You’re sitting in a back ally of an amateur theatre in Paris, fog settling on the cobblestones creating a sea of dappled grey. The year is 1870 and you had just been turned away from a backstage position at a small theatre in the western quarter in Paris, sadly your dreams had been crushed with a mere, “sorry (Y/N) you’re not what we’re looking for.” Crushed and dejected you took a moment outside to fall apart, you had only just moved to Paris from the country side and you needed a job. You had very little money to your name and you had rent as well as expenses to pay neither of which you could afford. “Come on (Y/N) pull yourself together,” you whisper to yourself, standing as you do so, your knees cracking in protest the cold seeping into …show more content…
You run into the dilapidated building turn on a dime and shut the door as quickly as possible. Holding your ear to the door to see if your attackers had followed you. This night was going from bad to worse. The door meets you halfway as you cool your forehead on the old wood that had been chilled by the evening’s brisk climate. A slight sigh begs to be released from your lips. You turn around slowly and lean against the door in exhaustion, the musty air tickling your nose. Looking around you notice the graceful arches leading to the roof of the seemingly primordial theatre, the velvety but moth eaten curtains cascaded down from the stage, rustling from a slight breeze from the broken windows. It was beautiful. As you turn you see up in the Queen’s box a silhouette of a man, a stark white mask shining out from the gloom. “Hello?” you call out into the gloom, “who’s there?” a slight panic edges its way into your voice. “Who are you?” you hear his voice come from the shadows, reverberating off the walls. “I’m (Y/N), sorry for intruding I just came across this place on my way home,” you decided not to tell this stranger about the people who were chasing you. Not one hundred percent certain that he did not contain ill
Most people that work in theatre have a pretty good idea of what a stage manager does during rehearsals - at least, the things that can be seen. We take blocking notes, cue lines, keep track of the time, coordinate presets and scene changes, answer the questions, and solve the problems. Yet, there are so many things a stage manager does, so many balls constantly being juggled, that many elements of the stage manager’s job go unnoticed. So, in honor of the unseen, here is a sampling of some tasks a stage manager completes before rehearsal. Early in our morning, we check our phone.
I. Intro. - Imagine you are sitting home one night with nothing to do. Your parents have gone away for the weekend and there is absolutely no one around. So you sit around that night watching TV for awhile but find nothing on worth watching. You go on upstairs to your room and get ready for bed. Turn off the lights, lay down, and close your eyes. All of a sudden you here a crash of glass in your kitchen. You rush to your feet and put your ear to the door listening to what’s going on downstairs. You begin to hear the voice of two men as they start going through the living room, making their way to the stairs, right outside your room. What do you do? You aren’t going to confront them since its just you—remember you thought you heard two of them right? Well you are really stuck in your room and all you can do is sit there hoping that they leave soon and don’t harm you. Now if it were at my house things would be a little bit different. For starters I would get out my shotgun from my closet and begin to see what is gin on down stairs.
In the poem “The Double Play”, the author uses metaphors, words, and phrases to suggest turning a double play in baseball is like a dance. Some words throughout the poem could be used to connect the idea of a double play being like dancing. One word that could suggest this is, the word used “poised”, “Its flight to the running poised second baseman” (12). Poised in this sense could mean that the player knows what he is doing and has mastered the double play, while a dancer can be poised meaning light and graceful. Another word in this poem that relate to a double play and dancing is the term “pirouettes”, “Pirouettes / leaping, above the slide, to throw” (13-14). The player is described to be doing a pirouette in the double play while in the
The stage, which was quite plain and high, projected into the yard, where the standing audience surrounded it. At the rear of the stage were two doors at either side for the entrances and exits of the actors, and above the doors was a balcony that could by used by musicians or for scenes on an upper level. Over the stage was a thatched roof supported by pillars called the 'heavens'. It could be used to lover characters from during the play. Underneath was a space that could be used by characters ascending and descending thro... ...
~ You hear someone yelling and ran back into the shadows. You hear a group of people running to the dead bodies. You slowly slip deeper into the shadows until you hear a neigh. ~
Dramatic Monologues The dramatic monologue features a speaker talking to a silent listener about a dramatic event or experience. The use of this technique affords the reader an intimate knowledge of the speaker's changing thoughts and feelings. In a sense, the poet brings the reader inside the mind of the speaker. (Glenn Everett online) Like a sculpturer pressing clay to form a man, a writer can create a persona with words. Every stroke of his hand becomes his or her own style, slowly creating this stone image.
The street lamps flickered as I stare out the blurry window watching the rain pour down on the asphalt. The house was silent expect for the sound of the microwave running. I ran my hands through my hair trying to calm my nerves. “It’s just a movie.” I muttered as I walked into the kitchen to grab my popcorn.
The stage manager hustled about, other cast members performed their pre show rituals, and I nervously took my place stage right. I made sure to check that my pink tail and pig ears were situated, just as our costume designer had reminded me to do. Once our director finished, her decade long curtain speech, it was time to enter The Hundred Acre Woods alongside my partner in crime, Winnie The Pooh. I poured my heart into my opening soliloquy to three hundred fifty-two third graders,who happened to be my classmates at the time.
I walked in the shining sun and soft wind and cheery voices until I reached the shadows—the shadows that were looming over the pavilion. Suddenly, the lively sounds turn into cries of anger, and my cry becomes sadder.
It was a beautiful night. It was perfect for a walk. As I strolled further into the park a figure approached me. It was as dark as pitch so I couldn’t make out who it was. It was late; you wouldn’t usually see anyone at this time. My heart was beating faster and faster. The strange thing was I wasn’t frightened; it was just my heart beating rapidly. As the masculine figure approached, I began to walk slower. That was when I heard the voice.
The lights dimmed and as I blinked to focus, a hand reached through the darkness and nudged me forward. My stomach dropped and my mind went blank. Then the fluorescents blazed, the music began, and my feet started to move as if I was in a trance. I was not a small, goofy six-year-old but an elegant ballerina. My arms hit every pose, my feet precisely placed in every combination, and my little face full of glee.
With a shrug of his shoulders, the man unlatched the thick wooden door and Elizabeth stepped in. Silence sliced through the pungent air. The sight before her made her heart bleed. In the depths of the darkness, 300 vacant faces stared at her. Children hung in filth to the ragged skirts of their mother’s shapeless
The evolution of theatre conventions began with highly presentational Greek productions and changed through the Medieval and Elizabethan ages to the current conventions. Greek conventions included performances done on a mostly bare stage, the use of internal stage directions to indicate location, episodic play structure, and a chorus that served multiple functions including setting the overall mood, commenting on or explaining the action, and creating reflection intervals. Other conventions included an all-male cast, the “Three Actor Rule,” the presence of a tragic hero, and the plays typically served the purpose of teaching the public or making a political statement. Many of these conventions evolved to adapt to the time period of the performances.
Shakespeare was fortunate to begin his career in the late 1500s, when English theater was going through major changes. Professional actors had been performing in England for centuries. Called "Players," they traveled from town to town, setting up makeshift stages in public halls, marketplaces, and the courtyards of inns. Often they met hostility from local authorities, who believed that crowds of playgoers were a magnet for crime and also contributed to the spread of disease.
When discussing the poetic form of dramatic monologue it is rare that it is not associated with and its usage attributed to the poet Robert Browning. Robert Browning has been considered the master of the dramatic monologue. Although some critics are skeptical of his invention of the form, for dramatic monologue is evidenced in poetry preceding Browning, it is believed that his extensive and varied use of the dramatic monologue has significantly contributed to the form and has had an enormous impact on modern poetry. "The dramatic monologues of Robert Browning represent the most significant use of the form in postromantic poetry" (Preminger and Brogan 799). The dramatic monologue as we understand it today "is a lyric poem in which the speaker addresses a silent listener, revealing himself in the context of a dramatic situation" (Murfin 97). "The character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life. The circumstances surrounding the conversation, one side which we "hear" as the dramatic monologue, are made by clear implication, and an insight into the character of the speaker may result" (Holman and Harmon 152).