Film Essay

Part 1: View a feature film made between 1940 – 1970 you have not seen before (or will see later in this class) by a great director. Many directors were active both before and after 1970 so make sure you see a pre-1970 FEATURE fiction film.
Suggestion: American directors such as Frank Capra, George Cukor, John Ford, George Stevens, Preston Sturges, Billy Wilder, or William Wyler. Foreign directors such as Ingmar Bergman (Swedish), Luis Buñuel (Spanish), Claude Chabrol (French), Federico Fellini (Italian), Akira Kurosawa (Japanese), Lina Wertmuller (German) or the British team known as “The Archers” made up of Michael Powell and Emeric Pressburger. For other possibilities, try: Comment on the specific film you saw in terms of its genre and the quality of the film itself. Pay attention to the camerawork (cinematography) the editing (montage) and the sound (including music). What did you like and what did you dislike? Why do you like the things you like, and why do you dislike the things you dislike? Finally, is the film successful in creating a work of fiction using the craft of filmmaking and considering when it was made? (Note: This is not the same question as whether or not you liked it. It is entirely possible to like a film that you are aware is not very good.)
Part 2: Draw some general conclusions about the work of the director and one of the main actors or actresses. For example let us say you watched the 1962 film Lawrence of Arabia. Did you like David Lean as a filmmaker? Explain your answer. Did you like Peter O’Toole in the role of Larwrence? Why, or why not?
End with your overall impression of the film, including how you see it as an example of the its genre and time period.
Part 3: On a separate page, insert the heading “My Criteria for Quality in Film.” Under that heading, propose four general statements indicative of your personal taste in movies. These statements should be numbered (1) through (4), and they should be written as complete sentences or a short paragraph. For example, if you commented in your essay that you liked the acting because it was realistic and you liked the scriipt because it had a happy ending, you could propose these two statements as criteria for quality: “(1) Excellent movies feature realistic acting. (2) A movie is more likely to be good if it ends happily.” Think about and then explain what words such as good, excellent, and effective actually mean.

Play Analysis/ Ball method in Death and the King’s Horseman play

1.First you have to read Backwards and Forwards by Ball.
2. Read the play Death and the King’s Horseman by Soyinka. I have attaching both readings.
3. Using Ball’s method in Backwards and Forwards, please describe the “triggers” and “heaps” that make up the central action of Death and the King’s Horseman. Make sure your chain is equally precise backwards as well as forwards. Format this analysis however you like, but it should be
Clear to read
Require no further explanation that isn’t on the page.
No word count.
Note: this will be graded complete/incomplete based on whether I feel you’ve met the terms of the assignment. And trust me, it’ll be useful for our discussion in class.
*I am sending examples of Trigger and heaps but from another play (Antigone) so you have an idea how the assignment is done. But for the best development of this is to read the method Backwards and Forwards (Ball) as the professor has ordered.

How To Write a Theatre Review Theatre reviewing will help you develop your under

How To Write a Theatre Review
Theatre reviewing will help you develop your understanding of drama and the theatre. Review writing will help you be more responsive to what you see and more comprehensive and exact in your account of it.
Different kinds of plays and productions will be reviewed differently. You need to respond to the particular experience provoked by a performance.
Some questions before you attend the show.
1. What is the play called?
2. Who is the director?
3. Who is the designer?
4. Who wrote it?
What kind of play is it, and what is it about?
A brief summary of the main action is a good way to start before talking about the main themes of the play and the issues it confronts.
What is the style of performance?
Is the play typical of one particular genre? Is it a comedy, a tragedy, absurd, naturalistic or postmodern?
Explain how this is portrayed in the performance, (ie techniques).
Is the play based on a novel?
Discuss whether the script was faithful to the original text?
Was the script written by the author of the original text or by someone else?
Is the play also a film?
How does the screenplay compare to the stage production? What differences are there in the action?
What worked better on the stage, or in the film?
Who are the main actors, the supporting actors?
What are the main characters of the play?
Do you think the actors understand the work?
How convincing did the actors seem in their portrayal of their characters?
What is their relationship with the other characters on stage and how well do they work together?
How well did they use their voice, movement or gestures to express their character?
Is there someone that stands out? Describe why.
How good is it?
Distinguish here between the text and the performance.
What effect does it have on you? Positive, negative, indifferent or some combination of these.
What’s missing, what’s worth seeing, what it is you value the most from the production?
Here are some words to help you explain the performance;
Compelling, difficult, complex, simple, overwhelming, aesthetically appealing, vague, dry, humorous, inviting, stale, logical, warm, frightening, abstract, dark, invigorating, mechanical, predictable, sophisticated, grotesque, energetic, enjoyable or abrasive.
If you read the script before you attend the performance, analyse the performance against the written text.
Does the performance realise its potential?
Do the actors fit the description of the characters you had in mind?
Describe aspects of the performance in detail.
Back up your judgement with evidence from the performance.
Topics to include are; direction, imagery, grouping, pace and timing, atmosphere or mood.
What is the nature of the theatre experience?
Your response to the play, but also notice how other audience members respond and the atmosphere of the evening.
Technical aspects
Ask yourself about the blocking, lighting, stage design, and costumes and how they influence the outcome of the play. Keep in mind that the lights, sound, costumes, etc. are there to enhance the performance, not to be the main focus. Try to use theatre terminology to define the technical aspects of the show.
Is the script complicated or complimented with the use of special effects, flashbacks, recurring image motifs, lights, staging, or other visual elements?
Are the lights indicative of the time of day or the season? Was special lighting used at any time for a particular effect?
Does the sound accent the style and format of the play?
Did this enhance or detract from the performance?
If they are using microphones, look for the quality of sound coming from them?
How did lighting and sound establish location and create atmosphere?
Costume Design
Do the costumes portray the time period and part of each character’s personality. How did the choice of colours and designs suit the overall look of the performance?
Set Design
Was the set an effective use of space? Did it enhance the performance? Was it easy for the actors to manoeuvre around?
If there were any difficult technical elements discuss how they worked.
How did the design elements compliment the directorial concept?
This should include the name of the play, the playwright, where the performance was including the date.
Try to give a brief description of the story.
Outline the important themes and issues of the play. You should also discuss the director’s interpretation of the play and how the style and form of the play communicates the play’s themes.
Describe and analyse the characters. (Often the main two) Talk about the character’s motivation or objectives.
Choose two performers and evaluate their performance.
Discuss how effective you think the use of sound, lighting, set and costume were in the performance.

The Theatre Review Outline Form Watch the play Fences in its entirety (link prov

The Theatre Review Outline Form
Watch the play Fences in its entirety (link provided in Topic 9). Review the following questions and answer them with thought and detail, using specific examples from this production.
Information to appear at the top of your review. The name of the play underlined or in italics. The playwright. The director. The designers. The date of the performance being reviewed. Names of leading actors referred to in your review and role played. (The name of the producer and/or the name of the theatre/producing group.)
This review needs to be 3-4 pages in length.
Introductory Paragraph. This paragraph sets the tone for your review. What about this production struck you? (Choose ONE from: The play itself, the production, the actors, the design, the style of the production, the musical settings, the occasion of seeing this play in a specific production venue, etc.) Make sure to address this question: “Is this an important play and, if so, why?” (Hint: You may want to inform the reader of what you expected prior to seeing the play or give some background about your theatergoing experience.)
The Body of the Review.
Isolate what you feel was the director’s interpretation of the play from what the playwright’s intention For instance, almost all historical plays undergo some kind of a change from their initial productions. Compare and contrast Washington’s version from what Wilson might have intended.
Once you have identified the point of the production, go over significant elements with regard to whether they support/detract from the production. (Significant elements might include: casting, acting, dialect, physicalization, cross gender casting, interracial casting, placement of actors by director, design [set, sound, light costumes, music, etc.])
Next, you should focus on ONE key specific element such as the acting or the design and discuss how these elements contributed to the production.
Be certain not only to praise or condemn but backup your observations with supporting evidence and examples from the film.
1) A fence is one of the major symbols, both figuratively and literally, within the play. Describe and analyze two examples of fences that exist within the play discussing:
– who builds each fence
– how each fence is built
– what effect each fence has on the characters in the play
Fences to consider are: the real fence Rose asks Troy to build; the symbolic fences that some characters choose to build around themselves; and the symbolic fence that Wilson hints at regarding the fences that separate African-Americans from others (please be considerate and sensitive when answering this question).
Make sure to stay away from any interpretation found on the internet. This should be your own thoughts/interpretations/etc. If you use internet sources without citing, that is considered plagiarism.
2) Identify what, if anything, did this production contribute to your understanding of theatre? What, if anything, can you say about the style of the production? Was it appropriate for the play, the occasion, the audience, etc.?
Conclusion. Make a recommendation to your reader and support it by referring back to a point raised above in your review. (If you feel strongly positive about the production, advise the reader to go see it immediately. If you feel strongly negative, advise the reader not to go.)
General Advice: If a specific scene or speech makes a strong impression on you, by all means find an excuse to allude to it or quote the passage in your review. If something in the play makes you aware of a specific historical event or general truth, use it as key to unlock the rest of the play. Keep your writing style simple, clear, and direct.

This Research Paper will be on the Musical: An American in Paris. The Musical R

This Research Paper will be on the Musical: An American in Paris.
The Musical Research Paper has a formal, professional tone, and is intended to help students develop an original and thoughtful composition that is accurate in research and analysis, well organized in structure, and clear in comprehension. The main objective of the paper is to use analysis and research to inform us about the musical itself and how it reflects American life. Avoid merely summarizing the plot, and instead, analyze how the story and characters contribute to a social reflection, making sure that you focus on the lyrics and music and/or dance of at least three songs. You can also use background information about the librettist, lyricist and composer, details about the work itself (actors/singers, directors/choreographers, dialogue, etc.), and historical facts about the world outside the musical in order to draw parallels with the musical. It is always powerful to personalize, but keep the focus on the musical and your analysis of it, rather than on your own life. Here are some questions to help you in your analysis:
How does the music, lyrics and dancing contribute to storytelling?
What are the main themes and is there a statement made by the show?
How is the musical a reaction to something happening in the country at the time?
Is there a character who represents some issue from the era? Are there characters who function as members of the society of the time?
Does the style of the music or staging reflect a quality or issue of the world of the play/musical?
How does the musical reflect the culture that produced it?
In either case, you need to argue your position by explaining how specific examples from the musical support it. Take us into the musical by drawing examples from it, rather than discussing only the era from when the show was produced. A dialogue sequence or a monologue from the libretto may serve your claim as evidence, but also consider the dramatic action (what happens in a scene), as well as characters, the lyrics of the songs, and the style of the music (which communicates feeling more directly than words).
This paper requires more than a paraphrasing from Wikipedia or; it demands that you read the actual libretto and/or view the work itself in some form, and apply your critical thinking to it. Do NOT choose one of the six musicals we have focused on in class. The experience is meant to be your own exploration of a work of your choice that does not simply repeat something already covered in class.
The Research Paper should utilize at least 3 to 5 works as sources in the List of Works Cited, and include at least 3 to 5 citations to those sources in the text. Citing your sources not only avoids plagiarism, but gives your paper more credibility. Humanities follows MLA Documentation practice, and you need to use that system for this paper. It won’t hurt you to try a different format from what you may be used to. To acknowledge your sources in the text of the paper, type the author’s last name and a page number within parentheses at the end of the sentence that includes the author’s idea or quotation (Parenthetical Documentation). Do not put whole titles or website addresses in a citation; you will only need a List of Works Cited page at the end of the paper (arranged alphabetically) instead of the usual Endnotes and Bibliography pages. These examples should help guide you, but for specific instructions on creating all forms of documentation, you should consult the MLA Guidelines. If you do not possess a style manual, you might wish to use the online site at Purdue to help you ().
NOTE ON SOURCES: Though you can get familiar with your musical by doing preliminary research using sources from the “surface web” (sources one can access with any search engine, like Wikipedia, bookrags, enotes, sparknotes, etc.), you need to access works for your List of Works Cited from the “deep web” (sources one can only access through the library’s portal, like JStor, Project Muse, etc.). The use of “validated critics” on sites that are subject to “peer review” ensures that your work will have the authority to provide a strong argument for your thesis.

What assumptions did you have about the theatre before completing this course?

What assumptions did you have about the theatre before completing this course? Did your assumptions prove true? If not, how did your perceptions change, and what key elements could you point to which molded your new way of thinking? How do you view the theatre now? This is an opportunity for self-reflection–which is an important component of your educational process–so share these reflections with your cohort.

1. Watch the film “Chiraq (2015)” 2. Read the play “Aristophanes’ Lysistrata” —

1. Watch the film “Chiraq (2015)”
2. Read the play “Aristophanes’ Lysistrata” –attached in files.
3. Read through Morreall’s “Characteristics of Tragedy and Comedy” –attached in files.
Pick 3-4 characteristics from Morreall’s list for both the above play and the film. Support each with an example from the play and film. Be specific with your supporting evidence and include scenes, dialogue, or moments from each.
For example:
“One of Morreall’s statements is that “Comic heroes and plots tend to see the unexpected and surprising as an opportunity rather than a norm-violation.” The character of Lysistrata in Aristophanes’ play fulfills this function in that she makes a bold decision, one that women at that time would never do and that is to stand up to those in power and defy the normal roles that women have in Athenian society. She leaves her home and inspires other women to stage a sex strike and take over the treasury….”
A conclusion should include how your analysis helps readers understand how comedy is employed and ultimately how successful the play and film are in the message each conveys.
Note: No external sources needed. Only discuss the play and the film on 3-4 characteristics from Morreall’s list and give conclusion at the end. Also no need for introduction either.
Thank you.

With regards to our Benedictine value of respect, How were women represented on

With regards to our Benedictine value of respect, How were women
represented on the stage? What conventions were used to
create female characters? Are there any such conventions used
today for the representation of women or men in the theatre,
cinema, or on television? How will transgender figures such as
Caitlyn Jenner, Laverne Cox (“Orange Is The New Black”), Billy
Porter (“Pose”), RuPaul (“RuPaul’s Drag Race”), and Jeffrey
Tambor—a cisgender actor portraying a transgender character–
(“Transparent”) change the way we view comedy and/or drama
in relation to gender?