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In Tim Miller’s one man play “Rooted” he described his life as being a homosexual activist. He begins to perform telling the audience about the journey of him trying to get his Australian fiancé, Alistair a green card. He knew from very early on that he was going to marry a man, however at the first he assumed it would be his childhood best friend comical how life works. Miller goes into detail of how in his family tree is where he found the hidden histories that gave him strength when confronting homeland security about the man whom he loved dearly. His grandfather fought in the civil war to give African Americans their freedom and he felt his passion when fighting for his basic right of marrying whomever he wanted. In his performance, he …show more content…
used movement and lighting to set the mood for his performance. When he would start talking about his fiancé he would start walking around on stage in agony. He could still feel the pain that he felt when they were first denied a green card and he knew he would not see his lover for at least a year.
When he was bringing comic relief the lighting would go from a spotlight to a wide range covering. He would go from stage left and right with the lights following him to set the mood. Whether he was telling about how in the fifth grade he cut holes in his pants to play with himself or when his childhood best friend beat him up for saying that they were going to get married the lights set the tone of the performance. My views of performance were expanded because the space that he created on stage gave such an inviting feeling. Miller used his space by stomping, hand gestures, and going off stage and interacting with the audience. Miller’s performance was very effective because of how he presented his story. He made certain that when describing how his background growing up in Los Angeles, California made the difference in how he saw himself, his family, and his fellow LGBTQ extended family. Miller’s artistry allowed his platform to be used for political work and injustices that the LGBTQ community faced. He encouraged reflection about difficult issues and a challenge to change our
worldview. The way the audience reacted to him showed how his method of performance worked. Every minute we followed his story we clapped, laughed, and felt his pain. At first you could see the reservation in the audience because we did not know what to expect, but several minutes into his play his true activism created an atmosphere that allowed for change. I connected to his performance through personal experiences and coming out to my own family and trying to change their perspective on bisexuality with their strong Christian values. If I had to perform my story it would be similar to Tim Miller’s, but I would have used more sound design because I would be better able to express my story by going back to the songs that helped through my coming out process.
1) A. central route processing Lebron James Nike commercial https://www.youtube.com/watch?v=MX9qu69-NiM Peripheral processing Jordan Spieth this is sport center commercial https://www.youtube.com/watch?v=QZEbj78UNvE B. The Lebron James Nike commercial uses the central route process because I have brand loyalty toward Nike and I love sports.
“Pass On” written by Michael Lee is a free verse poem informing readers on grief, which is one of the most difficult obstacles to overcome not only when losing a loved one, but also in life itself. “Pass On” successfully developed this topic through the setting of an unknown character who explains his or her experience of grief. Despite Lee never introducing this character, readers are given enough information to know how they are overcoming this difficult obstacle. In fact, this unknown character is most likely the writer himself, indirectly explaining his moments of grief. One important piece of information Lee provides is the fact that he has experienced loss twice, one with his grandfather and the other a friend who was murdered by the
Arthur Miller’s success first began with his Broadway play, All My Sons, in 1947. This award winning play “Struck a note that was to become familiar in Miller’s work: the need for moral responsibility in families and society”. (Anderson 1212) Later, his production Death of a Salesman left him the group of America’s top playwrights....
The use of lights throughout the play did not vary often. Throughout most of the play, bright overhead lights portrayed the play’s main set room: a small town beauty salon. The lights created an atmosphere that was not only cheerful, but also warm and inviting. On each side of the stage, warm, more natural lighting was used to make the small outdoor areas more realistic. Lights were also used to convey
Mr. Burns, A Post-Electric Play was a very interesting and excited play to see. Watching the play I really had to think because of the twists that came with the play. The author of this play was Anne Washburn, Michael Friedman scored it, and the lyrics were also from Anne Washburn. Casey Sams directed the play and Terry Silver-Alford was the musical director. I viewed this play at the Lab Theatre on Thursday, November 12, 2015 at 7:30 in the evening. The Clarence Brown Theatre and Lab Theatre located on the University of Tennessee main campus produced this production. Melissa David recognized, as Colleen/Bart is a San Francisco native that has been working as a MFA acting candidate for the past three years. Robert Parking Jenkins,
Luhrman uses a similar technique In Strictly ballroom. The scenes in which Scott dances with Fran are juxtaposed to those of other dancers who are under Barry Fifes rule. The lighting is natural and simplistic compared to the harsh theatrical lighting, which is otherwise used to demonstrate the fake and falsehood of federation. As well as the use of shadows and half-light, which is used to create a sense of fear or suspicion. This makes for a great metaphor and image of Doug secretly dancing in, out and around the spotlight in the otherwise dark room. This use of lighting suggests to the viewer that contrast of belonging and not.
...re as same as the audience use in their everyday life. Easily connecting to the audience, with visual, audio and performer’s performance” one can imagine himself/herself in performer’s shoes.
I often have a difficult time describing my situation to others, but I wouldn’t want it any other way. Three divorces have taught me what successful and not so successful relationships look like. My younger sister with autism has taught me empathy, compassion, and patience. My step siblings have been there for me when did not have to be and for that I am grateful. No matter the family situation, every family has an undeniable sense of pride. For example, my family, most of whom were born in Ireland, throw the loudest St. Patrick’s day parties and keep our Irish flags up all through March. We are proud of our incredibly fair skin and abundance of freckles and redheads. My family’s pride is similar to that of Aunt Alexandra’s and her obsession with heredity and the certain “family streaks” in the novel’s Maycomb county. Scout mentions said streaks in chapter 13. “Everybody in Maycomb, it seemed, had a streak: a drinking streak, a gambling streak, a mean streak, a funny streak,” (Lee 129). I again feel Scout and I could relate to each other through our unique family situations, hers of course being her family’s cook Calpurnia and her neighbor Miss Maudie as her mother figures. Another unique family are the Pritchett’s on the show Modern Family. I was elated when this show came out because, while dramatized for comedic effect, it is a break from the straight, white, “we all get along fine” families usually depicted on TV.
As each new era of foreigners migrate to America, they face the obstacle of conforming to mainstream America. As “Hester Street” and “Eat a Bowl of Tea” portrayed, immigrants come to this land of opportunities with the hopes and dreams of a better life for themselves or their families. In “Hester Street”, Jake, a Russian Jewish immigrant who lived in New York's Lower East Side for five years, leaving his wife behind, and taking up with a new woman and earning enough money to support his dance hall ways. On the other hand, in “Eat a bowel of tea”, Wah Gay is a traditional Chinese immigrant who owns a club in Chinatown, and sends all his money to his wife back in China, who he has not seen in 20 years because of the inequitable immigration laws that had prevented Chinamen bringing their women into the country.
The lights helped the audience determine who was speaking, by putting a spotlight over the actor and dimming the rest of the lights. Also, the color of the lights changed according to each scene and the mood for that particular scene. For instance, a musical number about a character’s tragic past would include soft, golden lighting while a scene about dancing in dance class might include purple lights to show the overall mood of the scene. In addition, the costumes used in the musical added even more life to the musical by providing a visual representation of each character and his or her personality. The costumes allowed the audience to determine the character traits of each character while also deciding the type of homes the characters came from. For instance, one of the characters was dressed in pants and a shirt that would normally be seen worn by an older man or a father. This lead the audience to believe that the character might be an older person who has a family of his own. Later, it was revealed that the character actually had a wife and two kids, proving the audience
Many personal issues in American society are also explored through Miller’s telling of Willy Loman’s life, or rather, his road to death. These factors interact and join together, causing greater and greater troubles; his unsound economic and social statuses are both a factor and a product of his unstable family life. In a country plagued with debt and a fifty percent divorce rate, it’s obvious that the “American dream” isn’t necessarily a reality. An obsession with the “American dream” and an obsession with trying to achieve it will almost always lead to the exposure of the reality of American life—all that glitters isn’t gold. Even a seemingly perfect, nuclear family can have the biggest of issues. In some cases these issues are completely hidden, in others they are completely obvious, and yet other situations may be somewhere in between.
I have never once been to a show where a change in lighting made me gasp in surprise; but at the beginning of Act Three, when the lights changed from a soft warm light to a harsh fluorescent truly blew me away. It sets the tone for the entire second half of the play, and I thought the way they went about utilizing the lighting was truly brilliant. I also found the dripping water in the Proctor’s home to be very impressive. It made the entire universe that much more realistic. As I watched the real drops of water drip from the ceiling and into the bucket, I was mesmerized and 100% engaged in the story that was happening. I have seen lots of great productions, with tons of brilliant actors, but I find that the little things, like special effects, and lighting is really what impress me when I go to see a show. The technical aspects of theater are truly what made a fine production great, and I like to pay complement where complement is
Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.
Arthur Miller uses Willy, a common man, whose only flaw is his inability to question the validity of the American Dream, to portray a tragic hero, and also to question the ideals of the American society. Willy’s conflicted, lonely and seemingly false character has been created with only one end, and it is through the story of his life, his denial and finally his death, that undeniably grants his validity as a character. As Miller writes, ‘tragedy is the consequence of a man’s total compulsion to evaluate himself justly’, this feeling being evoked when we are ‘in the presence of a character who is ready to lay down his life, if need be, to secure one thing- his sense of personal dignity’.
Arthur Miller himself argued that Loman's situation - that of the formerly successful and now unemployed salesman unable to find a reason for continued life - was so general a quality of American life that he (Willy) was victimized "by our being what we are (Karl, p. 330)." According to Perkins (p. 710), Willy Loman's "fatal flaw" has been variously interpreted as a pitiable blindness to the realities of the American Dream, as the unrealistic hope of a doting father for his son's advancement to l...