A Performance Analysis of The Penelopiad In every piece of theatre, it is vital that there is a great deal of forethought and communication in the minds of the production team members. Countless hours are spent in production meetings, determining the look, staging, feel, and details of a show. Bowling Green State University’s production of The Penelopiad by Margaret Atwood effectively uses planning in areas such as costuming, directorial choices, and music and dance to make the play as entertaining and informative to audiences as possible.
First, it is important to recognize the planning and forethought that has gone into the costuming element of The Penelopiad. The costumes were quite obviously based off of clothing that would have been
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The director moves the performers around the stage very effectively for such a small performance space. One of the ways in which many actors can be seen in this small set is through the directors use of levels—for example, while the main action may be happening on the stage itself, there are other characters watching the action from the rafters of the theatre, and some that are interspersed throughout the multiple platforms and staircases within the set. This way, performers are able to interact with each other in a larger space, or even divide the spaces to represent different locations (such as the use of a platform to show Penelope on land while the maids simultaneously act out the sailing of Odysseus’ ship on the sea). Performers are also able to utilize the areas surrounding the stage. Despite this, the interaction with the audience is kept minimal. The lines are written to suggest a break in the fourth wall, as Penelope tells her story directly to the audience. Besides this, though, the closest thing to direct audience interaction is the performer’s eye contact or gestures. The pace of the productions varies, with some scenes moving much quicker than others. However, due to the smooth and effective character and scene transitions, this change of pace is not distracting, but rather aids in the storytelling. Many of these transitions …show more content…
These elements are kept very simple for the most part, with a large amount of the dance set to music focusing on the movement of the hands. The hands as the focus of each dance work as easy signals to the audience where to focus, as well as storytelling devices in dances where miming may be involved (for example, during the maids portrayal of the sailors’ drunken song and dance, many individuals could be seen with “drinks” in hand). Many of these gestures and miming techniques were very easy to understand, which makes the effect on the audience even greater. This worked extrodinarily well with the music, as it was just as simple and clear to the audience. Clean melodies and lyrics sung in unison provided a wonderful source of narration in the story when paired with dance, made most evident during scenes such as the private weaving (or, rather, unweaving) sessions, in which the maids assisting Penelope sing “Weaving, weaving, ever grieving… When will dear Odysseus come?” The instrumentals behind these vocals match with the simple melodies, often comprised of nothing but a single guitar. This particular instrument gave the music a slightly more contemporary feel, and, when played in different styles, creates tones and emotions, which conform to the storyline of the
The specialization and individualized professions in the field of Technical Theatre are relatively new to the stage in comparison to the period of time in which the art of Theatre has grown. Aiding in the development of concentrated professions such as scenic design has been a plethora of talented, skillful, intelligent and highly driven individuals. Among these influential fountains of creativity have been John Lee Beatty, Eugene Lee, Boris Aronson, Ming Cho Lee, Jo Mielziner, Tony Walton, Robin Wager, John Napier, Santo Loquasto, Heidi Landesman, and Julie Taymor along with many more.
When Mary Zimmerman adapts a play from an ancient text her directing process and the way she engages with text are woven together, both dependent on the other. She writes these adaptations from nondramatic text, writing each evening while working through the pre-production rehearsals and improvisations during the day with the cast. The rehearsal process influences the text, and the text enriches the rehearsal process, so that one cannot exist without the other. Every rehearsal is structured the same but each production is unique because as Zimmerman states in “The Archaeology of Performance”, she is always “open to the possibilities”. The piece is open to everything happening in the world and to the people involved, so the possibilities are honest and endless.
Throughout the piece, we see the use of audience as active participants to amplify the didactic message of the play. In the literature we see many instances where the author uses this cognitive distancing as a way to disrupt the stage illusion and make the audience active members of the play. Forcing the audience into an analytical standpoint as opposed to passively accepting whats happening in their conscious minds. This occurs time and time again in the fourth act of the play. The characters repeatedly break down the fourth wall and engage the audience with open participation. We see this in the quotation from the end of the fourth Act of the play:
The Laramie Project Critique * No Works Cited The Laramie project captured the audience's attention by utilizing different design methods on stage. This included sound, stage and hand properties, light, and music. With an ensemble of 10 actors playing over 30 roles, this proved to be an amazing play to experience. The playwright was constructed in a clear manner, which eliminated the confusion of "who is who." Through the usage of the stage elements as well as the dynamics of each character, this brought about an effective plot.
Shakespeare’s Twelfth Night is a comedy that has been interpreted in different ways, enabling one to receive multiple experiences of the same story. Due to the content and themes of the play, it can be creatively challenging to producers and their casting strategies. Instead of being a hindrance, I find the ability for one to experiment exciting as people try to discover strategies that best represent entertainment for the audience, as well as the best ways to interpret Shakespeare’s work.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
A predominant feature within this theatrical element is the incorporation of lyrical movement within the acting scenes. A group of lyrical dancers move in and out within the scenes and are used as a foreshadowing method to emphasize situations that hold a current or upcoming significance to the overall theme of the play. For example, in the beginning of the play, the dancers along with Onya are represented through an apparent dream that Elgeba, Onya’s young neighbor, has about Onya being swept away by the currents of the water. The dancers impressively portrayed this concept as the silent waves that were holding Onya up and taking her away. This foreshadowing dream shows Onya’s ultimate destiny and fall from her increasing hardships. Also, the humming and singing from the the actors and dancers throughout the play play a significant role in adding an emotional element to the overall overview of the play. The seemingly sad humming at the beginning of the play was a beautiful introduction that set an overall serious tone to the underlying issues that were at hand. Without the use of words, both of the elements of the lyrical dancers and the humming from the actors expressed meaningful emotions that continuously paved the way for the difficult situations that Onya had to
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
“Devised theatre can start from anything. It is determined and defined by a group of people who set up an initial framework or structure to explore and experiment with ideas, images, concepts, themes, or specific stimuli that might include music, text, objects, paintings, or movement.” (Alison Oddey 1). Devised theatre, also called collaborative creation, is a form of theatre in which the script is created through a collaborative process with the actors and the playwright, rather than the traditional method of theatre with a premade script. Devised theatre is created through the process, collaboration, and multi-vision of the group. Similar to improvisational theatre, a devised theatre play is created in the rehearsal process from the performers interacting with each other. By the time the devised play is performed the work is a cohesive piece that is, for the most part, set in stone. This form of theatre is a modern form of theatre, that came about from the collaboration of many different type of artists, because of the need of the performers to have some input into what they are performing. The devised theatre form is most utilized in the USA, Great Britain, and Australia, but especially in our country. Devised theatre utilizes physical movements, rather than focusing on only the language.
youths and maidens who move and turn in couples or singly to the sound of pipes and zithers. These dances are full
Renowned and engaging speakers have the ability to connect their values and ideas to greater causes and principles, leaving an enduring impact on the audience. You may be questioning what makes a great speaker? And what qualities and features contribute to the formation of a powerful speech? It is understood that a great speaker has the ability to communicate to larger truths and carve those truths on the audience’s hearts and minds as they surpass the context, place and time of the deliverance of the speech, and focus on conveying their ideas and values.
In a world dominated by religion it was thought that the only place where perfection existed was within God. In some cases, for instance the ontological argument, it was the proof to his existence. But in a modern world the concept of perfection has been distorted and comes with an abundance of seemingly negative consequences, ultimately putting into question whether or not perfection is even possible. In Margaret Atwood’s Oryx and Crake the concept of perfection is constantly challenged in a world run by corporations who are trying to package human perfection and profit from it. The desire and attempt towards attaining perfection brings moral instability and corruption. Even though perfection seems as if it is the ultimate and most excellent way to live, it is always accompanied with negative results making true perfection unattainable. As previously mentioned, the society that is most present in the novel is run by large corporations that attempt to provide a perfect life for the people within the Compounds. The corporations are riddled with immoral actions that are projected onto the lives of the people they are trying to provide for. Jimmy, on the other hand, lacks this desire for perfection and is pleased with his mediocrity; this level of being content with himself allows him to feel and exercise more valuable traits like empathy. Finally, through the novel Crake is slowly trying to grasp at, or create perfection and he is slowly losing his moral grounding. What seems to be a positive goal for man to have is actually the opposite, causing men to lose what makes them most different from animals, leaving them cruel and ruthless.
When you read this play, take special care to remember the difference between the work of a playwright and that of a novelist. Novelists may imagine their audience as an individual with book in band, but a playwright writes with a theater full of people in mind. Playwrights know that the script is just the blueprint from which actors, producers, stagehands, musicians, scenic designers, make-up artists, and costumers begin. You will need to use an extra measure of imagination to evaluate this play before you see the Goodman production.
Dancing is a beautiful form of expression that reveals a good deal about a person in a matter of minutes. Characters that dance in plays and novels usually flash some sort of underlying meaning pertaining to their story, shining light on themselves, other characters, and the movement of the action. In Ibsen's A Doll's House, Nora's performance of the tarantella summarizes the plot of the entire play.
There wasn’t any particular scene on stage that made me doubt the integrative work of the director since all the staging work such as lighting, design, costumes and performance were well coordinated and blended for a very good production. The lights were well positioned with well fitted costumes and a very ideal scene to match. There wasn’t much change of scenes in the play except for some movement of tables and chairs. There was an entrance and exit for the performers which made their movements uninterrupted. There was a loud sound of a bell when school was over while the lights were dimmed whenever there was a change of scene. The pace of the production was very smooth since one scene followed the other without delay and most likely because most of the performers wore the same costume; especially all eight students wore the same costume for the entire