Did you like this perspective?

For our second Play Assignment, you will read Katori Hall’s play, THE MOUNTAINTOP, and answer the four questions at the bottom of the assignment. The script for THE MOUNTAINTOP is available for free online via GSU. I’ve attached a link that will take you to the text. You will need to use your GSU sign-in to access it. I’ve also attached a very short video of highlights from the 2011 production of the play starring Samuel L. Jackson and Angela Basset.
Please note that this a controversial play with mature themes, coarse and strong language, sexual innuendo; deals with issues of oppression, including racism; conversations about death and dying.
As “The Mountaintop” begins, you immediately discover that the main character represents Dr. King. But, as Katori Hall depicts him, he may not be quite the man you expected. The character of Camae also may be a surprise. She turns out to be more than her station in life might have dictated. After reading the play, answer the following four questions, please provide specific examples from the text.
Each answer should be approximately 150-250 words, totaling 600-1000 words for the entire assignment.
1. Think about the images we have of Dr. King as a martyr and an inspirational leader and compare those images to the one that the playwright, Hall, has created. How do they compare with each other? Who do you think is the “real” Dr. King? Why?
2. In Camae, how did Hall show how our human traits might make us “better angels”?
3. Consider the image of God that Camae describes for us. How does this view compare or contrast to the image of God that you are most familiar with? Did you like this perspective? Were you able to accept it within the context of the play? Why or why not?
4. What do you think Hall’s theme is in this play? Discuss how the characters of Dr. King and Camae lent themselves to that theme.
The script: https://galileo-gsu.primo.exlibrisgroup.com/discovery/fulldisplay?context=L&vid=01GALI_GSU:GSU_V1&search_scope=MyInstitution&tab=LibraryCatalog&docid=alma9934729931802952
short video link https://www.youtube.com/watch?v=gfMQwuT-xqQ

Why is this play worth/not worth doing for a modern audience?

In your response, you should address most of the following topics:
Your overall reaction to the play.
A general plot analysis (Aristotelian or departure-DO NOT RETELL THE STORY.)
How does the play reflect the society out of which it came?
How is the world of the play different from our own?
How would you stage this play?
Why is this play worth/not worth doing for a modern audience?
What are its strengths/weaknesses?
What do you think the playwright was trying to communicate to his/her audience through the play?

How would you stage this play?

In your response, you should address most of the following topics:
Your overall reaction to the play.
A general plot analysis (Aristotelian or departure-DO NOT RETELL THE STORY.)
How does the play reflect the society out of which it came?
How is the world of the play different from our own?
How would you stage this play?
Why is this play worth/not worth doing for a modern audience?
What are its strengths/weaknesses?
What do you think the playwright was trying to communicate to his/her audience through the play?

How would you stage this play?

In your response, you should address most of the following topics:
Your overall reaction to the play.
A general plot analysis (Aristotelian or departure-DO NOT RETELL THE STORY.)
How does the play reflect the society out of which it came?
How is the world of the play different from our own?
How would you stage this play?
Why is this play worth/not worth doing for a modern audience?
What are its strengths/weaknesses?
What do you think the playwright was trying to communicate to his/her audience through the play?

What are its strengths/weaknesses?

In your response, you should address most of the following topics:
Your overall reaction to the play.
A general plot analysis (Aristotelian or departure-DO NOT RETELL THE STORY.)
How does the play reflect the society out of which it came?
How is the world of the play different from our own?
How would you stage this play?
Why is this play worth/not worth doing for a modern audience?
What are its strengths/weaknesses?
What do you think the playwright was trying to communicate to his/her audience through the play?

Listen to the original recording of ‘sound of silence’ by simon and garfunkel, recorded in 1966.

1. Preparing First Paragraph
Listen to the original recording of ‘Sound of Silence’ by Simon and Garfunkel, recorded in 1966. Read the lyrics Download Read the lyrics as you listen.
Simon and Garfunkel Original RecordingLinks to an external site. https://www.youtube.com/watch?v=4fWyzwo1xg0
What to Post in First Paragraph
Choose two of the following words/phrases and explain your interpretation in the first paragraph of your post. I’ve provided some questions that can help. Explain your thinking.
‘Darkness’ (what is the nature of this darkness?)
‘People talking without speaking’ (what is the difference?)
‘People hearing without listening’ (what’s the difference?)
People writing songs that voices never share (why won’t they be shared?)
‘And no one dare disturb the sound of silence’ (why?)
“Fools” said I, “you do not know, silence like a cancer grows” (What quality is in the silence that is like a cancer?)
2. The heavy metal band Disturbed covered this song in 2015.
Watch the entire video. https://www.youtube.com/watch?v=u9Dg-g7t2l4
What to Post in Second Paragraph
In the second paragraph of your post describe the overall look of the video and explain how it affected or didn’t affect your original interpretation of the song lyrics.

What, ultimately, is ibsen confronting us with in his conclusion?

What exactly are the inciting events that are important to us? Are there any preparations (objects introduced that will be of some use later)? What secrets are kept from others? When and how are they revealed?
Ultimately, how does Ibsen take the formula of the “well made play,” which Scribe argued should be for amusement first and foremost, and make it political?
Where and when does Hedda defy the expectations of the genre? Shaw said that “problem plays” replace the well-made play’s neatly tied-up ending with a “discussion.” Is this true in Hedda Gabler? What are we to make of Brack’s final line? What, ultimately, is Ibsen confronting us with in his conclusion?

CHAPTERS 3 AND 4 OF THE TEXTBOOK Alfred Hitchcock once told screenwriter Ernest

CHAPTERS 3 AND 4 OF THE TEXTBOOK
Alfred Hitchcock once told screenwriter Ernest Lehman that he thought of the audience “like a giant organ that you and I are playing. At one moment we play this note on them
and get this reaction, and then we play that chord and they react that way.” For this
critique, you will watch the entirety of Psycho (from the Streaming Movies resources)
and analyze one scene (not the shower scene) to reveal how the film’s director,
Alfred Hitchcock uses camera movement and editing to “play” the audience “like a giant organ.”
First, watch the film in its entirety, paying close attention to how the camera moves and how the scene is edited.
Next, choose one memorable scene to analyze in detail. The scene should be about
30-60 seconds long. First focus on what Hitchcock does, then work on why he does it. Count the number of shots. Within each shot, does the camera move, or is it stationery? Does the director keep the camera close to the action, thus emphasizing motion?
Or does he de-emphasize movement through the use of long shots, high angles,
and slow-paced action? Are the camera’s movements smooth or choppy? Lyrical or
disorienting? How much cutting is there and why? Are the shots highly fragmented or
relatively lengthy? What is the point of the cutting? To clarify? To stimulate? To lyricize? To create suspense? To explore an idea or emotion in depth? Discuss the answers to these questions to reveal how Hitchcock uses movement and editing techniques to obtain
the desired reaction from the audience in the scene you selected.
Use your textbook to guide your discussion. Cite all references to the textbook in MLA
format. It is not necessary to research additional information for this critique, but if you
do use outside sources in the paper, they must also be cited in MLA format in the body
of the paper and on the works cited page.
***** KEY THINGS TO FOCUS ******
Count the number of different edits, and identify the number of unique shots and
different angles. How does the scene affect you? How do the editing and multiple
angles add to or distract from the story?
Working from our list of seven basic moving camera shots on page 114, describe
what camera movement you would use to film each event and why. Refer to
pictures throughout Chapter 3 for inspiration or post an image or video clip to
serve as an illustration.
Length: 3-4 double-spaced page
Scene you can select to write paper on … you can look them up time frame
1st. 25:40 – 26:30 (when she is in the car on the way to the motel
2nd. 01:07:20 – 01:08:35 (when the personal investigator is at the motel
3rd. 1:16:55 – 1:17:08 (when personal investigator go inside the house)
4th. 1:17:24 – 1:17:36 (when personal investigator gets killed)
LINK TO TEXTBOOK (JUST COPY AND PASTE THE LINK)
chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://nbrdesignstudio.com/wp-content/uploads/2015/09/UNDERSTANDING-MOVIES.pdf
THE MOVIE IS CALLED PSYCHO YOU CAN FIND IT ON AMAZON PRIME AND OTHER
LINKS
THE LINK TO PREVIEW OF THE MOVIE IS

During Reading Week, besides the preparation for week 7, you will need to write

During Reading Week, besides the preparation for week 7, you will need to write a short introductory essay discussing at least one critical approach to the idea of “Eastern Europe” in the context of theatre studies, addressing the question: “What is ‘Eastern’ in EuropeanTheatre (concepts, practices, and contexts)?” Exploring some of the themes raised in the first two weeks particularly (as also presented in the Course Introduction) – critically addressing geography and history, both personal and political borders, postcolonialism, the dialogical and the constructivist, cultural memory – and comparing these, for example, with the discussions with directors in the last two chapters of Stepanova and Carlson (eds.) (2021: 263-294)… The essay is an invitation to discuss what might be problematic in supposing reference to “Eastern Europe” – historically, politically, culturally, geographically – not least, with respect to presenting examples of theatre practice and should be grounded in an exploration of specific instances (rather than generalisations).
basically” the question invites you to reflect on what might be complex in referring to “Eastern European theatres” – how and why does reference to “Eastern” qualify that of “European” in interesting ways, historically, critically, etc. (“contexts, practices, concepts”). This could indeed include reflection on the “geopolitical” construction of the distinction between East and West, not least in the context of war (including the present one). If you choose to discuss a play or a production it is probably best to focus on just one (which you can evidence with citation, whether in page numbers or time code) rather than generalising. All the best, Mischa

· Students are required to experience what it is like to be a Dramaturg fo

·
Students are required to experience what it is
like to be a Dramaturg for a production, and complete a 350 word essay choosing
1 of the 6 viewpoints and showing how that particular viewpoint influenced the
Playwright.
1)
Read the play Othello by William Shakespeare.
The play can be found online for free in numerous places. Just Google Othello by William Shakespeare and
you will be directed to the text.
2)
Next you must choose a viewpoint on which to
research about the time and the place where this play was written. That time period is between the years 1575 c.e.
and 1630 c.e. in London, England. Choose
one of the PERSIA viewpoints and do your research.
3)
Now write your 350 word essay about the research
you have gathered and how it affected Shakespeare in writing it.