Importance Of Set Design Theatre Essay

Importance Of Set Design Theatre Essay Adolph Appia (pictured left) 1862 1928, was a Swiss theorist, pioneer in modern stage design and is most famous for his scenic designs for Wagners operas (Design for act I of Parsifal Pictured left). What set Appia aside from other stage designers was his rejection of painted two dimensional sets. He created three dimensional living sets, which he believed created different shades of light which were necessary as light was important for actors to engage in the setting, time and space. Instead of using the conventional way of lighting from the floor, Appia lit the stage from above and the sides of the stage, thus creating depth and a three dimensional set. Light intensity and colour helped Appia to gain a new perspective of scene design and stage lighting. This helped to set the mood and create an authentic stage set. Appia believed that the reason sets werent successful during his time, was because of a lack of connection between the director and the set designer. He believed that there should be an artistic harmony especially between these two people in order for his theory to be successful. There are three core points which Appia uses to help define mise-en-scene: Dynamic and three dimensional movements by actors. Perpendicular scenery. Using depth and the horizontal dynamics of the performance space. Light, space and the actor are all malleable commodities which should all be intertwined to create a successful mise-en-scene. He used steps, platforms and columns to create depth and manipulated light in order to make the set look real. Light was considered to be the primary element which linked together all the other aspects of the production and Appia was one of the first designers to realise its potential, more than to merely illuminate actors and the painted backdrop behind. This was shown in his staging of Tristan und Isolde (1923). Notice the steps, columns and ramps. Directors and designers of the present day have taken great inspiration from Adolph Appias theory. Perhaps the main reason being the huge advance in technology, which was only just emerging in the late 19th century. Edward Gordon Craig (1872-1966) also like Adolph Appia was an English theatre practitioner. Unlike Appia however he believed actors had no more importance than marionettes. Gentlemen, the Marionette is a writing in which Craig explains how the actors are merely puppets on strings. He had a great interest in marionettes claiming they were the only true actors who have the soul of a dramatic poet, serving as a true and loyal interpreter with the virtues of silence and obedience. (Innes, Christopher, (1998) Edward Gordon Craig: A Vision of Theatre). He built elaborate and symbolic sets, for example his set for the Moscow Art Theatre production of Hamlet (1909) consisted of movable screens. And like Appia, he broke the stage floor with platforms, steps and ramps. He replaced the parallel rows of canvas with an elaborate series of tall screens. Craig left a promising career in acting in order to concentrate on directing and developing ideas about the theatre of the future, which was inspired by Hubert von Herkomers scenic experiments with auditorium lighting and three dimensional scenery in productions at the Bushy Art School. Craigs idea of new total theatre drew on the imagination to create a vision of colour harmony, visual simplicity and an atmospheric effect under the sole control of a single artist. Also inspired by his partner Isadora Duncan, a dancer which inspired him to look into the concept of the rhythms and movements in nature acting as a vehicle for an emotional and aesthetic experience. Craig was very interested in electrical light, something new and only just emerging in his time. An example of this can be seen when he worked on Dido and Aeneas. Craig used a single colour back cloth with a gauze stretched at an angle in front of it onto which light of another colour was projected, an astoundingly three dime nsional effect was achieved (Innes, Christopher, 1998, Edward Gordon Craig: A Vision of Theatre, P. 46). He intensively researched theatre of the past in order to create his new theatre. He imagined a theatre which was a fusion of poetry, performer, colour and movement designed to appeal to the emotions. As he progressed through his work, he followed his symbolist views using movement to create mood and in his studies in 1906 talked of removing elements of sets or props and replacing them with symbolic gestures. For example a man battling through a snowstorm, Craig questioned whether the snow was necessary. Would the actors movements be sufficient to convey what was happening? In 1900 after Craig had developed himself as a set designer he worked on a production of Dido and Aeneas which was ground breaking as a set for theatre design. Due to certain limitations Craig was able to break away from the elaborate Victorian stage designs and experiment with abstract and simpler designs. Craig himself believed that what he was creating was new theatre and wouldnt be widely accepted until the future and this was true. During the 1950s Kenneth Tynan wrote of how Craigs ideas that he expounded fifty years ago, in his breathless poetic prose, are nowadays bearing fruit all over Europe. Craig has influenced practitioners such as Constantin Stanislavsky, Meyerhold and Bertolt Brecht, and he also still impacts many designers and practitioners of the modern day. Although both of these designers worked independently from one and other, they arrived at similar conclusions. They both criticised realistic theatre, arguing against the photographic reproduction as a primary function of scene design. Appia didnt agree with Stanislavskys theory of the fourth wall so he discarded it and designed a theatre building which became the first theatre in the modern era without a proscenium arch. Both theorists believed that the settings should suggest and not reproduce the location. Both also broke the two dimensional view on sets by using platforms and different levels, designing spaces that were practical and functional for performers. Also with the advance in technology, both took advantage of electricity which made it possible for the stage to be lit using bulbs. This helps to develop as an art and both used light as an important part of their visual elements. Appias and Craigs designs focus heavily on stressing contrasts between light and dark creating heavily atmospheric sets. Appia and Craig shared a lot of the same opinions; however they were not in total agreement. Appia Believed that the director, fused theatrical elements and the designer was an interpretive artist, bringing an authors work to life from page to, stage forming a functional environment for the actors. Craig believed that theatre needed a master artist who would create all of the production elements. His designs were frequently thought to be on a larger scale than Appias. Appias designs usually required a set change for each location in the performance, whereas Craig used the modern unit using one basic setting which can represent various locations throughout the movement of its elements with only the need of slight changes such as lighting, props etc. Both Appia and Craig have greatly influenced the way theatre has evolved. Not only as technology has advanced but also at the way the directors, set designers and production teams in general are working. There is a lot more communication and discussion between the directors and the set designers vision into how a set should look. Also Sets on stage are predominantly three dimensional using levels, ramps, stairs and depth. The use of light has perhaps changed the most dramatically moving from the floor to lighting rigs in the ceiling and along the side of the stage. It is safe to say without the ideas and theories that the two had, theatre may not be where it is today.

With reference to several specific moments in the play, explain how you would perform the role of Masha

The part of Masha is a female who starts at the age of 21 and in act3 aged 35.Her clothes are in the colour black so we learn from this she is a melancholy and mysterious character. She is the middle sister out of the three and is married to Kulygin. Kulygin is a high school teacher. She starts by reading a book, whilst whistling. This gives the immediate impression she is quite solemn and subdued. She then says a quote which she repeats later in the play. â€Å"By a curving shore stands a green oak trees, Bound with the golden chain †¦Ã¢â‚¬ ¦Bound with the golden chain†¦.'† Her character seems down at the point because she feels trapped in her marriage to Kulygin. She married him at a young age of 18 and thought he was quite a wise clever man but now she feels stuck in her relationship with him. We learn this later in the play, but at the moment, the character of Masha is dull and unenthusiastic. I would act the part as if I was uninterested in my surroundings and what is going on. I would act unfocused towards the fact it is my sister's name day and I would be indulged in my own pity. She feels trapped in her marriage to him, and is depressed by the reality of life, that she is stuck in this marriage, and in Moscow. I would say lines quite pessimistically and would move around the stage slowly and with my head slightly tilted up as in to be looking to the heavens for help. This would show the audience I am unhappy, and am feeling low. The audience would learn I am unhappy, and would learn soon that it is from my surroundings by which I feel this. Masha does not mind showing her emotions, so I would not hold back my feelings whilst saying my lines and acting in general. The audience would learn straight away that Masha is sad and unhappy with her life. Also is act1, we find out Masha's thoughts of Protopopov. â€Å"I can't stand Protopopov†¦Ã¢â‚¬ ¦You shouldn't invite him.† I would say this line with quite passion, as Masha's character seems quite open with what she thinks. I would seem quite angered at the thought of him. Also, because Masha is already in a bad mood, the mention of some one who she doesn't like upsets her more than usually. I would show this if I was playing the part. This shows the audience she is quite a good judge of character as she later on learns about the affair he is having with Natalya, her brother's to-be wife. They also learn a lot from Masha's derelict that she is to the point and honest with her thoughts. When the part of Veshinin enters, I would make a dramatic change in Masha's tone of voice, and presence on stage. This is because Veshinin is from Moscow, so the 3 sisters are automatically drawn to him. Also, Masha is interested in Veshinin as more than a friend from the beginning, and I would portray this from the moment he walks on stage. We learn this when she becomes excited by having a conversation with Veshinin about Moscow. â€Å"The both laugh delightedly. Masha (animatedly) Ah, I remember!†¦..† I would act this very animated as it says in the directions, and be intrigued about learning about Veshinin. I would forget about the others on stage around me, especially my husband, and stay interested in Veshinin. My face would now be lifted, and focused on Veshinin, my eyes widely opened and a smile on my face. All three sisters have an obsession with Moscow and this would come across in her keenness towards Veshinin. The audience would see that Veshinin's entrance has changed Masha's feelings. They have changed from feeling depressed and down to animated and awake. She emphasises this point when she says: â€Å"I'll stay for lunch.† I would say this line quite abruptly as I want everyone to know I am staying. Also it shows the audience how strong my interest is in Veshinin. The audience would also see me take my hat off, which emphasises the fact I'm staying. Near the end of the act she tells Kulygin she is not going. When he asks why she says: â€Å"Oh right, I'll ho. Just leave me alone, please.† I would say this line whilst not looking at Kulygin, to show that I don't care about him. I will say it with no animation on my face and would be getting cross with him. I feel he is a burden to me so I show this by getting annoyed with him. My tone of voice would sound aggressive and angered, and I would be speaking a little louder than usually. I would pause between saying â€Å"alone† and â€Å"please†, to emphasise the please. This would also so my frustration with him to the audience.This tells the audience Kulygin doesn't interest Masha any more, and she no longer is in love with him. At the end of act1 she repeats the quote: â€Å"By curving shore stands a green oak tree, bound with a golden chain†¦Ã¢â‚¬  Masha is about to be leaving and going back to her house with her husband whom she does not love any more. I would show this by looking depressed and saying this line quite slowly and be thinking of a better life for me as Masha. In act2, Masha is on stage with Veshinin. They are alone, talking about how unhappy they both are. Masha says â€Å"†¦terribly learned, clever and important, so I thought. And now I don't†¦Ã¢â‚¬  I would say this so Veshinin would feel sorry for me and know that I am welcome for something to happen between the two of us. I would look into his eyes when I talk which would show the audience I love him, and look coldly when I talk of my husband so he knows I don't have any feelings towards Kulygin any more. This shows the audience Masha is interested in Veshinin but doesn't want any one to hear to see, as this conversation takes place in the dinning room of the Prozorov's house. Later on in this conversation Veshinin tells Masha he loves her. When he kisses her hand she moves as she knows what she is doing is wrong. When he says it, she says: â€Å"When you speak like that, I laugh, I don't know why†¦..† If I was playing Masha, I would make my face look brighter, and I would star into his eyes lovingly. Because of her character, I feel she is the type who cannot hide her true emotions, so at this precise moment of intensity between the two of them, she probably wouldn't care what she looked like. The audience would see the love Masha feels for Veshinin through how she looks at him. When Veshinin leaves during the act, Masha becomes aggressive. â€Å"Oh, get away! Stop pestering me, leave me in peace†¦.† As I mentioned earlier, her character is quite open with her emotions. Because Veshinin, has left Masha is now upset and angered. I would say this line very snappy and loudly as my whole frame of mind has moved from love to anger. The tone of my voice would have completely changed. They would now be shorter and snappier. This is so the audience can see Masha is upset with Veshinin's exit. When Masha enters Olga and Irina's room during act3, after Veshinin's speech about how wonder he feel life is, her and Veshinin echo each others line: â€Å"Tram-tam-tam†¦Ã¢â‚¬  But this part in the play, Veshinin and Masha both like one another, and this small conversation is a special language they are speaking to each other. Masha is very happy as Veshinin is present in the room, and that he loves her back. From her entrance, I would play the part as if I am happy, quite dreamy, calmly. I would act quite excited as I would be having this secret language with the man I love, but no one else in the room knows what we are talking about. The audience would see the secret verbal affair going on, and would see how no one knows anything is going on. After Veshinin exit's Masha becomes bored, and low again. â€Å"†¦I'm so very, very bored!..† And then she brings up how her brother Andrei is in dept from his gambling problem. Due to Veshinins's exit, Masha focuses on the bad parts of her life again. I would start saying the lines now to the point, and as if I don't care who hears. She is bored now as Veshinin has now left, and so she feels depressed now, and as she is depressed she is thinking of depressing things. I would tell them about Andrei's gambling problem quite bluntly. This would show the audience the effect Veshinin's presence has on Masha. A little later on in the act, after Kulygin has exited, she confesses to her sisters about her love to Veshinin. â€Å"I've a confession to make†¦.I can't keep it any longer†¦.† I would say this conversation with a huge passion as Masha is very in love with Veshinin, and so even talking about him would excite her. I feel she wants something to happen and so coming clean with it to her sisters may hopefully mean that something good may come of it, but this is not so. It's the first bit of happiness any of the 3 sisters have had since they have moved away from Moscow, and that is a reason why this short conversation with Olga and Masha is very important to Mashas part in the play. She is the only 1 out of the 3 sisters who experiences true happiness during the duration of the play. The fact that she is actually in love with someone, and for them to love her back, is extraordinary to them. Ironically, Masha is the only one who cannot move back to Moscow, as she is married to Kulygin, who works in the school in the are they live in now. This upsets Masha more, and is another reason why her love for Veshinin is so important, because it is the only happiness she has had since she has moved. But the reality kicks in when they hear someone approaching the room. She has to now go back to her husband who she doesn't love and pretend she hasn't shared any of this information with her sisters. I would now act solemn and upset again, as once again, I, as Masha, would have to be putting up with sharing my life with a man who I do not love. The audience would see how much Masha loves Veshinin by the passion in her voice and actions when telling her sisters about her feelings. In Act4, it is time for Veshinin to say good bye, as this is the day when all the soldiers are leaving. The atmosphere on stage during this act is a lot calmer than the other 3, as everyone on stage knows the stage in their lives with the soldiers it is nearly over.

Sexuality Paper - 4057 Words

Sexuality Project Taylor Tarpey Sociology 345 30 July 2012 In today’s society, we as men and women are burdened with a double standard of how one’s sex life is supposed to go. We hear from our friends and family, from churches and neighbors, that sex is something you do with the person you love and trust, someone who you are going to share the rest of your life with. Sex comes with marriage, and with marriage comes a promise that you will remain with this one person â€Å"’til death do us part.† But this is no longer the case, as people all over the world are having sex way before marriage. We develop attractions to the people we see in school or in the workplace, and we date each other, and in other cases, we â€Å"hook up.† This is†¦show more content†¦You do not have to answer anything you do not feel comfortable answering. Your input is greatly appreciated! Sexuality Survey Created by Taylor Tarpey This is a survey to develop an idea of the sexual connotations between men and women and the number of sex partners they have had as well as how both sexes feel about it in today’s society. The survey asks a total of 8 questions and each question should be answered as honestly as possible. This survey is completely anonymous and voluntary. You do not have to answer any questions you do not feel comfortable answering. Your input is greatly appreciated in the class of Sociology 345: Sociology of Sexuality. Please Circle: I am a: Male Female My age is: d Please write a short response based on your personal feelings, experiences, and opinions. You do not have to answer anything you do not feel comfortable answering. Your input is greatly appreciated! 1. Have you ever altered the number of sex partners you have had to avoid being judged? Why or why not? 2. 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