example supporting notes for drama and theater studies on devised piece, physical theater style

acques LeCoq, a French practitioner and Augusto Boal, a Brazilian practitioner both aim to take their actors and the audience on a journey of discovery. Both Practitioners believed in ‘Freeing’ the body and making it ‘De-mechanicalized’ to enable full interpretation. LeCoq and Boal both use emotion, imagination, extensive body movement, playfulness and political matters to create their methods of theatrical practice.

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

On Wednesday, October 11th, at 7:30 pm, Doug Varone, and Dancers, of his Company, performed at the Modlin Arts Theatre, located in Richmond, Virginia. The artistic director of these performances just so happened to be, Doug Varone, himself. I watched several dances throughout an evening's length performance. I developed a theme for each performance, by connecting them through various factors such as, movement, music, and staging, and performance. I feel that each dance together, hinted a sense of fear, isolation, and then freedom. Although there was connectivity in the dances all together, they each rendered a story of their own.

As regards the delineation of the characters on stage and outside, the spectator is invited to pay attention to what is said and what is left unsaid, to what is revealed consciously or what is betrayed by the delivery of each of them, their gestures whether coordinately or impulsively performed.

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

After having initially finished a lot of our scenes, we decided to revisit them to develop further, in order to portray each scene in the most creative and captivating way. The first scene we modified, was the opening of our performance. Originally, we had planned to have an arrow head shape down stage centre, made by all of our group members standing in this formation. From here, we were going to use a technique learnt from a theatre company who visited our school, called ‘Paper Birds’. This technique involved narrating an overview of the story, by using emphasised vocals to show how the mood changed throughout the story.

In the intro to The Dramatic Imagination, John Mason Brown wrote that Robert Jones’ theatre was “an extension of life, not a duplication, a heightening rather than a reproduction” (Jones 1). Of course, we know that plays are about ordinary people in extraordinary circumstances. However, Jones poses the question of what can designers do to heighten the “extraordinary circumstances” to the audience without interfering the message of the show? The Dramatic Imagination focused on most aspects of artistry in the theatre, including actors and designers. As someone who does not consider myself a designer, but is an actor with a liberal arts education, this was more helpful than only focusing on scenic design. Furthermore, it supported the need for intense collaboration between all theatre artists when working on a show, a highly valued characteristic of mine.

The message and theme of the play positions the audience to feel sympathy and sadness.

For decades people found theatre one of the most enjoyable form of entertainment all across the world. With every play comes a cost. A value which somebody's story is told. Obviously it can be comic drama or despairing,. Each second of these plays are genuinely delightful and exceptional. Where the performing artists show a totally distinctive side of characters to the group of onlookers where they demonstrate to them something new and pleasurable. And behind the theatre and its plays is one person who keeps it all in check and that is the director. The director is like the heart of a person. You don’t see the heart but you know if it’s doing its job correctly

My mom and I were seated on red felt wooden chairs in the opera box above downstage right; basking in the anticipation of the start of the musical. The smell of the theater was musty, almost like a library. It even had those rays of dust and light that you see in old libraries. Looking onward, I saw the monitor in which Alex Lacamoire, the conductor, directs the actors and musicians. Closer to the balcony, huge metal spotlights hung, all containing the magical power to change a minimalist wooden stage into a bar, then a field, then a closed room in a restaurant, and finally the Weehawken dueling grounds. The feeling of excitement and glee was palpable. I looked at my mother, whose eyes were glued to the stage. In that dim lit arena of instruments,

The structure of the play, with its climactic plot and revealing language, keeps the audience engaged and invested in the

Olafur Eliasson developed the visual concept for the stage design of the 2015 contemporary ballet ‘Tree of Codes.’ The overall concept for the ballet was developed and executed in partnership with acclaimed choreographer Wayne McGregor and award-winning music producer and composer Jamie xx. ‘Tree of Codes’ takes the audience on an immersive journey that combines modern dance, visual art and music in a way that has never been seen before. It was collaborative effort by Eliasson, McGregor and Jamie xx to create a new take on multimedia dance performance triggered by Jonathan Safran Foer’s work of the same name. Jonathan Safran Foer’s sculptural object is essentially the Bruno Shultz’s story ‘Street of Crocodiles’ that has been cut down and redacted

October 23, 2016 Lesley Telford and Project20 performed at the Roundhouse Performance Centre, presented by Dance Allsorts. Two ensemble works with a history and structure of similarities as well as differences. This mixed program was an exquisite society physicalizing emotion and concept in very technical vocabularies. My personal experience with this show has much to do with my prior knowledge, connection to the artists involved in Lesley Telford’s work, as well as my uninformed and non-preconceived perception of the work Project20 by Donald Sales in which I only knew anything about from the program I got handed at the door. Lastly, a question and answer period after the performance which became a part of my experience and critique of the

“…Then you realise that theatre is a more personal experience.” (Stephen Atkins, Dante’s Inferno Director) After viewing Zen Zen Zo’s physical theatre reincarnation of the

With reference to your text identify what response your play write is aiming to elicit and how you as a director would realise this in performance.