Through precise staging and performance styles, contemporary Australian theatre combines the elements of drama as well as the conventions and traditions of many theatre movements to illustrate the struggles of the characters in an agreeable and interesting way for both the audience and performers.…
With reference to at least two professional works, discuss the use of physical setting in communicating the themes of a dance. (20 marks)…
An analysis of Robert Schwartz “Autonomy, Futility, and the Limits of Medicine” reveals that physicians are not required to give patients treatment that has been proven to be effective, and they are not morally obligated to provide treatment that is not in-line with practice of medicine. Schwartz explains although our autonomy is respected, there are limitations on our request.…
Through further research of the style, we found that physical theatre goes beyond verbal narrative, incorporating physical and visual elements on a level at least equal to verbal elements, it is more than simply abstract movement – it includes some element of character, narrative, relationships, and interaction between the performers, not necessarily linear or obvious. It also includes a wide variety of styles, approaches, aesthetics – can include dance-theatre, movement theatre, clown, puppetry, mime, mask, vaudeville, and circus.…
a theatrical stage and similarly the performativity of the workers’ body as it may be…
All plays and play productions can be usefully analyzed and evaluated on the way they use the theatrical format to the best advantage and make us rethink the nature of theatrical production.…
I have chosen the Fosse style Which offers a different set of skills to what we have previously learnt. We first explored Siobhan Davies which gave us an insight into the new contemporary world which I am most comfortable with, it showed us how to use free flowing movements and an on-going sense of energy, not concentrating on connecting with the audience. We then began to look at Arlene Philips’ work which as a completely different style of dance this time focusing on learning how to develop our relationships with each other and for me personally doing this style of dance brought me completely out of my contemporary comfort zone helped me build my confidence in my performance and connection to the audience. Fosse’s style also let me begin to explore the use of acting and characterisation within dance.…
Dance theatre – also known as Tanztheater – is a method of joining aspects of dance and theatre together into a piece that represents and references reality. Laban used the term to create distance from classical ballet and to establish the connection between all art media. A typical dance theatre piece contains dancing, vocalizations (speaking, singing, chanting), sets and props, and costumes. The more elaborate sets and the emphasis on acting in particular set a dance theatre piece apart from a typical dance show.…
This article focuses on the film Our Dancing Daughters, illustrating film techniques used in combination with the character Diana’s dance that embodies ‘kinaesthetic’ (kinetic and aesthetic.). It suggests viewers are encouraged to simulate subjectivity based on lived bodily experience of dances shared by actress and spectator. Diana experiences the world through her body’s movement, the visible fuses with kinetic, even private moments (dressing in mirror) are shared by the spectator (129). Landay defines performance as being for someone, an ‘Other’ either the actor and character or an audience. Sobchack is referenced, highlighting a phenomenological perspective; viewers invisibly perform in relation to the film in front of them. The article…
* He saw movement, gesture, space, rhythm, and music as the true “language of the theater,” focusing on the “form” onstage.…
The Performance Triad The Beginning of the life changing campaign • In Afghanistan 2011 Lt. Gen. Patricia D. Horoho, the Army surgeon general came up with the idea known as The Performance Triad • It was brought to America held at a workshop Sept. 18--21 at Aberdeen Proving Ground, Md. Cont. •…
Two histories of Performance Studies: (two narrative lines of the discipline: NYU story; NU/Oral Interpretation story, e.g. LSU)…
References: Abrams, Josh & Parker-Starbuck, Jennifer. (2005). London Calling. PAJ: A Journal of Performance & Art., [Online]. Vol. 27 Issue 81, p38-44. Available at: http://web.a.ebscohost.com/ehost/detail/detail?vid=22&sid=e2e566d9-08b9-4edd-874f-85538cd0df06%40sessionmgr4005&hid=4101&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=ibh&AN=18258388 [Accessed 07 October 2014].…
The restored behaviors contribute to Schechner’s theory as they are used to mark, frame or heighten the performance. With the medium being live and the audience close in proximity, restored behaviors of stomping/ marching and shouting can be more heard. The specific medium and Schechner’s concept of restored behaviors, allows the characters roles in the performance to be more effective. The relevance of Goffman’s theory to this performance is the influence in which it has on the audience and participants. For example, with the “death” of the performer, there is the influence of severity in which the situation they were trying to display was to the audience.…
Bibliography: * Abercrombie, Hill and Turner, Audiences: A Sociological Theory of performance and imagination. London: Sage, 1998…