verbatim theatre

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

The world is thriving in a miscellaneous collection of well-known types of media that allow people to indulge in new societies, sophistications, and stories they have never known before. Correspondingly, there is an assortment of ways to analyze this media to further understand the reason behind having meaning in literature in addition to the recipients’ responses to these specific meanings. In particular, one method used to examine media, as well as its ongoing objective in both classic and contemporary society, is Kenneth Burke’s dramatic pentad. In response to evaluating narratives from divergent perspectives, the pentadic analysis is composed of five parts: agent, scene, act, agency, and purpose. For instance, by applying this analyzation technique to the 1991 Howard Zieff film My Girl it can be illustrated through which means these five elements create value in a fictional composition. Specifically, My Girl is primarily an agent-based film focusing on Vada's Sultenfuss' exploration of life through the means of death. However, Vada's circumstances of her mother's passing during childbirth and father's house-run funeral parlour creates a narrative focused on purpose by being the initial reason Vada has an obsession with demise and disease.

Theatre allows a significant message to be portrayed and convicted to many different people in many unexpected ways. Director Moises Kaufman has helped shaped the world of theatre with his unique outlook from an anthropologist’s form of theoretical framework. Kaufman’s distinctive productions give the people in the audience a new form of relatable scenarios through his directing of deep dialogue. The I AM THEATRE video enlightened me with numerous facts and interesting elements that Kaufman has instituted during his directing life. Kaufman has been awarded numerous awards including one of the most prestigious honors, known as the Tony Award, which recognizes excellence in live Broadway theatre. Speaking to one’s life experiences through theatre can be a major breakthrough for people like Kaufman. Using the I AM THEATRE video, this essay will offer a brief overview of director, Moises Kaufman, and enlighten his idea that theatre offers much more than what is expected.

Part Three: Recommendation for Programming 2017 Festival After attending the 2015 MNTF and the Pitch Event I would like to suggest four plays that fit the theme “Acceptance; The key to change, so be the change.” The first suggestion is Home is a Beautiful Word, because it is a verbatim-theatre play that explains the opinions of Victorians about homelessness (Janis La Couvee). Homelessness is a sensitive topic that we fail to take seriously. We see homelessness everywhere.

In “Act 5” the listener get to seen into the growing theatre program in a prison. These prison inmates were putting on an intimate production of Shakespeare’s Hamlet, a story of a man arguing with the idea of murdering his uncle and avenging his father. While this story itself is not something the inmates related to directly, they related to that struggle and those ideas in a way many, if not most, actors could not. The purpose of “Act 5” was to show the heavy influence of an actor on a character and as a result the effects of specific characters and stories on us on humans. Experiences shape how we see the characters and the story but, not just our personal experiences this includes the experiences of the creatives working on the

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

The textbook “Making a Perfomrance: Devising Histories and Contemporary Practices” by Emma Govan, Helen Nicholson and Katie Normington, 2007, made several points as to the history and workings of devised theatre. The most direct idea of what devised theatre really is, was illustrated most effectively in Chapter 5, Autobiographical Performance. Devised theatre is an art form that uses collaboration with multiple individuals to create a functional story. In circumstances in which one person conceives the idea and maybe even the story, it is imperative that all individuals involved with the project have input that tells the story most effectively. All theatre, regardless of it being verbatim, based on factual data, is going to blended with

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

The audience is able to instantly understand what is happening in a scene and how it impacts on what has happened and what is occurring in present time. The play uses its style perfectly with its use of extended dialogue to convey meaning and tell the story. The audience can get lost in its story as there are no confusing abstract themes to throw them, everything the story is about is laid out before them and this helps with understanding the dramatic meaning as the dramatic meaning is very serious and realistic, just like the storytelling style.

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

There is a great debate happening amongst friend groups, social circles, and classrooms: Is the movie or textual version of a work better? Quite often, one might argue that it depends of the work of literature. Harry Potter the movie might surpass the novel in one’s opinion, but Lord of the Rings novels dominate the movie adaptations. This argument applies to a host of works, including Shakespeare’s plays from centuries ago. Some argue that it is essential to watch Shakespeare’s plays acted out in order to fully grasp the play’s themes.

“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”

Our choice to tell stories should exist in the same moment that we identify an audience who needs to hear that story – now, in this context, in this time, and in this medium. The best relationship with an audience begins dramaturgically, at the beginning of a rehearsal process. We must ask: How can we keep our minds open to the audience we have and also to the audience we want and the audience with whom we hope to collaborate? How do we enter a community and work with new people, learn from them and hope they learn from us? Partner with our similar goals and share resources. Work with them and never for them. Theatre isn’t a service—it’s a

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

Rituals and theater, which are both cultural performances, have similarities such as serving the purpose of entertaining teaching the audience, belief from audiencce, use of props, use of space, and repesentaion. Since during this time period many commoners did not know how to read, the church had to present these rituals in order to teach them about events in the bible like the Crucification of Jesus Christ. Similaritly, a play will serve the purpose to teach the audience a certain idea that the playwright believes is necessary for the audience members, the audience vary depending on the time this play was written, to learn or understand. Unlike a play, which has no certain time frame to be perform, a ritual is perform during certain time of the liturgical year; for example, the passion of the cross