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Intimate apparel play summary
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There are many plays throughout history that tend to grab at the viewers heart as though they were truly on the stage right along with the actors. From the over view of Intimate Apparel it would seem as though it would not be one of those plays. Just from a quick summary of the story, it could be assumed that the play would be one gossip story after another, perhaps even a soap opera type of play. However, through two elements of the set, the scenic design and a combination of the set and theatre, as well as thoroughly thought costumes, Ball State Universities’ production of Intimate Apparel allows the audience to become emotionally intertwined with the play.
The set itself, at first glance seems rather plain, there’s a wall, a stage, and another wall with a few doorways and a window. As the play begins however its clear that the simplistic design of the scenery is very well planned. The right side of the stage is set as the bedroom for Esther throughout the play. The room itself is very plain, to the point of being boring. However, as the audience learns more about Esther herself, it becomes clear that this plays into her personality. She lives a rather boring life where only local gossip and letters to a man she has never met are her only form of entertainment. With that said, much like Esther’s and her flair for fabric and sewing, the room has its own pieces of flair, including a rather intricate blanket that some could argue is out of date with the time. The he middle is a mix between a pass way to get to the left side as well as Mr. Mark’s fabric shop. This was a wise choice because the theatre Intimate Apparel was shown in is a small theatre upon itself, so to add a multi-purpose stage that allows as a walk way, shop, and...
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...because although Esther wore the exact bustier as Mayme, she could not fill it out as Mayme could, and thus she was not what George was looking for.
With every bit of detail, even those most would disregard, Ball State Universities’ production of Intimate Apparel brings the audience into the 1900’s and puts them right on stage with the actors. Even if the audience just plays the role of a friend listening to a story, the fact that design of the set, as well as where the play is held brings elements from the play that may have been missed. The color and fabric of the costumes the characters wear carefully contribute to the already delicate symbols written into the play. Truly, through the scenic design, set, theatre, and costumes, the Ball State Universities’ production of Intimate Apparel intricately intertwine the emotions of the play with that of the audience.
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.
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.
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.
Setting in all types of literature is a basic element that at a foundational level provides the reader with an atmosphere and physical place to position the characters. The setting in any dramatic work is an especially vital element since gives the players somewhere to bring to life the playwrights work. Furthermore, “The settings [the playwrights] describe are symbols that give the plays their meaning” (Barnet, Cain 210). Even a bare stage will contribute to the symbolism and theme presented on the stage. Every play ever written has been assigned a setting and each and every one has made an impact on the writing style, topics, and theme encompassed in the play.
As this short drama goes on the reader can witness how they change the room and furniture around trying to get it arranged perfectly to keep their guests visiting as long as possible.
Staging and costuming a show for the stage requires a lot of time and hard work. When staging Angels in America: A Gay Fantasia on National Themes one would have to consider how to dress each individual character and how to split the scenes to have them flow with the different characters. For example, the scene where Joe leaves Harper at the same time as Louis leaves Prior has to be staged carefully so that the audience understands what is happening. The playwright Tony Kushner allows for overlapping in conversations, but the director of the play has to figure out how to make the scene have an impact on the audience. The play examines significant themes of the time period such as religion and sexuality as well as AIDS. The play has to be presented cautiously to have a significant impact on the audience.
A general air of superficiality invades the production. Why? Unless done with reality, the play loses its “tam” (Yiddish for taste), fringes on mockery of the way of life being depicted, and weakens the accomplishment of the author’s purpose.
One of the great, important themes is the importance of self-expression. Throughout the play the narrator is told to stay in her room, by her husband, to hide her depression from the world. She is forced to act like her marriage is perfect and that she is delighted, while in reality she is not. As the days pass she stares at this yellow wallpaper in this room
Charlotte Gilman uses objects in the room to help with the setting and the picture of this creepy mansion. The use of the bolted down bed and the torn up wallpaper give us a more in-depth detail of the setting. Near the middle of the story the narrator says “I lie here on this immovable bed—it is nailed down, I believe—and follow that pattern about by hour” (Gilman 383). Through this description we are shown that, symbolically, just as she is to stay in the room and mansion the bed is also nailed down. Charlotte Gilman uses this description of setting to show irony and slip an image into the readers mind. The narrator also states in the middle of the story “The wallpaper, as I said before, is torn off in spots, and it sticketh closer than a brother—they must have had perseverance as well as hatred” (Gilman 382). The torn up wallpaper, just as the bolted down bed, shows how strange and creepy the mansion really is and how it may drive someone crazy. Charlotte Gilman adding these specific descriptions brings a physical image to the bedroom in the mansion.
First, no matter what is represented on stage, the fact that boys are actually playing cross dressing men and women is insistently metaphorical; the literal fact of trans-vestism (that is, the boy actor impersonating either a woman, a woman cross dressed as a man, or a man cross dressed as a woman, not the represented character) is divided between the homoerotic and the blurring of gender. On the other hand, the represented female character who cross dresses functions literally to relieve the boy actor, at least for a time, from impersonating a woman. Represented characters who cross dress may pre-sent a variety of poses, from the misogynist mockery of the feminine to the adroitly and openly homoerotic. In the case of the title character of Jonson's Epicoene, the motif is utilized as disguise intended to effect a surprise ending for Morose and his heterosexual audience, for whom the poet also pr...
On stage, these points were, looking at the opinions of a majority of both the audiences and the critics, presented successfully by Brook and the cast he worked with. From the prison guards who loomed in the background, clothed in butcher aprons and armed with clubs, to the half-naked Marat, slouched in a tub and covered in wet rags, forever scratching and writing, to the small group of singers, dressed and painted up as clowns, to the narcoleptic but murderous Charlotte Corday, Weiss and Brook offered a stage production that both engaged and amazed the audience, while at the same time forced them to question their role as the audience; no better exemplified than at the very end of the play, where the inmates, standing menacingly at the edge of the stage, actually begin to applaud the very people who applaud their performance, aggravating and confusing some, but forcing most 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.
...her rooms on the other sides of the basement room. This is especially so that there can be an entrance and exit to the lavatory and kitchen and also a door to the passage. One door will be center stage right by the wall this will be the door to the kitchen and lavatory, the other will be opposite this and will be the door to the passage. The beds will be at slight angles but close to flat against the wall to show that the room is not a formal room but just a makeshift room, and they will be placed in upstage center and upstage left. Ben will start out sitting on his bed, which is on the left. As stated in the stage directions the dumb waiter will be in between the two beds but will at first be closed so it is not easily apparent. The drawing attached to this shows how the stage will be organized and shows the angular shape of the room better than can be described.