “Playing the Assassin” with my grandmother. Prior to viewing this show, I was not as excited to see this play as I would normally be because it was based on football which is not my forte. I expected lots and lots of action and loudness due to the fact this play was about football. In this paper, I will be discussing sound, acting and costuming.

The existence of a war in Troy is undeniable; however it is not the Trojan war of Homer’s Iliad. It is believed that Homer’s account may have been based on a real event therefore having some truth but due to the mythological nature of the source, the unreliability of oral transmission and the exaggerated romantic theme, the account is not a valid source for historians. Written evidence such as the Hittite records and the different theories presented by archaeologists Schliemann, Dorpfield, Blegen and Korfmann strongly suggest the occurrence of a war in troy and have some links to the Iliad. Despite these links, there is only enough evidence to support the existence of a war in Troy but not explicitly Homer’s

More than eight centuries ago, Gods and Goddesses lived among mortals, controlling every aspect of life. For every act of nature, rain or sun, war or peace, there was a God who was responsible. In the early centuries, religion was often considered the most important aspect of life. Mycenaean Greeks (Spartans) and the Trojans believed that the gods they prayed to were at war and because of this, they were at war too; this lasted for ten bloody years. In brief, the Trojan War began when the Supreme God of the Olympians, Zeus was asked to

Every staging of a play is irreplaceably different and tackled in unique ways by creatives involved. Unmasking Theatre Design by Lynne Porter aims through exploration of various approaches to the creatives processes to decipher the key steps an aspiring designer can follow to create work which reaches its maximum potential. Through detailed analysis of every aspect of the design and creative processes, Porter creates a blueprint to understanding the theory behind this work and investigates different strategies and exercises that can be utilized to move passed any roadblocks that occur when you move from theory to practice. Broken down into 5 sub-sections; theatre and design,

The most first and most important step in designing costumes for a show is to discuss the overall artistic vision of the show with the director. Interpretation of the text and the resulting goal of the production will guide the artistic design of the show, from the set and costumes to props and acting. Eleanor Fuchs’ essay “EF 's Visit to a Small Planet: Or Some Questions to Ask of a Play” provides an analytical framework that can be applied to any play to help determine the nature of this interpretation. When this framework is applied to Marlowe’s The Tragical History of Doctor Faustus, it is possible to consider how design elements, such as costumes, might change the overall audience interpretation of the play. Design choices provide details that aren’t specified in the text alone, which can direct not only the audience’s overall interpretation of the show, but also their

In UF’s production of The House of Atreus, the costumes aid the audience in discovering the role of characters in society, while characterizing their personalities and giving insight on the time period. This paper discusses two categories of characters in The House of Atreus, and Alyssa Couturier’s costume designs for them. The royalty featured mainly upstage, including the Clytemnestra, Agamemnon, Aegisthus, Cassandra, as well as larger groups, including the male chorus, female chorus, and the furies. Both categories had distinct choices made to differentiate them from other characters, but connect them to individuals in their group. Couturier used a wide array of materials and silhouettes to create striking scenes and give insight to dynamics of the play.