Spectator expectations and previous viewing experience can influence responses in a number of ways. Spectator expectations can be formed by genre and stars. An example of this is ‘The Greatest Showman’ (2017), a musical that features a number of stars in its cast such as Zac Efron, who is well known for his role as Troy Bolton in the ‘High School Musical’ franchise, and Hugh Jackman who has starred in action films, but also in the film adaptation of the musical ‘Les Miserables’. Through previous viewing experiences spectators will have formed expectations for ‘The Greatest Showman’ based on what they know to expect from musicals and from the stars involved. Though Zac Efron began his career through musicals, he had not starred in another musical …show more content…
This means that a lot of expectations would have been formed by fandom interaction and the previous viewing experiences a spectator may have had with the Harry Potter franchise. In the years between ‘Harry Potter and the Deathly Hallows Part 2’ (2011) and ‘Fantastic Beasts and Where to Find Them’, J. K. Rowling has released a lot of information on the official website Pottermore, expanding on the world of Harry Potter, and fans who interact with the fandom would have formed expectations about the American wizarding world that would feature in ‘Fantastic Beasts’ based on this information. ‘Fantastic Beasts and Where to Find Them’ is also based on a book that was initially a fictional textbook within the Harry Potter books, before it was published. This affected the expectations of fans leading up to the films release, causing some confusion on how a fantasy textbook could be turned into multiple films, let alone one. Spectators who interacted with fandom less were more confused about the source of inspiration for the new film. Other fans expected the film, which had the same name as the book, to follow the journey of the fictional author ‘Newt Scamander’ as he discovered
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
The performances being compared in this critique are By the Way, Meet Vera Stark originally directed by Jo Boney, and the film Chicago directed by Rob Marshall. By the Way, Meet Vera Stark premiered Off-Broadway at the Second Stage Theatre on May 9th, 2011. The University of Washington Drama Department produced its own version of By the Way, Meet Vera Stark, directed by their School of Drama Faculty member Tim Bond and located at the Meany Studio Theatre. The film Chicago, set in the 1920’s, came out in 2002. It was streamed on TV in the evening on October 28th, 2017. Throughout this paper, these two performances will be compared from the perspective of an audience member based on the elements of live versus film performances. Analysis will
Even though there is a great amount of audience participation, one really has to turn your attention to the actors in the movie. It takes a special kind of person to really understand the movie they are in.
The book has some things it only has, which supports the idea that the book and movie
As in all genres, the musicals have had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular and they have left a long lasting effect on the American art and culture.
My group’s umbrella topic focuses on race. My group will be discussing race and diversity in the media and in populated areas. I decided to question what effect the lack of diversity has had on theatre. With the world’s eyes on the actors on stage, the theatre has a large influence on its audience. The media and populated areas, such as cities, also have that power of influence. Growing up my childhood consisted of the theatre. I have a connection to the stage and off the stage. In my time working with my school’s theatre, I have seen a lack of diversity. I have experience and an interest in theatre. In my time of exploring the theatre culture, I did not come across much diversity. Two years ago I listened to the musical Hamilton:
As stated numerous times throughout this essay, movies must stay true to their book predecessor for full effect. Books are normally beautifully described and written, and help the reader visualize a completely new world. Most movies, not just The Book Thief, normally omit several
The genre i have studied is musicals. A musical is a film which has musical performances from the actors to express their feelings. The films from this genre that i studied are 'Singin' In The Rain' (Gene Kelly and Stanley Donen, 1952), 'Grease' (Randall Kleiser, 1978) and 'Hairspray'(Adam Shankman, 2007). I studied two characteristics of the musical genre (Breaking Into Song And Dance and The Grande Finale) that are shown in the films studied. The identifying characteristics of 'Breaking Into Song And Dance' and 'The Grande Finale" are always seen in musicals. These characteristics are expected to be in a musical by the audience and ultimately make a musical what we predict it to be, a film that expresses characters feelings through song while
The 2000s/ 2010s brought in a wave of movie musicals- adapted from the stage shows. These brought new audiences into the theatre world, and for the first time in 20 years, brought a love to some of the timeless musicals. With slightly altered songs to appeal to a newer audience, these films brought in much needed money into the industry, with films including: Les Misérables, Phantom of the Opera, Rent, Hairspray, Mamma Mia, Fame- and many more. Together with this, musicals began to push the concept of the songs in them, with a wave of new styles being written. Rap musicals such as ‘Hamilton’ and ‘In The Heights’, Pop musicals including ‘Waitress’ and ‘Dear Evan Hansen’ and Rock musicals of ‘American Idiot’ and ‘Spring Awakening’. Together they pushed boundaries of a ‘traditional’ musical theatre sound, and brought in something never before seen. Due to the influence of ‘Rent’, controversial issues and themes began to be explored more, such as Teen suicide, Murder, Ethnic barriers and everything else, which brought with them, a world of opportunities. It was clear that musical theatre was once again showing for a promising
Popular culture is often referred to as being produced by the mass media ‘for’ the public, who are seen as consumers. An example of this would be the television programme ‘The X Factor’. The X Factor is produced by a large television company which is owned by a multi millionaire music mogul. The programme is shown extensively throughout the winter months, when people favour staying indoors to going outside. The concept of the show is that it entices people in during the first couple of week. This is done by showing the contestants’ auditions. The reason for t...
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Before Theater 10, I viewed theater on the surface level: cheesy plot lines with dramatic scenarios for entertainment purposes. Throughout the course, I have learned what it means to appreciate theater, such as understanding Brechtian and Chinese theatre; however, I believe understanding theater’s ability to convey crucial historical and social messages, such as in the production of RENT, is more relevant and important for theater appreciation.
“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.” ― Meryl Streep. I love exploring and gaining knowledge about the beautiful craft of acting. During my journey of being an actor, I notice there are two types of actors: stage and film. Stage and film actors are different in their times of rehearsal, their relationship with an audience, and their emotional challenges.
I looked at common shared behaviors and peoples’ adaptation coming into the theatres from the outside culture. My main objective in this assignment was to understand their cultural norms and behaviors with both an emic and etic outlooks.
With a good cast, this will attract and push audiences away just based off of the cast. For example, reviews on the movie “Ride Alone.”, this is a terrible movie as far as comedy goes but since the stars in the movie are really famous for being funny, the movie is selling well just based off of that. This is unfair. But movies that are actual funny but aren’t as popular because the actors and actresses have an unfair ...
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.