Unit 1 Written Evaluation (1968 words). For our unit one exam‚ we explored the dramatic concepts of justice‚ and whether or not justice could truly be achieved. In order to do so‚ our exam was partitioned into six one hour lessons each containing justice as a focus point‚ using different forms and techniques to explore in a variety of different ways. Firstly‚ we looked at how hot seating could be used to fully explore an emotionally realistic situation. Our main stimulus for this lesson was the
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Charlotte Dunnico Unit 1: From Page to Stage Working Record Stage 1 Our stimulus for Unit 1‚ From Page to Stage: is ‘Our Day Out’ by playwright Willy Russell. We are using the straight version published in 1987 for our stimulus. In the play ‘Our Day Out’ I will be playing Mrs Kay and David will be playing Mr Briggs. We have kept Mrs Kay and Mr Briggs the same gender as Russell intended because Russell’s states that the reason Mrs Kay seems liberal is partly due to her gender – this then contrasts
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September 3‚ 2014 Lecture 1 Professor Barry Keith Grant Terrance McDonald – Course Co-Ordinator Cinema – Industry‚ a social institution‚ entertainment‚ an art form. September 5‚ 2014 Lecture 2 Becoming a Film Student An introduction to screening and viewing practices September 10‚ 2014 Lecture 3 The Beginnings of Cinema Peter Mark Roget (1769-1879) Persistence of Vision Thaumatrope (1824) Animation Cel Zoetrope Invented in 1833 by British Mathematician William George Horner Panorama
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A Marriage Proposal (sometimes translated as simply The Proposal‚ Russian: Предложение) is a one-act farce by Anton Chekhov‚ written in 1888-1889 and first performed in 1890. It is a fast-paced play of dialogue-based action and situational humour. Characters Stepan Stepanovitch Tschubokov‚ 70 years old‚ a landowner • Natalia Stepanovna‚ his daughter‚ 25 years old • Ivan Vassiliyitch Lomov‚ 35 years old‚ a neighbour of Tschubukov‚ a large and hearty‚ but very suspicious landowner Plot synopsis
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Whether witnessing a performance or reading the text of a play‚ we rely on the dialogue to enable us to create an image of characters in a text‚ to decide whether we like or dislike them and to try to understand them and their actions. Two levels of language are used in A Streetcar Named Desire - the words spoken by the characters in the play and the text of the stage directions. The nuances of speech set the characters in their social class context and show the differences of social status and
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The USSR and Stalin 1924-53 How successful was Stalin in solving Russia’s economic problems? What were Russia’s economic problems? Stalin believe rapid expansion of heavy industry was essential to deal with evident attach from west Industrial workers were the communists; greatest allies Peasants: enemies of socialism Industrial: Peasant ration Greater it was‚ greater communist state would be The Five Year Plans for industry Stalin = no economic experience Plans designed to overcome
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A. M. T. Bachelor of Communications with Theatre Studies Critical History of the Development of the Theatrical Text: From Diderot to Brecht University of Malta The strive for revolution through theatre Contrasting the ways through which Artaud and Brecht attempted to renovate theatre Abstract This essay defines and illustrates the ways in which Antonin Artaud and Bertolt Brecht have used theatre as a means for revolution. It explores the meaning each
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Introduction: the dramatic character The dramatic character‚ or the dramatis personae is defined as a “…phrase used to refer collectively‚ in the form of a list‚ to the main characters in a dramatic work.” (Wikipedia‚ 2015) This therefore differentiates the actor from the character. When analysing the dramatic character‚ there are different: Thomas F. Van Laan focused his studies around role and identity in Shakespeare and mainly looks at the personality traits of the dramatic character from the
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During the first course of the year in As Drama and Theatre Studies‚ we have been exploring Metamorphosis by Steven Berkoff‚ and My Mother Said I Never Should by Charlott Keatley. Both of these plays allowed us to explore critical factors which make up the course‚ these headings are: practitioner‚ vocal awareness‚ non-verbal communication‚ visual‚ aural and spatial dynamics‚ language‚ plus social‚ historical cultural and political contexts. Finally the plays uncover interpretation and characterisation
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Key Passage Analysis: Hamlet 2.2.576-617 The Passage: HAMLET Now I am alone. O‚ what a rogue and peasant slave am I! Is it not monstrous that this player here‚ But in a fiction‚ in a dream of passion‚ 580 Could force his soul so to his own conceit That from her working all his visage wanned‚ Tears in his eyes‚ distraction in his aspect‚ A broken voice‚ and his whole function suiting With forms to his conceit—and all for nothing! 585 For Hecuba! What’s Hecuba
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