IB Theatre Summer Research Assignment: Theatrical Practices Taster Lessons IB Theater

Total Page：16

File Type：pdf, Size：1020Kb

IB Theatre Summer Research Assignment: Theatrical Practices Taster Lessons IB Theater In all of our IB Theatre work, we will be Theater in the World. In order to start to widen our horizons of theatre, and prepare for our Research Presentation, you must research and give a taster-lesson on two, unknown theatrical practice. Each taster must include the following: Quick Reference Handout: You should have a one-page summary handout that includes: • Name of Practice • Origins: time period practiced, place/culture of origin, historic origins and/or modern status • Key elements, and terminology (min. 3 elements/terms) • Name of a play/performance in this style with 2-4 sentence synopsis, playwright with 2-4 sentence bio • Min. one image supporting information above, preferably of the practice being exercised. • MLA style entries for two primary or secondary sources Complete 10pts, Correct 10pts, Accessible 5pts. Presentation In class, you will introduce the theatrical tradition you studied in a 10-15 minute presentation, using your handout and supporting media. Handout: Have one copy for each person in class. Supporting Media: share and discuss two of the following: • 4 supporting still images (including one from handout), video ( 2-5 min.) of a production, 1 video interview/documentary of someone explaining the practice (2-5 min.) reading(s) from a play in this style (2-5 min.), activity for class involving an element of that production (reading, exercise, etc.) Complete 10pts, Dynamic 10pts, clearly self-informed 5pts. See reverse for theatre traditions to choose from. Choose from the following practices (if none of them look familiar, remember, that’s the point.): Students must select one of the theatre traditions prescribed below: Comedy and tragedy Ancient Kecak Indonesia Greece Wayang golek puppetry Comedy and tragedy Ancient Rome Indonesia, Malaysia Wayang kulit shadow puppetry Topeng dance Bali Indonesia, Malaysia Cantonese, Yueju and Peking opera Commedia dell’arte Italy China Yuan Drama or zaju China Bunraku Japan Khayal al-zill shadow puppets Kabuki Japan Egypt English Renaissance theatre Kyogen̄ farce Japan England Victorian melodrama England Noh theatre Japan Punch and Judy puppets Rakugo “sit down” theatre England Japan Comedy of manners or Restoration comedy Talchum mask dance Korea England, France Medieval mystery plays Shadow theatre Taiwan, China England, France, Germany Hun lakhon lek puppetry French farce France Thailand Karagozi shadow puppetry Khon dance drama Thailand Greece Karagöz shadow puppetry Kathakali India Turkey Barong (or Rangda) dance Pantomime United Kingdom Indonesia .

Copy Link

Recommended publications

Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO
Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published by Center for Glocal Studies, Seijo University (CGS) Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: [email protected] website: http://www.seijo.ac.jp/research/glocal-center/ and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) c/o Sakai City Museum, 2 Cho Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802 Japan E-mail: [email protected] website: http://www.irci.jp © Center for Glocal Studies, Seijo University (CGS) © International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published on 30 November, 2017 Contents Foreword Wataru IWAMOTO and Tomiyuki UESUGI ………………………………………………………ⅳ Welcome Remarks Junichi TOBE …………………………………………………………………………………… 3 Opening Remarks 1.Tomiyuki UESUGI ……………………………………………………………………………… 4 2 .Wataru IWAMOTO………………………………………………………………………………… 6 3.Tim CURTIS ………………………………………………………………………………………
[Show full text]
LCSH Section K
K., Rupert (Fictitious character) Motion of K stars in line of sight Ka-đai language USE Rupert (Fictitious character : Laporte) Radial velocity of K stars USE Kadai languages K-4 PRR 1361 (Steam locomotive) — Orbits Ka’do Herdé language USE 1361 K4 (Steam locomotive) UF Galactic orbits of K stars USE Herdé language K-9 (Fictitious character) (Not Subd Geog) K stars—Galactic orbits Ka’do Pévé language UF K-Nine (Fictitious character) BT Orbits USE Pévé language K9 (Fictitious character) — Radial velocity Ka Dwo (Asian people) K 37 (Military aircraft) USE K stars—Motion in line of sight USE Kadu (Asian people) USE Junkers K 37 (Military aircraft) — Spectra Ka-Ga-Nga script (May Subd Geog) K 98 k (Rifle) K Street (Sacramento, Calif.) UF Script, Ka-Ga-Nga USE Mauser K98k rifle This heading is not valid for use as a geographic BT Inscriptions, Malayan K.A.L. Flight 007 Incident, 1983 subdivision. Ka-houk (Wash.) USE Korean Air Lines Incident, 1983 BT Streets—California USE Ozette Lake (Wash.) K.A. Lind Honorary Award K-T boundary Ka Iwi National Scenic Shoreline (Hawaii) USE Moderna museets vänners skulpturpris USE Cretaceous-Paleogene boundary UF Ka Iwi Scenic Shoreline Park (Hawaii) K.A. Linds hederspris K-T Extinction Ka Iwi Shoreline (Hawaii) USE Moderna museets vänners skulpturpris USE Cretaceous-Paleogene Extinction BT National parks and reserves—Hawaii K-ABC (Intelligence test) K-T Mass Extinction Ka Iwi Scenic Shoreline Park (Hawaii) USE Kaufman Assessment Battery for Children USE Cretaceous-Paleogene Extinction USE Ka Iwi National Scenic Shoreline (Hawaii) K-B Bridge (Palau) K-TEA (Achievement test) Ka Iwi Shoreline (Hawaii) USE Koro-Babeldaod Bridge (Palau) USE Kaufman Test of Educational Achievement USE Ka Iwi National Scenic Shoreline (Hawaii) K-BIT (Intelligence test) K-theory Ka-ju-ken-bo USE Kaufman Brief Intelligence Test [QA612.33] USE Kajukenbo K.
[Show full text]
Language Style and Meaning in the Lyrics of Bojo Galak by Pendhoza
International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 11, Issue 4, 2020 Language Style and Meaning in the Lyrics of Bojo Galak by Pendhoza Laili Etika Rahmawatia*, Putri Haryantib, Hari Kusmantoc, Tety Bekti Sulistyorinid, a,b,c,dIndonesian Language and Literature Education, Faculty of Teacher Training and Education, Universitas Muhammadiyah Surakarta, Surakarta 57102, Indonesia, Email: a*[email protected] This research aims (1) to describe the language style the song Bojo Galak by Pendhoza; and (2) to describe the meaning of the song. Words, phrases, clauses, and sentences are the data for this research, which are sourced from the lyrics of Bojo Galak. These data are collected using listening and note-taking technique and analysed using stylistic and hermeneutical analysis method. The results show that (1) the language styles in Bojo Galak lyrics include: (a) the sound style of dominantly-used assonance in the lyrics, which is /e/; (b) the word style (diction) of the song uses numerous connotative words; (c) the sentence style is done by implicating words and particles. (2) the meanings consisted in Bojo Galak are (a) representative of verbal abuse by a wife against her husband; (b) describe complaints, or an outpouring of a husband's feelings about the nature or character of his partner; (c) teach the meaning of submission and patience in accepting the reality of life; (d) teach the meaning of sincerity or acceptance of the partner’s situation; and (e) teaching the meaning of loyalty. Key words: Language style, song meaning, Bojo Galak. Introduction Song progression in Indonesia has been a point of conversation in daily lives.
[Show full text]
Gamelan Gender Wayang of Bali: Form and Style
..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
[Show full text]
Performance in Bali
Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-ﬁrst century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four speciﬁc forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List
[Show full text]
The Blending of Thai- Muslim Musical
THE BLENDING OF THAI- Phleng Na and Phleng Tak. Those of the MUSLIM MUSICAL Muslim groups are: Rong Ngeng, Ma’yong, Dikia, Li Ke Hulu and Sila. PERFORMANCES IN SOUTHERN THAILAND This article will present information only about the music and performances of the Bussakorn Sumrongthong1 Muslim social group as the Buddhist related research is covered in a separate article. This report will focus on the key Abstract elements and characteristics, succession of musical knowledge, rituals and beliefs, Introduction including the knowledge succession of each musical performance. This paper is a research report of investigative fieldwork on the musical Musical culture of southern culture of the southern provinces of Thailand Thailand. The research was conducted by interviewing prominent musicians from each of the following provinces: Chumphon, Krabi, Nakhon Si Thammarat, Phang-Nga, Phatthalung, Phuket, Satun, Songkhla, Surat Thani and Trang. The current political instability in the provinces of Pattani, Yala and Narativas prevented conducting research in these locales. The process of this qualitative research consisted of direct observation, in-depth interviews of well-known artists, a survey of musical instruments and related performance or ritual materials /documents. The research found that the culturally significant music and Figure 1: Map of Southern Thailand performances in this region can be divided into 2 socio-religious groups delineated by Historically, the South of Thailand has the Buddhist and Muslim faiths. been a commercial trading center of South-east Asia. It served as a hub The core songs and performances of the between the two great nations of India and Buddhists are: Ka Lo, Nang Talung, Nora, China and as a result, facilitated the Phon and Li Ke Pa, while the key classical dissemination of both Brahmanism and Thai songs are Phleng Ruea, Phleng Bok, Buddhism in this region.
[Show full text]
Experiences in Sundanese Wayang Golek of West Java
View metadata, citation and similar papers at core.ac.uk brought to you by CORE MÓIN-MÓIN provided by Portal de Periódicos UDESC (Universidade do Estado de Santa... 150 Cross cultural research: experiences in sundanese wayang golek of West Java Kathy Foley University of California Santa Cruz (USA) Abstract: Studying the performing art of wayang golek in the late 1970s required learning how to learn a complex art in a local language from village practitioners whose practice did not correspond to the model expounded by the local academic. Language, music, culture, dance, spiritual dimensions, and complex stories needed to be absorbed and became building blocks toward performing this rich art of the Sundanese dalang of West Java. Keywords: Wayang Golek. Sundanese rod puppetry. Dalang. At twenty-three I encountered Sundanese wayang golek, a rod puppet genre of West Java through a summer program financed by a California philanthropist, Samuel Scripps. Enamored of South and Southeast Asian arts, Scripps funded Center for World Music, a summer school program where major Asian artists taught each class. Dalang Rutjita was a village-based carving master from West Java in Indonesia who dazzled us, his five students, with the lifelike dance of his carefully carved figures. He spoke no English, and just a bit of Dutch. Luckily there was a Dutch student s (Klara Braekel) who was fluent in Indonesian and she translated as we worked that summer of l974, scene by scene, through a single lakon (play). We tried to make out puppets emulate the walks specific to each character type (refined, semi-refined, strong, demon).
[Show full text]
The Rise up Art Tradition in the Popular Culture
Journal of Education and Social Sciences, Vol. 5, issue 2, (October) ISSN 2289-1552 2016 THE RISE UP ART TRADITION IN THE POPULAR CULTURE Bani Sudardi Cultural Studies Department Universitas Sebelas Maret Jl. Ir. Sutami 36 A Surakarta [email protected] ABSTRACT This research is about folklore and its corrrelation with art tradition. This research has signification wit tradition, especially in Solo, Central Java, Indonesia. Folkore is a tradition, but in the line with the development of media. Folklore spread in the wider area outside its tradition.This study used a qualitative approach. Data is the form of art traditions in Java, especially around Surakarta. Which is the source of data are the kinds of traditions such as puppets, drama, songs, and so on. The data source is also in the form of electronic display on the TV, radio, movies, and CDs. Another source is the tradition of the artists themselves. Sampling determined by purposive sampling. Art tradition is part of folklore. Today, art tradition became popular culture and loss its tradition value. Art tradition has changed and reflected the change of the era. The change is a form of the changing identities and mass communication. It mean that the culture is instable and not in the closed system. The culture is in forming, dynamic, and continuously updating their self. So, the culture is not artifacts or symbol, but a process. This research tries to study the transformation of culture from folklore or art tradition to the popular culture. Art tradition grows in the certain society. But, today, it is transformed to TV’s performance.
[Show full text]
Screwball Syll
Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny.
[Show full text]
Usage of 12 Animation Principles in the Wayang
USAGE OF 12 ANIMATION PRINCIPLES IN THE WAYANG KULIT PERFORMANCES Ming-Hsin Tsai #1, Andi Tenri Elle Hapsari *2, # Asia University, Taichung – Taiwan http://www.asia.edu.tw 1 [email protected] * Department of Digital Media Design Faculty of Creative Design 2 [email protected] Abstrak— Wayang kulit merupakan salah satu animasi tertua, animation principles will be used in this paper and further namun hingga kini belum ada penulisan lebih lanjut yang discussed in the following section. membahas tentang hubungan animasi dengan wayang kulit itu Wayang Kulit is the Indonesian shadow puppet theatre, sendiri. Dengan demikian, tulisan ini bertujuan untuk which already been acknowledge in worldwide organization memperlihatkan hubungan antara animasi yang kita kenal saat about The Masterpieces of the Oral and Intangible Heritage of ini dengan pertunjukan wayang kulit, menggunakan 12 prinsip dasar dari animasi sehingga terlihat persamaan penggunaan Humanity. It was a list maintained by UNESCO with pieces teknik yang ada dalam hubungannya dengan proses yang of intangible culture considered relevant by that organization. lainnya. The goal of this paper is to take a closer look at 12 principle of animation used in wayang kulit performances. The animation principles designed by Disney animators Kata kunci— Teknik animasi, 12 prinsip animasi, wayang kulit themselves, will act as guidelines to test the quality of Abstract— Wayang Kulit has been known as one of the oldest animation used in wayang kulit performances techniques, by animation; however, there is no definitive methodology that analyzing the use of the 12 traditional animation principles in supports the development process of these animation performances it.
[Show full text]
Grades 9-12 Sample High School Fundamentals I Learning Plan Big Idea/ Topic Researching Historical Styles
Grades 9-12 Sample High School Fundamentals I Learning Plan Big Idea/ Topic Researching Historical Styles (This lesson plan along with Lesson plan 4 should be repeated for multiple historical periods) Connecting Theme/Enduring Understanding: The skills associated with auditioning allow students to explore skills similar to presentations in non-theatre related fields. Students will demonstrate an understanding of the process of preparing a performance associated with a particular historical period through research. Essential Questions: How does one research appropriately for a given acting style? What is a period style? How do theatrical traditions connect to specific societal, cultural, and historical contexts? Standard Alignment PERFORMING TAHSFT.PR.1 Act by communicating and sustaining roles in formal and informal environments. c. Explore various acting methods and techniques (e.g. Stanislavski, Uta Hagen, sense memory, emotional recall) for the purpose of character development. d. Perform acting choices for an audience based on critiques. RESPONDING TAHSFT.RE.1 Engage actively and appropriately as an audience member. b. State and support aesthetic judgments through experience in diverse styles and genres of theatre. TAHSFT.RE.2 Critique various aspects of theatre and other media using appropriate supporting evidence. a. Generate and use the terminology for critiquing theatre presentations. b. Analyze performance and utilize various effective forms of criticism to respond to and/or improve performance. CONNECTING TAHSFT.CN.1 Explore how theatre connects to life experiences, careers, and other Content d. Explore various careers in the theatre arts (e.g. performance, design, production, administrative, education, promotion). TAHSFT.CN.2 Examine the role of theatre in a societal, cultural, and historical context.
[Show full text]
Tenaga Dalam Volume 2 - August 1999
Tenaga Dalam Volume 2 - August 1999 The Voice of the Indonesian Pencak Silat Governing Board - USA Branch Welcome to the August issue of Tenaga Dalam. A lot has occurred since May issue. Pendekar Sanders had a very successful seminar in Ireland with Guru Liam McDonald on May 15-16, a very large and successful seminar at Guru Besar Jeff Davidson’s school on June 5-6 and he just returned from a seminar in England. The seminar at Guru Besar Jeff Davidson’s was video taped and the 2 volume set can be purchased through Raja Naga. Tape 1 consists of blakok (crane) training and Tape 2 has about 15 minutes more of blakok training followed by a very intense training session in various animal possessions including the very rare Raja Naga possession. Guru Besar Davidson and his students should be commended on their excellent portrayal of the art. Tape 1 is available to the general public, but due to the intense nature of tape 2 you must be a student. It is with great sadness that I must report that Guru William F. Birge passed away. William was a long time personal student of Pendekar Sanders and he will be missed by all of the people that he came into contact with. 1 Tribute to Guru William F. Birge Your Memory Will Live On In Our Hearts. 2 DJAKARTA aeroplane is a lead-coloured line of sand beaten by EX ‘PEARL OF THE EAST’ waves seeping into a land as flat as Holland. The Dutch settlers who came here in 1618 and founded The following is a passage from the wonderful Batavia must have thought it strangely like their book Magic and Mystics of Java by Nina Epton, homeland.
[Show full text]