Drama essay
On the 3 of March 2016 at the Magnet Theatre, myself and some other UCT drama students went to watch the performance called I Turned Away And She Was Gone which was directed by Mark Fleishman and written and performed by Jennie Reznek. The audience was quite small and consisted of the UCT drama group as well as older women who seemed to be frequent theatre goers. The performance I Turned Away And She Was Gone was about a story of a mother who loses her daughter. The performance shows the pain the mother felt and the hurt she experienced when her daughter disappeared. The reason why the daughter disappeared was because she felt so trapped in their perfect world, she wanted to explore and live life. The main message of the story is don't smother your children too much, give them a chance to grow and develop into their own person or you might just end up losing them.
I Turned Away And She Was Gone took place at the Magnet Theatre. As this is a proper place of performance, the usual theatre etiquette was expected. Just before the audience was
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One could go away and rethink their relationships and the way they treat people but it would really change who you are. The performance did foster some kind of temporary community. During the duration of the play, the audience felt connected through the feelings and emotions that the performance was evoking. Every one of the audience members felt something that night, something happy and something sad. The performance was relatable in some way or another to everyone, and it did create empathy between everyone. This was clearly shown at the end of the performance when it became time to give an applause, everyone in the audience gave a standing ovation. In that moment, we were a community and we all agreed that the performance was
The play, “Riley Valentine and the Occupation of Fort Svalbard”, by Julia- Rose Lewis is an exploration of the resilience of teenagers. The play is heavily symbolic and supports the dramatic meaning of the show. Throughout the Queensland Theatre Company’s interpretation of this play, the director, Travis Dowley, expresses forms of dramatic elements to articulate three types of manipulations. These manipulations include the manipulation of body and voice, space and the creation and manipulation of dramatic mood. Through these types of manipulations, it portrays the dramatic meaning towards the performance. Although, the use of space throughout Travis’s performance allows the audience to identify this dramatic meaning.
In conclusion, I liked this movie because it showed women of very different backgrounds coming together, accepting each other, and becoming close friends during a crisis moment. In reality of today’s society, I saw that women are jealous against each other instead of working together. This movie shows the joy of overcoming differences and forming bonds with diverse women. In a very simple term, the director reminds us of the unique book of life that we each have. The other message is how the older are separate from society, because of their limitations and age. The older ladies in this movie shows us and other older people how to bloom again, and relive. In this movie they share their life, their tales, and their lessons from the past with us to change our typical mentality about older people.
The play that we read for this unit is Too Much Punch For Judy, by Mark Wheeller. It is a form of Verbatim Theatre, meaning that it is based on the spoken words of real people. This play is about the story of a young woman who kills her sister in an alcohol related accident. When I first read the play I couldn’t empathize with the story as I haven’t experienced such a shocking event before. In this essay I will describe, analyse and evaluate both my work and the work of other actors in my group, focusing on the mediums, elements and explorative strategies of Drama.
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Woolway, Joanne. Drama for Students. Eds. David Galens and Lynn M. Spampinato. Vol. 1. Detroit: Gale, 1998. 292-94. Print.
I counted nineteen total performers with occasionally two others and a vocalist. Each performer was dressed in black pants and a black shirt except one who showed up late. He was wearing blue jeans and a sports coat and he definitely stood out from all the others. The performers related very well with the audience. Each acknowledged the audience after applauses and there was a narrator between pieces. There was a lot of humor among the performers and they seemed ...
Galens, David, and Lynn M. Spampinato, eds. Drama for Students. Vol. 2. Detroit: Gale, 1998. Print.
Galens, David, ed. Drama for Students "resenting Analysis, Cntext and Critism on Commonly Studied Drama" . Vol. Volume 1. Detroit : Gale Research , 1998 .
It is difficult to imagine a play which is completely successful in portraying drama as Bertolt Brecht envisioned it to be. For many years before and since Brecht proposed his theory of “Epic Theatre”, writers, directors and actors have been focused on the vitality of entertaining the audience, and creating characters with which the spectator can empathize. ‘Epic Theatre’ believes that the actor-spectator relationship should be one of distinct separation, and that the spectator should learn from the actor rather than relate to him. Two contemporary plays that have been written in the last thirty years which examine and work with Brechtian ideals are ‘Fanshen’ by David Hare, and ‘The Laramie Project’ by Moises Kaufman. The question to be examined is whether either of these two plays are entirely successful in achieving what was later called, ‘The Alienation Effect”.
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
The before 20th century, society has not been kind to women because they were considered the weaker or fairer sex. Even though women were granted equal rights in the 1920s, women had to silently and unwillingly grapple with unjust treatment from American society. Glaspell uses Trifles to examine this quiet struggle “[as] the first major work of feminist theater written by an American playwright,”(Beatty) and adds a revolutionary new voice to the dramatic arts of the time. Due to its “absence [ from the stage during the early and mid-20th century, it has indicated] the way that women have traditionally been eclipsed on the American stage”(Beatty). Glaspell’s choice of the word Trifles, instead of the title of the short story which is A Jury of Her Peers was as insightful in...
” Drama for Students. Ed. Anne Marie Hacht. Vol. 21.
Before the actual performance began music was played. I thought nothing of it assuming it was music to simply hold the crowd. And also I under was the impression that this would end once the show began but to my surprise this featured music was ...
“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.