This essay will investigate a variety of different approaches to using film by both Forced Entertainment and Frantic Assembly. Both companies claim to produce energetic, memorable and contemporary theatre and have both incorporated the use of film in their works. Although Frantic Assembly and Forced Entertainment both produce work that is placed under the umbrella of physical theatre, their ways of working and the work they produce differs from other theatre companies which also adopt this title. The two companies I will discuss have differences and similarities in their approaches to using film and have both incorporated it into their practices in groundbreaking ways. From the use of actual moving film in their stage performance, to exploring the different elements of film and exploring ways in which those same principles can be adapted unto the stage. Frantic Assembly and Forced Entertainment make claims of creating innovative theatre that offers to lure and shock spectators. Their works demonstrate that they are both in constant exploration to push and break the boundaries of how theatre is viewed today. Both Frantic Assembly and Forced Entertainment have always created theatre that is influential and relevant with the times, so it comes as no surprise that the use of film has been a big influence on the their works. I think the work has political and social concerns that emerge from the process and from the way that we work rather than political and social concerns that are bolted on. (McGuire, 2008)
Like Frantic Assembly Forced entertainment devise work that is relevant with the times and everyday life. As technology plays a big part in modern society the use of film is often demonstrated in their work. As well as using film on stage, Forced Entertainment extends the use of film during their rehearsals process.
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The duration and cost of the production have been compared to other media which provide entertainment, such as television and film. A theatre performance is more expensive to attend than cinema. The play only lasted for 85 minutes, a film can go on for two hours or even more. This can have a big influence on why people would choose one medium over the other. Accessibility has also to be taken into account when investigating the relevance of theatre in the 21st century. Television is a medium which can be accessed from home, and usually doesn’t cost a lot of money, whereas theatre costs money and is harder to access. Although the production was Australian, the actors talked with an American accent. Bearing in mind that the play was written in America, which could make it harder for an Australian audience to familiarise with the dilemmas going on, on stage, while the themes discussed seem to be more relevant there than in Australia. Overall this play doesn’t contribute to the relevance of Australian theatre in the 21st century, due to the many other sources people can access for entertainment, and because the play seems to be more relevant for an American audience rather than an
Many people have discussed and debated the origins of theatrical rigging. The most popular opinion is that it is derived from the rigging technology used in sailing, with much evidence pointing towards this nautical origin such as the similarity in terminology and in the systems used. However, stage rigging has developed over time as the demand for more complex scenery has increased in recent years.
Those of us who enjoy the pursuit of dangerous game spend an extraordinary amount of time focusing on the gear we use; it has to perform flawlessly, as our very lives depend upon it. I’m not the kind of hunter who holds one form of hunting above another, as though dangerous game is somehow superior to other game animals, but I do know if my deer rifle malfunctions, odds are my life won’t be in danger. The same cannot be said for the truly dangerous game animals.
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
To begin, with theater is a type of collaborative art, which consists of live performance. This is also a type of art in which performers present before live spectators. Actors dispose before their audiences an experience of genuine or fanciful events. Performers divulge meaningful messages to spectators through language, gestures, music and songs. In order to enhance or intensify their audiences experiences things are also used such as, scenery, lighting, prompts, make up, costumes and the blending of tones and sounds. Also messages are passed to spectators that will evoke a range of catharsis, feelings and empathetic reactions. Theater can be a space, a stage, room, area, range or even a territory. Theater has during times joy, conflict and sadness boosted individual moral, and has served as a point of focus during times of our Nations struggles and opposition.
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
I choose this experiment because I am a hunter and having an accurate rifle is a good thing. In hunting the first shot counts. Now here is my data I got from the experiment but first a little history on the guns the .234 is a small hunting rifle use on deer and other small game. The .270 is a med. game rifle for deer and up to small elk. The 30-.06 is a large game rifle for elk and up to moose. My problem is the I wont to find out what is the most accurate rifle is. My hypothesis is if three rifles are tested for accusey then what is the most accurate the .270 is the most accurate rifle because a lot of people think the .270 is the most accurate rifle so I am going to test it. So I some research on my experiment I look to be one of the first one to do this
Whereas in dramatic theatre the performance evolved around the text, in postdramatic theatre all theatrical signs have equal roles in the performance and, therefore, the text looses its position of hierarchy. This rupture with the text challenges postdramatic theatre to move away from truthful representation, allowing it to explore new possibilities, among which, the the equivalence of theatrical signs (these being word, image and sound). Hence, by distancing itself from the text, postdramatic theatre comes with the loss of both narration and alit, leading away from theatrical illusion. This change allows the body and its physicality to gain more freedom as its movements and gesture are not in service of mimesis, and therefore they become “pure forms” that “have to be considered as an absolute construction of formal elements as they do not represent mimesis of reality”. The theatre of “pure forms” is called “concrete theatre” and allows performances to “adhere solely to their low of internal composition”. This feature embodies the new aesthetic of postdramatic theatre where theatre “exposes itself as an art in space, in time, with human bodies with all the means included in the entire art work”. Postdramatic theatre, therefore, concentrates on formalization and presentation rather than on content. This shift causes a “phenomenology of perception” where the audience, left without elements of mimesis and fiction, becomes active and creates similarities, correlations and correspondences between elements of the performance through the process of
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Theatre as we know it now was born more than two thousand years ago and has gone through many streams until it reached the current modernity. Among these streams is the avant-garde theatre. This theatre achieved a break in the traditional theatre and became the forefront of a new experimental theatre. Therefore it is necessary to ask how this theatre started, what impact it had on society and if this type of theatre is still common in our modern era.
Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.
Nevertheless, the question at hand is whether theatre will have a role in the society of the future, where cinema, digital television, and computers will continue to expand and grow. The answer to this question is yes. Heading into the 21st century, theatre will only be a fraction in a solid media industry. However, despite all the excitement technology brings with it, they will never replace theatre because it has something that can not be recreated or offered anywhere else. The cinema and its larger than life world appeals as an affordable alternative. Digital television provides digital interaction between the viewer and the producer. Theatre on the other hand, and its contents may take on a larger dimension, but we receive it directly in flesh and blood – one to one. The magical atmosphere between an actor and spectator who are constantly aware of each other and the theatre’s level of engagement is fundamentally more human and far more intimate.