taking a short story and turning it into a play--short story vs theatre/drama
added features
sounds
adds texture and can contribute
to a more immersive experience
chorus
for emphasis
symbolise internalising of notion, idea etc
The fact that she herself utters the words ‘who wants her?’ with reference to herself, shows that she
too, despite her veneer of contentment and happiness, knows that she has no place in this
community and acknowledges that she is not wanted.
soundscapes
set mood
isabelle's play w/ japanese elements and 'mood music'
music!
km has themes for each set of characters to underscore certain thematic or
emotional moments
act as motifs
s
such as choice of
theatre, use of
symbols etc
acting
decoding
adaptation and interpretation
limitations of each genre
making the internal external
how this can be circumvented
use of monologue
splitting into an internal and external manifestation of each character
grace's group--one mining while one narrating
helps with timeline too--this technique makes it seem like a recount and as his past catches up, it becomes one person
public and private self
use of screen
costumes
highlights focus of each scene
“Unlike the novelist or short-story
writer, a playwright cannot depend on a
narrative voice rounding out a a
character by means of description and
analysis”
music
dramatic conventions
drama as a visual art--visual elements of drama
brechtian theatre
Anotações:
-not appeal to feelings but to intellect / reason
-capable of provoking social change
realism, not identification of role
VERFREMDUNGSEFFEKT
(distancing effect):
-prevents audience from losing themselves completely
-interrupts narrative
-disrupts stage illusion—performer can observe himself
-make obvious the fictive qualities of the medium—self aware
styles of theatre
naturalistic
Anotações:
-creates an illusion of reality through drama / theatre
-la nouvelle formule:
-play should be realistic, not flamboyant or theatrical
-conflicts need to be meaningful, -not small or petty
-play should be simple, no subplots/lengthy expositions
everyday speech, plausibility of writing, drama is psychologically driven and there is no breaking of the 4th wall
tenesse williams: give accents to
certain values in each scene
colour palette
yad's group--internal miss brill is bright while external miss brill is drab
isabelle’s group--johns in severe black and white,
while jane is dressed in a loose white dress and kept
barefoot—disturbing contrast between vulnerable
and powerful
lighting
to direct attention
set mood
costumes
used to reflection position, power
l
constrast
visual element: it's the only colourful thing
that she wears and is a parallel to her. this is
further accentuated by the fact that it sheds
in her hands when she is hurt and she treats
in it a manner similar to herselfe i.e.
powdering of nose
styles of theatre
dialogue
focus
structure
symbols
can be preserved
more subtle in drama; you
have to look out for clues to get added meaning
eg miss brill's fur
s
taking someone's play and staging a production
purpose of art
joseph conrad: inspire feelings in brotherhood
art is more intense than life
art as a means of working through reality
convey a message
focus
sometimes the message is different
eg. esther's vision: ensemble = insanity
but for us we decided ensemble =
patriarchy/science vs feelings
makes use of dramatic conventions & stylistic choices
examine a part of life
inner and outer world
as,gt/ miss brill and how the
inner thoughts affect actions or
action affect thoughts
TTH: how external judgement affects
internal landscape
audience member
opens up message to larger themes--i.e. how
patriarchy has cages & stifled women
The meaning of a text is not inherent within
the text itself, but is created within the
relationship between the text and the reader.