Voice In The Phantom Of The Opera

He makes the audience feel like they are apart of the play. There are a few instances where the characters are talking to members of the audience. The narrator even portrays characters in the play. Emily and George were married by the narrator. The narrator does not use order when discussing important moments in the play.

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

In examining the libretto The Phantom of the Opera, the interactions and attitudes of the characters, and the language used, I will show how the Phantom’s obsession over Christine, although at times destructive, leads to his change from an evil and selfish villain, to a remorseful and compassionate hero. To understand the psyche of the Phantom, one must first have a brief overview of the play.

The Breakfast Club is such an interesting movie to use with this topic. The wide range of characters allows for a variety of different interactions. The way we are going to approach this, is to look at each character and examine the different interactions between.

11. Point out some moments in the play when the playwright conveys much to the audience without dialogue

In studying William Shakespeare’s Twelfth Night, or What You Will, it becomes clear that the theme of “Inside/Outside” is visible at many different levels. One of the comedic methods applied is the mistaken identity of Viola and Sebastian. Another case is Malvolio’s sudden change of character and clothes. Furthermore, Feste, who acts as a professional fool in the play, turns out to be a bright and wise character, against the expectations of the readers. Without these important elements where the characters show to be entirely different on the outside than on the inside, the play would be less intriguing, and moreover, they are essential to develop major scenes.

Othello’s race and regression of speech (from calmness to rudeness), Iago’s victims (Othello, Desdemona, Cassio, Roderigo, etc.) being unravelled with manipulation and slyness, Desdemona’s struggling voice and false blame, etc., all participate in the damage the “power of language” causes. Therefore, by exploring the three language devices – “words as power”, “words as character” and “words as conversation” – it is possible to conclude that the language devices are used significantly in the play, “Othello”, because the human behaviour of the characters (Othello, Iago, Desdemona, etc.) is either positively or negatively influenced, and their characteristics and destinies are

2. The Devil intervenes within the scenes of light and purity by shouting his threats. By using such extreme differences in vocal technique, the essential message of the morality play is shown here.

“Friends, countrymen, lend me your ears.” This line is said by Mark Antony to garner the attention of his countrymen in arguably one of Shakespeare’s more popular plays, Julius Caesar. The iconic line is one of Shakespeare’s better known addresses. In his plays repetition functions as an indicator of something to which the audience should pay particular attention. Specifically, in the play Othello, the repetition of the word “friend” is relevant and draws the audience’s attention to relationships of a superficial or forced nature, as the relationship between Othello and Iago, Cassio and Bianca, and as a rhetorical device. Through close reading of the play, one sees that “friend” functions as a versatile device used for manipulation.

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

Nearly every character in the play at some point has to make inferences from what he or she sees, has been told or overhears. Likewise, nearly every character in the play at some point plays a part of consciously pretending to be what they are not. The idea of acting and the illusion it creates is rarely far from the surface -

The changeable use of voice by the actor in this production was used to show his volatile character. Critics of this early play comment on the straight-faced that Lear conveys while asking the question “which one of you, shall we say, doth love us most?” The replies from Gonerill and Regan are given an absurdist notion by the bizarre over-reactions. Their realistic language is contrasted to their two-faced body language.

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 passage to be studied is from Act 3, scene1, from the play, ‘The Duchess of Malfi’. The importance of this passage, and where it fits into the play, is explained in the first paragraph. The following paragraph will highlight some of the distinctive features of its language, starting with the beginning of the passage and comparing it to the end of the passage. The analysis of the text will cover rhythm, sounds, punctuation, repetition, alliteration, enjambment and caesura. Using these techniques Webster helps the reader to extract meaning, characterisation and the themes of the play. Finally, the third paragraph will show how the distinctive features of the language can be translated into performance using lighting, tone of voice, props, costume, sound and space. The language used in the text of the play is the source to its meaning and performance.

‘When no words have been spoken, one is in a state of modesty which allows words to be born out of silence’ (Lecoq, 2009: p29). Acting without words is something we initially struggled with because as a performer we rely on our speech to convey stories and emotions. Yet when creating a physical theatre piece the best way to begin is without the voice and instead tell your stories with the body alone. To do this we turned to mime ‘American mime actors perform symbolic actions and express the feelings of their characters honestly through motivated movements they call form’ (Poetry of motion!, 2011) While working with this type of mime in rehearsals it is important to remember to not only convey what you’re are trying to say or story you are trying