U‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍nfortunately l filled on this module. l have a Reset essay

U‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍nfortunately l filled on this module. l have a Reset essay assignment , I already wrote it but I took 40 out of 100 that’s why I fail, in order to reset I have to fix my mistakes according to the teacher feedback Here is the feedback Feedback from my tutor This essay has achieved the learning outcomes attached to this assignment, but shows significant weaknesses in key areas. Although you have obviously committed to some research here, and adequately address the first part of the question, your essay remains stalled there. There is very little discussion of Disney’s position as a global empire in any depth, and you do not include any examination of their recent acquisitions or the impact of this on the entertainment industry. For future assignments I would strongly advise you to work on your skills in written expression. There is an argument here, but often it is obscured by poor writing. Also, revisit the referencing guide – you must include page numbers in citations – we went over this several times in class. It would be ‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍a very good idea to really get to grips with accurate referencing and how to use other people’s work in your essays – for example you have (Particulary with the Guardian article by Pulver) not accurately used quotation marks to indicate where you are using someone else’s words. It is not enough to change a few words and then cite it, at times you are using verbatim sentences. Assessment Three – Essay Brief: Topics should be thoroughly researched, include engagement with appropriate scholarly reading, and final submissions should be presented in appropriate academic style, including thorough and accurate referencing and bibliography (a filmography too, if appropriate). The word count for any bibliographies or filmographies will not be included in the overall word count. Do please remember that the module leader is unable to read full drafts of work before submission, but there will be opportunities to discuss your work in progress at both tutorials and through office hours. This should be submitted in Word format via Turni‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍tin

Choose one dramatic form taken from the following list: Ancient Greek Theatre Me

Choose one dramatic form taken from the following list: Ancient Greek Theatre Medieval theatre Commedia dell’arte Shakespeare Melodrama Musical theatre Verbatim theatre Vaudeville Political/protest theatre Street, environmental, community theatre Theatres of Asia (Japanese Noh, Kyogen, Kabuki, Bunraku, Indian Kathakali, Indonesian Shadow Puppets Wayang Kulit) The essay should be approximately 2,000 words and include a reference list. Because it is a research essay it will be largely descriptive rather than analytical (although it should have analytical aspects). Write your own essay question and include this at the beginning of your essay – see below for aspects you need to cover in the essay. You should include appropriate in-text referencing to any readings, Internet research, relevant visual media, and reviews of contemporary productions – search newspaper reviews and Australian stage online (www.australianstage.com.au). Please note that this is a FORMAL ACADEMIC RESEARCH ESSAY and should conform to academic standards of research, writing, and referencing. You need to use reliable sources of information and not only Internet resources. If you do use information from the Internet, ensure it is academically reliable. I have the Crawford, J. et. al. textbook so I can send you through the relevant chapter if you choose one fo the topics it covers (listed below). Research various aspects of the form such as history, elements of the form, if and how the form has changed from its traditional structure, discussion of contemporary productions or groups that specialise in the form. If you wish, you can include topic headings such as ‘Introduction to Medieval drama’, ‘The beginnings of Medieval theatre’, ‘From the Church to the Street’, and so on. Be careful not to make your topic too broad – your research should have depth rather than breadth. For example, if you are interested in theatres of Asia it would be a good idea to focus on one specific type of Asian theatre such as Noh rather than trying to cover a number of different Asian theatres. Include in-text referencing to readings, Internet research, and reviews of relevant contemporary productions. The following are a list of readings for some of the various topics you might choose. If you do choose one of the following areas, you must include at least some of these resources in addition to other sources. GREEK, ROMAN, AND MEDIEVAL THEATRE Topic notes: Greek, Roman, and Medieval theatre are the foundations of the western tradition. The conventions of chorus, hero, comic roles and stock characters have influenced many of the forms that came after them. Contemporary productions continue to draw on these dramatic structures and to re-interpret or re-imagine them. The convention of the chorus is one of the key stylistic forms of Greek theatre and it is frequently used in contemporary film and theatre. Consider, for example, the chorus of soldiers marching in the colosseum at the beginning of Julie Taymor’s film Titus.Consider also the different types of choruses used in the Sydney 2000 Olympics Opening Ceremony. The production called Kelly’s Republic which was staged on the Opera House forecourt as part of the 1997 Sydney Festival used more than one ‘Ned Kelly’ chorus by having multiple performers in Ned Kelly masks and costumes. Recreations of Medieval theatre are frequently mounted in England and Europe each year. They are not often attempted in Australia, however, but there was an interesting production staged over the Easter period in 2008. In Perth, the ‘Happy Dagger Theatre’ company presented The York Crucifixion play, directed by Andrew Hale. What was significant about this piece was that it used a grotesque style of performance to depict the soldiers who crucify Christ. It is a great example of how style & form can be used to re-imagine a classic play and give it contemporary significance. Notably, the style of the production was highly controversial, attracting a large amount of attention from the media and also from religious groups. In contemporary society it is a rare occurrence for theatre to incite such passionate responses! Greek, Roman, and Medieval theatre are all very accessible forms for secondary students. Chorus work is especially important because it teaches young actors about working as part of an ensemble. The stock characters found in the comic genres of these forms facilitate a physical approach to role-playing and serve as good preparation for commedia dell’arte work. Sources: Chapter 9: ” Greek, Roman and Medieval Drama” in Crawford, J. et. al. 2003, Acting in Person and in Style in Australia, McGraw-Hill Australia, New South Wales, pp. 85-106. Dugdale, E., 2008, Chapter 5: The Actors, in Greek Theatre in Context, Cambridge University Press, Melbourne, Victoria, pp. 101-132. Baines, R. and O’Brien, M. 2006, Navigating Senior Drama, Cambridge University Press, Port Melbourne, Victoria, pp. 133-150. Clausen, M. 2004, Centre Stage , 2nd edn, Heinemann, Port Melbourne, Victoria, pp. 153-157. Neelands, J. 2004, Beginning Drama 11-14 , 2nd edn, David Fulton Publishers, London, pp. 67-79. Contemporary productions: Titus, film directed by Julie Taymor Kelly’s Republic, Sydney Festival 1997, directed by Nigel Jamieson Gallipoli, Sydney Theatre, 2008, directed by Nigel Jamieson The Lost Echo, 2006, directed by Barrie Kosky Antigone, 2008, for Belvoir Street Theatre The Trojan Women, 2008, Sydney Theatre, directed by Barrie Kosky The Mysteries: Genesis, 2009, Sydney Theatre, directed by Matthew Lutton, Andrew Upton, Tom Wright (*an adaptation of the Medieval Mystery plays) Oresteia, 2010, Sydney Theatre Company, directed by Tom Wright Medea, 2012, Belvoir Street Theatre. Written by Kate Mulvany & Anne-Louise Sarks after Euripides. Directed by Anne-Louise Sarks. Produced in association with Australian Theatre for Young People (atyp). Sources regarding regarding the production of The York Crucifixion by Happy Dagger Theatre: At www.australianstage.com.au, search for The York Crucifixion, Happy Dagger Theatre At www.thewest.com.au or Google, search for ‘Buffoons resurrect Easter play’ and ‘Anger over ‘insensitive’ Christian Easter play’, At www.theatre.asn.au/theatre_reviews/the_york_crucifixion, you will find a review as well as a defence of the production by the director. And Google the West newspapers Blog ‘Is this female Jesus legitimate art?’ COMMEDIA DELL’ARTE Topic notes: Although Commedia dell’arte belongs to a particular historical and cultural context, many of its dramatic structures and conventions continue to influence theatre, film and television. As a performance style, commedia demands much from the actor, both physically and mentally. For high school students, it offers an opportunity to combine mask work, improvisation, character work, and broad physical comedy. Commedia’s footprint can be seen in some of Shakespeare’s comic characters, in much of Molière’s work, and in Goldoni’s The Servant of Two Masters. The use of stock characters, interactions between masters, servants, and lovers can be seen in cartoons and television shows such as Fawlty Towers, The Young Ones, andGilligan’s Island. These shows are good ways to introduce commedia to your students. There are many companies worldwide who specialise in commedia performance. The San Francisco Mime Troupe, for example, draws on many forms of popular theatre including commedia. In Australia, commedia was introduced to mainstream audiences in 1967 by director George Ogilvie with his production of Goldoni’s The Servant of Two Masters for the Melbourne Theatre Company. In 1974, Ogilvie directed Leon Katz’s The Three Cuckolds for the inaugural production of the Adelaide Festival Centre Playhouse. Commedia’s impact is also be seen in contemporary productions of Molière, such as Tartuffe and The Misanthrope. Sources: Chapter 10: Commedia Dell’Arte in Crawford, J. et. al. 2003, Acting in Person and in Style in Australia, McGraw-Hill Australia, New South Wales, pp. 107-117. Rudlin, J. 1994, Commedia dell’arte: an actor’s handbook, Routledge, London, pp. 48-63. Gration, S. and Peelgrane, N. 2008, Commedia Oz, Currency Press Pty Ltd, Strawberry Hills, Australia, pp. 49-72. Baines, R. and O’Brien, M. 2005, Navigating Drama, Cambridge University Press, pp. 57-83. Contemporary Production: Look for information and reviews of the 2013 National Theatre of Great Britain’s production of One Man, Two Guvnors, (adaptation of Goldoni’s, The Servant of Two Masters), hosted by the Sydney Theatre Company. SHAKESPEARE Topic Notes: Shakespeare’s plays offer students a rich tapestry of characters, environments, and situations. Although the language and poetry of this great master can sometimes pose a challenge for students, the work frequently inspires the imagination and gives young actors an opportunity to use their vocal and physical capacities to the fullest. Interest in Shakespeare in Australia has steadily been gaining ground, especially in schools. This is largely due to the wonderful work of the Bell Shakespeare Company’s education programme and the Shakespeare’s Globe organization, which established the annual Shakespeare Festival. Given the lively Shakespeare culture in Australia, as in many parts of the world, there are no shortages of productions for your own research and as teaching examples for students. Don’t feel compelled to research all of them, however! You can look at one or two in-depth. The readings on The Théâtre du Soleil are especially interesting in terms of our examination of form and applying different forms to plays. Artistic director, Ariane Mnouchkine, talks about how the company used Asian theatres as the basis for a production of Richard II. Sources: Chapter 11: Elizabethan and Shakespearean Theatre in Crawford, J. et. al. 2003, Acting in Person and in Style in Australia, McGraw-Hill Australia, New South Wales, pp. 118-142. Watson, K., ‘Teaching Shakespeare as Drama’, in Anderson, M., Hughes, J. and Manuel, J. 2008, Drama and English Teaching, Oxford University Press, South Melbourne, Victoria, pp. 69-87. Tourelle, L. and McNamara, M. 2003, Performance: a practical approach to drama, Heinemann, Port Melbourne, Victoria, pp. 77-84. Deprats, j-M., et. al., ‘Extracts: Collaborative theatre’, in Williams, D. 1999, Collaborative Theatre: The Theatre du Soleil Sourcebook, ed. Williams, D., Routledge, London, pp. 93-98, 105-111. Contemporary productions: Research The Théâtre du Soleil and Arianne Mnouchkine on the Internet. View the video of Roman Polanski’s Macbeth, 1971, and research on the Internet Video and film productions of Shakespeare by BBC, Kenneth Branagh, Baz Lurman Compare the production and performance styles in the following: 2002, Macbeth, Sydney Theatre, (and the 2008 STC production if you can find a review) http://www.smh.com.au/articles/2002/05/21/1021882052290.html Research Bell Shakespeare production of Macbeth, 2007 Have a look for teenage author Andy Griffiths’ Just Macbeth! search for reviews of the 2008, Sydney Theatre Company, Romeo and Juliet, Education Program. MELODRAMA Topic Notes: Like Commedia, Melodrama offers students an accessible approach to characterisation, as well as encouraging a physical performance style. The conventional characters of Melodrama – a villain, a hero and heroine, – are still very prevalent in popular culture, and can be seen in blockbuster films like Spidermanand television soap operas like Home and Away. Once again, these shows can serve as a useful visual introduction to the genre. Chapter 20: Heroes, Heroines and Harlequins (1851-1914) in Crawford, J., et. al. 2003, Acting in Person and in Style in Australia, McGraw-Hill Australia, New South Wales, pp. 158-175. Baines, R. and O’Brien, M. 2005, Navigating Drama, Cambridge University Press, pp. 85-111. Hatlen, T. 1987, Orientation to Theatre, 4th edn, Prentice-Hall International, Inc., New Jersey, USA, pp. 69-116. Contemporary productions: Look online for old silent movies that use a melodramatic style of performance. Research contemporary productions of the Australian melodrama The Sunny South, 1980, inaugural production for the Sydney Theatre Company, directed by Richard Wherrett. Study a popular film, such as Spiderman, and identify the melodramatic conventions used in the narrative structure. There are various other contemporary melodramas on stage, both in Australia and overseas.

I’m to write a short dramatic story revolving about an idea I built loosely arou

I’m to write a short dramatic story revolving about an idea I built loosely around a video game titled “Bio Shock” the person who is familiar with its story has priority to be picked here are the prof instructions : write a short dramatic story, including as many of the dramatic principles as you can such as – desire, action, conflict, a protagonist’s development (arc), orchestration of characters, complication, resolution, climax, etc. Length: For Fiction – 5-12 pages, double spaced, Times New Roman Format, sized 13. ill attach a one-page portfolio and characters list and some plot points and a draft of what the story is beginning middle and end. I’m always available for questions