CHAPTER 9: Taking the Stage ■ 149 Ow It Is Time to Think About Taking Your Scene Or Play to the Stage for Re- N Hearsal and Production
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Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander
Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander It is a truth universally acknowledged that the plays of Menander owe a great debt to Classical Athenian drama: connections between plays such as Aristophanes’ Cocalus and Menander were noted in didascalia, and similarly the thematic and structural similarities between New Comedy and the works of Euripides were already recognized in Hellenistic scholarship (Arnott 1972; Csapo 2000; Hunter 2011). Sophocles, on the other hand, is rarely included in this discussion of dramatic influence, more often regarded solely for his role as the pinnacle of tragic poets. It is the purpose of this paper to reanalyze possible connections between the corpus of Sophocles and that of Menander by examining both the Antigone and the Dyscolus as plays employing one of the most familiar stock characters of ancient comedy: the “blocking” father figure. This father figure—whose earliest incarnation arguably belongs to Old Comedy, such as Strepsiades from Clouds—is perhaps best known for his characterization in the plays of Greek New Comedy and their later, Latin iterations. Generally an old and intransigent father, the “blocking” figure is generically defined by his interference in the life of his young offspring; in New Comedy, this interference takes the form of intervention in the budding romance of two young lovers, whose inconvenient marriage will inevitably bring about the typical finale. This character, at first glance, may appear to be a creature created solely for light-hearted drama. Creon of the Antigone, however, whose stubborn and belligerent character has been carefully surveyed for his role within the tragedy itself (see Roisman 1996), additionally shares many features with the father of Menander’s only intact play, Knemon of the Dyscolus. -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Music Television Käynnistää Syyskauden Vauhdikkaasti! - Luvassa Paljon Uusia Sarjoja, Musiikkia Sekä Tietenkin MTV Europe Music Awards 2009
Tiedote 10.9.2009 Music Television käynnistää syyskauden vauhdikkaasti! - Luvassa paljon uusia sarjoja, musiikkia sekä tietenkin MTV Europe Music Awards 2009 MTV:n uudet showt takaavat viihdyttävän syksyn. Koko loppuvuosi on täynnä toinen toistaan mielenkiintoisempia ohjelmauutuuksia tietenkään musiikkia unohtamatta. Lisäjännitystä MTV:n syyskauteen tuo MTV Europe Music Awards 2009, jota vietetään viides päivä marraskuuta. Tänä vuonna näyttävä gaalatunnelma loihditaan Berliiniin. Musiikki on MTV:n sielu ja sydän ja syksystä onkin tulossa musiikintäyteinen. Musiikkivideoiden lisäksi MTV World Stagella päästään seuraamaan tasokkaita live-keikkoja. MTV:n kaikkien aikojen nuorin musiikkipäällikkö Axl Smith pitää huolen siitä, että musiikki ylittää kuulijoiden vaatimukset. Musiikkilistat päivittyvät kaiken aikaa ja kanavalla soi paljon uutuuksia, jotka hivelevät kuulijoiden korvanystyröitä. Musiikkimaailman villeimpiä uutuuksia, artisteja ja videoita esittelee Spanking New, joka tarjoilee katsojille kuumimmat, vielä pinnan alla porisevat hitit nyt joka päivä. - Soittolistamme syntyvät omissa käsissämme, mistä olen ylpeä. Muistan itse MTV:n yhteisöllisenä mediana, joka esitteli kuumimmat musiikkiuutuudet ja tavoitteenani on säilyttää se sama fiilis myös tämän päivän MTV:llä. Olen saanut huippuduunin, jonka koen positiivisella tavalla haasteellisena, kertoo MTV:n musiikkipäällikkö Axl Smith. Music Televisionin syksy on myös täynnä viihdettä sekä vauhtia ja vaarallisia tilanteita. Siitä pitävät huolen kanavalla käyntiin pyörähtävät ohjelmauutuudet -
2019-2020 Theatre I Curriculum Map I
2019-2020 Theatre I Curriculum Map I. Course Outline Unit Current Timeframe Assessments/Activities Big Idea Essential Questions Core Resources Arkansas SS Framework Alignment Greek and Roman CR.1.TH.1 1st 9 Weeks Greeks and Roman Theatre History Theatre History How does history impact theatre? The Stage and School Theatre History P.4.THI.2 Test Character Development How do you create characters? Basic Drama Projects Character P.4.THI.3 Antigone Test Improv How does empathy affect The Drama Classroom Companion Development P.4.THI.5 Napoleon Dynamite Character Analysis characterization? Antigone P.5.THI.2 Life Size Character Poster How do characters affect plot? Napoleon Dynamite P.6.THI.2 Character Observation Journal Greek Theatre Mask Medieval Theatre CR.1.TH.1 2nd 9 Weeks Medieval Theatre History Test Theatre History How does history impact theatre? The Stage and School History CR.2.THI.1 Solo Acting Monologue Character Development How do you create characters? Basic Drama Projects Character Creation CR.2.THI.2 Theme Assessment Improv How does empathy affect The Drama Classroom Companion Solo Acting CR.1.THI.3 Modern Morality Play Acting Theories characterization? Veggies Tales used as modern CR.1.THI.4 Character Analysis Monologues How do characters affect plot? (examples of mystery, miracle, and CR.3.THI.1 Character Design Morgue Memorization How do you establish believable morality plays) P.5.THI.1 Audition characters? Everyman P.5.THI.2 Self Reflection How does memorization affect Monologues P.5.THI.4 characterization? P.5.THI.5 -
Chapter 4: Acting
096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life. -
CTDA Guide to Filming Live Theater
GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES VERSION 0.1 JANUARY 2012 GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT VERSION 0.1 JANUARY 2012 WRITTEN BY: NOELIS MÁRQUEZ XAVIER MERCADO LILLIAN MANZOR MARK BUCHHOLZ BRYANNA HERZOG EDITED BY: BRYANNA HERZOG PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES FUNDED IN PART BY: ANDREW W. MELLON FOUNDATION UNIVERSITY OF MIAMI LIBRARIES COLLEGE OF ARTS & SCIENCES WWW.CUBANTHEATER.ORG COPYRIGHT © 2012 TABLE OF CONTENTS Introduction 1 Equipment List 3 Filming Guidelines 4 Stage Design 5 Camera Placement 5 Filming With Two Cameras 6 Filming Considerations 8 Leadroom and Headroom 8 Avoiding the Audience 8 Light – Brightness Changes and Adjustments 9 Behind the Camera 10 Videographer –vs– Director of Photography 10 When do you use Close-ups, Mid Shots and/or Wide Angles? 10 When do you use zooms? 15 Showcasing production and costume design 16 How do you start and end the show? 16 When do you stop recording? 16 What do you do during Intermissions? 16 Audio Guidelines 17 Editing Guidelines 18 Justifying the Cut 18 Catch the Emotion 19 Best Angle for the Action 19 Emphasizing Rhythm 20 Dividing a Series of Actions 20 Covering Personalities 21 Scene Changes 21 Concealing Errors 22 Editing pre-performance, intermission, and post-performance 22 The Dissolve Transition 22 Things NOT TO DO 22 Color Correction -
Costume Designer Costume Designer
COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive. -
Sylvan Theatre on the Washington Monument Grounds
Sylvan Theatre on the Washington Monument Grounds Background Source: “DRAFT Cultural Landscape Report: Washington Monument Grounds,” John Milner Associates for the NPS, Dec. 2003 (Rev. March 2008) (pg 2-20) Establishment of the Sylvan Theatre One major addition to the Washington Monument Grounds that would serve as a focus for many future public gatherings was the Sylvan Theatre. In 1916, Alice Pike Barney, an arts patron, approached Col. W.W. Harts, Superintendent of the OPB&G, with the idea of building an outdoor theatre for productions of Shakespeare and other classical plays. This theatre was originally envisioned as a grassy knoll with a screen of trees, and its plan was based on that of an interior theatre, with a main stage, wings, entrance passage and floodlights, spotlights, and flood lights. On June 1, 1917, the Sylvan Theatre was dedicated before a crowd of 15,000 with an opening performance of an allegorical play (figure 2-37)…. The Sylvan Theatre served as the location for many concerts, ceremonies, and speeches on the monument grounds in the early 20th century (figure 2-43). (pg. 2-25) In 1944, a permanent stage was built at the Sylvan Theatre. This stage was four feet tall, rectangular in plan and supported by iron girders (figure 2-70). In 1976, the Sylvan Theatre underwent a major renovation, with the construction of the existing proscenium arch and enclosed dressing rooms. (pg. 2-27-summarized) In advance of the national bicentennial celebrations, a temporary structure (The Kodak Theatre) and a permanent new comfort station were constructed on the southeast corner of the Washington Monument grounds near the Sylvan Theatre in 1976. -
SOUND STAGE PRODUCTION REPORT “This Report Reveals a Portion of the Los Angeles Production Picture That Has Until Now Gone Unviewed
SOUND STAGE PRODUCTION REPORT “This report reveals a portion of the Los Angeles production picture that has until now gone unviewed. We hope that the availability of this data, and our plans to expand it through new studio partnerships, will be an asset to business leaders and policymakers, and further public understanding of L.A.’s signature industry and the wide employment and economic benefits it brings.” - Paul Audley, President of FilmL.A. PHOTO: Dmitry Morgan / Shutterstock.com PHOTO: MBS Media Campus PHOTO: Sunset Gower Studios© 6255 W. Sunset Blvd. CREDITS: 12th Floor Supervising Research Analyst: Hollywood, CA 90028 Adrian McDonald Graphic Design: filmla.com Shane Hirschman Photography: @FilmLA Shutterstock FilmLA Stages / studios (as noted) FilmLAinc TABLE OF CONTENTS INTRODUCTION 2 CERTIFIED SOUND STAGES IN GREATER LOS ANGELES 3 OTHER NON-CERTIFIED PRODUCTION SPACES 3 SHOOT DAYS ON STUDIO SOUND STAGES AND BACKLOTS 4 TRENDS IN SOUND STAGE FILMING 5 TRENDS IN BACKLOT FILMING 7 TRENDS IN SOUND STAGE OCCUPANCY 8 PROJECT COUNTS BY PRODUCTION CATEGORY 8 SOUND STAGES AND STUDIO INFRASTRUCTURE IN NORTH AMERICA 9 CONCLUSION 12 INTRODUCTION For more than 20 years, FilmL.A. has conducted an ongoing study of on-location filming in the Greater Los Angeles area. Drawing on data from film permits it coordinates, FilmL.A. publishes detailed quarterly updates on local film production, covering categories like Feature Films, Television Dramas and Commercials, among others. The availability of this data helps inform the film industry, Los Angeles area residents and state and local public officials of the overall health of California’s signature industry. Few other film offices track local film production as thoroughly as FilmL.A does. -
Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts Leah Zuidema
Language Arts Journal of Michigan Volume 29 Article 9 Issue 2 Location, Location, Location 4-2014 Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts Leah Zuidema Follow this and additional works at: https://scholarworks.gvsu.edu/lajm Recommended Citation Zuidema, Leah (2014) "Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts," Language Arts Journal of Michigan: Vol. 29: Iss. 2, Article 9. Available at: https://doi.org/10.9707/2168-149X.2013 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. PRACTICE Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts LEAH A. ZUIDEMA ne of the greatest challenges that could help them in visualizing the taken place in somewhat crowded class- of teaching plays in English action of the play. This is problematic, rooms, typically with about 35 students Olanguage arts courses is the as the cognitive work of visualization per section and little room to move fact that scripts are intended for the is a stepping stone to comprehension: about. The lesson sequence continues stage, not the page. While the plots, practiced readers use visualization to to evolve each year with small changes themes, and dialogue of the best scripts help them understand, make connec- and additions, often inspired by stu- are ripe for intensive literary study, care- tions with, and interpret literary texts dents’ suggestions about “what else” we ful attention to dramatic elements— (Wilhelm, 2008). -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.