Lobby Show Analysis

In the play the audience is also told in so many words that there has

On February 26th 2016, I went out with my friend to saw this event. It was the first time of my life to be in such production. I was not a fan of theaters. I thought they are boring. Now, my mind has changed because the play was amazing. So, on the next day,

The scenes and props complimented the attire of the performers, blending together create a magnificent display. The scenery was realistic enough to afford the viewer an escape into depths of the show. The setting was beautiful and the structures almost lifelike, excepting the absence of a front screen door. It seems that almost all plays and television shows I have viewed neglect this detail. The stage lighting played a key role in the show by setting the mood of the performance during soulful, pensive songs. In contrast, the lighting proved to be a detriment by overbearing the performance of the artists, in that one’s attention was drawn to the glare of extreme quantities of makeup rather than the actions of the characters. This was most notable during the final portions of the production.

And the picture of you that was out front with all the casting actors, wow you looked gorgeous! Once again I was extremely impressed by the stage design. The back Catholic Church wall was such an amazing structure. The paint and texture that was used to build the wall, gave off the appearance of a real stone wall. The wall design was flawless, and the size and scale it in which it was done in is astounding! Ms. Livingstone office was also well placed; it kept a focus point to the center of the room. The decision to go with a see through glass desk and small offices chairs allow the stage space to seem larger and didn’t block or hide when the actors sat down or walked around the desk. The area with the steps that lead to Mother Ruth desk was also well crafted, but I felt it was not utilized enough. It was barley used and wasn’t sure if it was Mother Ruth office or apart of the church altar. The church pew was a nice addition as well. I was also really impressed with the lighting effects, especially from the church windows. I first thought the stained glassed windows were fixed lights that couldn’t be changed, but once Livingstone took center stage and began to speak the colors changed to a red color (I think). When that happened it felt like the world froze in place while she spoke, and resuming when the light turned back to a bright morning light. I also liked how the lights would change throughout the play to set a different mood. For example, when Ms. Livingstone was hypnotizing Agnes, she told Agnes to imagine herself being in water all of the sudden the room color was

The author uses imagery to characterize the snake and emphasize the importance of its life. When the narrator first approaches the snake, he observes how the snake “held his ground in calm watchfulness; he was not even rattling yet, much less was he coiled; he was waiting for me to show my intentions.” This description uses specific details of the snake’s actions to illustrate how the snake reacts nonviolently. In fact, the snake waits to see what the narrator does instead of attacking outright,

One of the main magic’s of the theatre is for the audience to go into it unaware of what they will see, and exit with a whole new view in mind. This is still possible in jukebox musicals even if the audience member is familiar with some of the songs. Songs, text, and all literature can be interpreted in different ways based on the individual. Theatre is meant for all different people to enjoy. Some may like going to a show featuring songs that their favorite artists wrote or that speak to a memorable time of their life. It becomes a discussion about how the audience can relate to the characters.

Each element gave the stage a different feel that matched every scene , complementing each brilliantly. The only element that lacked for me was lights, although very bright ; in my opinion the reoccurring blue wasn't the best option. I feel if the lighting designer would have had more warmer colored lights against the already vibrant set pieces, it would have made the stage pop more. But one thing i did particularly fancy, were the costumes the characters wore and how they fit each character. Each character's’ costume showed the dichotomy between the personalities and tastes of each individual. For example Ilona played by Jane Krakowski was dressed in a scarlet / pinkish dress with a high slit up the left side; showing her seductive character type. Meaning when i saw Ilona on stage, I immediately knew who i was looking at . Lastly the sound effects included , like the door jingle sound or The bike bell , added to the whole idea of being inside and outside of a retail building. These effects gave the stage an outdoorsy feel , drawing you in , giving the audience illusions of really being in 1930’s

The most successful aspect of the performance for me were the scene changes. I found that the rotation of the blackboard, center stage, where the actors were able to stoop beneath it in order to enter and exit the stage, was an effective touch to this

Leigh’s statement that ‘The edge of the stage is not an invisible boundary over which the actor must never step but a garden wall across which the actor gossips and flirts with the public as if they were neighbours’ seems to have captured the very essence of audience acknowledgement that is so present in the play Pseudolus. Neither cast nor script of this comedy by Plautus seems particularly bothered by any notion of the fourth wall, and the play is rife with both blatant and subtle character acknowledgement of the audience. Indeed the notion that the fourth wall is some sort of impenetrable barrier between performer and audience seems absurd when one examines the aims of theatre and performance as a whole, and Pseudolus circumvents and breaches this supposed barrier with a variety of means

I selected this play mainly because I love the way Thornton Wilder chose to break the fourth wall. The fourth wall is the space that separates a performer or performance from an audience. The Skin of Our Teeth doesn’t just break the

They followed the steps on how to get an audience attention when telling a story or doing a presentation. First, they told us what they are going to do which was to kill the king, and how they are going to do it, and lastly why they did it. One thing I found really successful was even though the play was really comical the actors were able to keep the storyline in a way that I could understand. The show kept me on edge, it kept me wondering what craziness is going to happen next. Although the show was really comical it also had a lot of life lessons that I learned. Firstly, one thing I learned from watching the performance is that” Once a traitor always a traitor.” In the show, there was a guy that plotted a coup with a soldier so they could overthrow the king so that soldier “ “captain Bondure” could take over. In the end, the traitor ended up betraying the soldier and stole the crown. The second thing I learned from this performance is never let anything bring you down no matter what the circumstances are. In the case of Ubu Roi, the princess lost her dad. Then her mom died right in her hands while they were on the run hiding in a cage. She never gave up on her idea to revenge her families’ death.

Being this was my first classical music concert, I was extremely intrigued by the performance. It was fascinating to watch the performers as they became engrossed in the music. It altered the means I listened to the music performed as I started becoming captivated in the melody alongside the musicians, which opened me to appreciate the pieces more. So many different emotions were provoked through listening to the music live which made the concert such an extraordinary experience. The Chamber Music Spectacular was

Throughout Singin’ in the Rain self referential techniques are employed to signal to the audience that the film is a metafictional text. The text consciously advises the audience that what they are watching is not real, consequently disrupting the illusion of the fourth wall. Ingersoll (1999, p.385) describes metafiction as “a fictional text that draws attention to itself as a text in a variety of ways”. An example of this can be identified during the opening scene when Don Lockwood explains his rise to fame story. The character looks directly into the camera as he speaks, breaking the illusion of the fourth wall and acknowledging the audiences existence. This technique is markedly different from the established convention of the audience ‘eaves dropping’ on characters that ordinarily function within a three walled environment (Auter & Davis 1991, p.165). Singin’ in the Rain acknowledges the audience and itself as a work of fiction self-referentially, as a result the audience are no longer voyeuristically watching, they are being spoken to.

Breaking the fourth wall is a technique implemented in works of fiction where a character in some way crosses the invisible barrier between themselves and the audience, thereby acknowledging that they are aware of the viewer’s presence or the part they play. The term originates from stage theatre, where a typical set would be compromised of three physical walls with the fourth being the open space between the performers and the audience. The acceptance of the empty area as a fourth wall is part of the suspension of disbelief that allows the audience to enjoy the fiction as though it were reality. It is when someone on the fictional side of the relationship breaches the silent agreement that the wall is broken. In film and television, the transparent

Feste breaks through the barrier between the audience and the characters on the stage known as the fourth wall. “But that’s all one, our play is done,/And we’ll strive to please you everyday” (5.1.401-402) In this quote he speaks directly to the audience breaking the fourth wall. He is within the play while also on the outside looking in which provides the characters and audience with an unbent lens to look at the story through. This unbiasedness allows the audience to trust Feste and he becomes a reliable commentator. This broken barrier also occurs in Thornton Wilder’s Our Town in which Stage Manager narrates the story from the outside looking in, but also enters into the play to interact with the characters. Feste is also completely unaffected by the play’s happy ending. Unlike the other characters in the novel Feste is not governed by his feelings or desires and therefore he does not change. He is somewhat stuck in a state of observation magnifying other characters’ progression and regression without actually being able to move in either direction