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Drama performance analysis/critique essays
Musicals and gender representation
Critical analysis musical theatre
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Mel Gussow 1983 review on the musical “Bundle of Nerves”, was evidently a pan review. His negatively humorous tone undoubtedly indicated that the overall portrayal of the production was highlighted boring and self-evident. He criticizes, “Song after song marches in line, sometimes striking a satiric nerve but seldom developing a theme past the point of diagnosis”. This quote reveals his painful observation of how predictable and blatantly obvious this script was. He suggests that the writers have been moderately successful in their passed parodies, but a noticeable deterioration in the quality of writing for this musical. Not only did the writing captured such negative attention, but also in the design process. He teases the unnecessary neon sign lite above the stage shouting “nerve”, as a “single funny gag”. This mocking jab at the appearance of the production emphasizes his unfavourable response to the point of making it comparable to feeling nauseous. …show more content…
He states, “the singers are eager even when the songs are unsupportive. At least one of them, Karen Mason, has an opportunity to demonstrate a range”. While admitting his positive critiques towards this actors singing skills, he still manages to leave it off with an adverse perception. Mel explains, although the singer has talent, the song itself did not match the quality of the performer. As well, he applauded the actors willingness and eagerness to the song and role, even though it was unsupported to the quality of performance that was portrayed. Generally speaking, it is evident that Mel believes the writing and direction of the musical mainly brings down the play to become predictable and dull, while using a satire approach to mock
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
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.
stages a cheeky, contemporary, and impishly funny timeless battle between young and old, past and present, and an emotionally riveting search for the truth of it all. Posner fully absorbs the dark comedy from its original in which was a famous failure at its premiere at the Alexandrinsky Theatre in Petersburg, but luckily, Stupid Fucking Bird premiered with much higher reviews. His adaptation allows the essence of Chekhov’s original script to shine through, while renovating all the quirks, futility, and circularity of human behavior that Chekhov’s script explores but that often get lost with modern audiences because of the language often thought of as “dated”. Just as Chekhov’s naturalistic play was a new form in the Russian theater scene, and was only a success two years after its premiere at the Moscow Art Theatre, Stupid Fucking Bird allows Posner and Burris to take up Conrad/Konstantin’s challenge to create new forms of theatre and invite the audience to reflect on how art, love, an...
Thoughtful laughter is a technique used frequently in satirical pieces in literature. It allows for the audience to enjoy the wittiness of a work, later ponder on the meaning, and then apply the message to reality. Thoughtful laughter is often an inner experience that can only be achieved by authors who write meticulously. Two examples of satirical works in literature that display this concept explicitly are Voltaire’s Candide and C.S. Lewis’ The Screwtape Letters. Both authors explore the depths of satire and simultaneously deliver an important message to readers through skillful technique.
created the play as a comedy, showing how the world might be in the times of the
Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c...
one of the most important reasons could be the use of humour in the play.
This play shows the importance of the staging, gestures, and props making the atmosphere of a play. Without the development of these things through directions from the author, the whole point of the play will be missed. The dialog in this play only complements the unspoken. Words definitely do not tell the whole story.
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”.
In both A Streetcar Named Desire and Hamlet, Tennessee Williams and William Shakespeare, respectively, demonstrate their abilities to create engaging plays which work on several levels in order to produce the desired effect. One of the most important characteristics of these plays is the playwrights' success in using their words to create the worlds surrounding their works. Both Shakespeare and Williams effectively use irony in the aforementioned plays, both in the plot and with specific symbolism, to create mildly existential environments where effective irony is a confirmation of fate and justice. Immediately apparent to the reader upon completion of these two works is the glaring appearance of irony in the plays' plots. For example, in A Streetcar Named Desire, a great deal of dramatic irony is created when the audience is made aware of details that characters are ignorant to.
Through this, he satisfies the qualities of melodrama. Romeo and Juliet wrings a good cry out of audience members probably every time it is performed. That is because it is easy to identify with the "star-crossed lovers" and the fact they are kept from what they want most. Empathy plays a major role, as much as any of the characters. It almost makes the audience part of the play. The spectator is part of the action in essence, rooting for the good guys, for "us," and not "them," the bad guys.
to create comedy in the play, which is one of the major themes of the
The play defies easy definition and various critics have labeled it variously as absurdist, existentialist, comical, burlesque, metaphorical or grim. The playwright on the other hand maintained that all through the creation of his work he strove to bring in the comic element and any tragedy that seems part of the play, may have crept in inadvertently and whenever it has been staged as a serious play, audience reaction to it has been cold.
Shakespeare craftily uses music and poetry to guide the audience through the play and give them an inkling of what is to come, if the audience chooses to play close attention. However, it is not always clear what the song means and, depending on the character delivering the song or poem, comes off as more comedic than meaningful to the performance. By the end of the play, the audience has accepted that music and poetry are just as much themes in the play as disguise and love, but are blended so painstakingly that neither poetry or love overshadow anything in the performance.
A satirical comedy is an attempt to ridicule a certain aspect of government, religion, or another aspect of society to bring about change through the use of comedy to lighten the blow. Tartuffe is a prime example of a satirical comedy. Molière used this play to point out one of the biggest flaws of organized religion during his time, religious hypocrisy. Although he may not have directly intended it to be about the Catholic Church, it was interpreted by them as such so they made the king ban it for a period of time. By making it into a play, Molière was able to reach a larger audience. People tend to enjoy plays more so due to their quick, lively nature. Plays are always changing, and they are stories being brought to life. A reader may not be interested by a short story or novella, but a play could be the very thing to draw in their attention. Molière was able to reach more people by making this into a play, therefore making the problem of religious hypocrisy more widely