A few weeks ago I went to the showing of a piece titled Braided Sorrow at the University of San Francisco Lone Mountain Theater. Braided Sorrow is a performance written by Marisela Orta, was directed by Roberto Varea and was presented by the USF Performing Arts Department. When I arrived to the performance the first thing that I noticed was the set up of the stage. It looked very different from usual. This past spring semester I was in a class taught by Professor Varea (The director of the play) and throughout the semester we were required to go to a number of performances.
Due to the potential decentralized nature of a CATF within the division’s rear area, the DSSB would then configure and deliver the supplies for individual distribution at a designated CA company level resupply point. This GS relationship is key to ensure that a CATF is properly sustained to conduct stability operations tasks. Finally, division should consider the limitations of CA forces before establishing the CATF. One limitation is the inability to communicate beyond line of site.
In his Highbrow/Lowbrow The Emergence of Cultural Hierarchy in America (The William E. Massey Sr. Lectures in the History of American Civilization, 1986), Lawrence Levine reviews the American public culture in the nineteenth and early twentieth century. He believes that American public culture was shared across classes through the mid-nineteenth century. By the later nineteenth century, the upper classes began to divide culture into hierarchal categories, and labels of "high" and "low" came to expressive culture, such as Shakespearean drama, opera, and orchestral music, as well as institutions such as museums.
The productions of this play were successful through stage design, lighting crewing, and acting. Those three aspects made the quality of the play stand out to me, as an audience member. The production of the set design of the play was a good effort. The set design for the play staging aims for the sweet spot between feeding adult nostalgia and satisfying a new generation of children.
The Wizard of Oz and Wicked are both very successful and well-known broadway musicals. Both of these musicals are based off of the same story, but each give a slightly different meaning to it. While they are both based on a similar tale, these two broadway musicals have many characteristics that are similar and differ from each other. This paper will compare and contrast the characters, theme, and plot.
The cast of the play are unaware of the audience, however, the audience is able to listen to dialogue that occurs throughout the theater, whether it is in the headsets between technicians, on stage between the actors playing their characters in the play and between the director and actors who make adjustments when necessary. The third fourth wall was at its edge of breaking, where the audience is almost unable to tell whether what they are experiencing is real or not. As an observer of the rehearsal of this play, this wall was broken when I understood that what I was watching was a rehersal of a play, of a rehearsal of a play. It was difficult to describe or understand when the cast of 10 out of 12 were actually in or out of character. The complexity of this play lies in the use of metatheatre, which has been exploited to its fullest extent
Should a historical musical be historically accurate? Is theatre the right medium to share history? Both Professor Tara Helfman and historian Nancy Isenberg have weighed in on the subject and here we will consider their perspectives on the importance of historical accuracy and the use of art to share history. The authors agree on the significance of Hamilton;
While both stage and screen portrayals were highly acclaimed there are some similarities as well as some marked differences in each interpretation. On the surface, the first difference noted between the stage and screen versions are the sets. The stage version describes the setting of the play, the Younger family living room, as a
The frequent use of stage effects in Tennessee William’s A Street Car Named Desire makes it evident that the themes are not simply expressed just through dialogue, but also music and sound. The authors intent is to use these effects to set mood of a specific scene- or the whole play; to propose an idea, or an action; to show feeling of a character, and to let the audience know what he or she is thinking. These elements are not perceptible to the eye such as a prop but hearing and analyzing the sound and music in this play can create dramatic devices and ideas. It is the sound designer’s task to read the text, analyze the authors indications, collaborate with the director, and to mix or edit sounds. Williams used metaphors in his stage directions
Throughout my paper, I will focus on creating an overall concept and designing specific costumes for the characters. The overarching concept for the costumes in The Piano Lesson will be to create an authentic representation
When I walked into the theatre I saw several stations on the stage where the musicians would be located. I had brought my mom to the show with me and we talked about the different instruments that were going to be played in the show. The instruments played consisted of Matt Nguyen and Frank Keyser on keyboards, Miguel Rojas and Tommy Orquiz on Drums & Percussions (with the assistance from Professor Giammario on Drums), Jacob King on bass, Brian Perez and Davon Tart on Saxophone, Daniel Mellerson on Trumpet and Ryan Caster on vocals. We cannot forget the very energetic Professor Boyle as the conductor. There was a full audience in attendance when the show was ready to begin.
SFSU 's Stop Kiss Review: An Apparent and Astounding Attraction Between Two Friends On an ordinary San Franciscan Friday night, Diana Son 's critically-acclaimed Stop Kiss unveiled at San Francisco State University 's Little Theatre and left me enlivened and eager for more. A week and a day later, on Oct. 17, 2015, I saw Stop Kiss for a second time and was embroidered with theatrical inspiration. The talented cast, dedicated crew, and intricate set were the greatest assets and exemplified precision, depth, and boldness. Set in New York City, Stop Kiss starts off with Callie (Lauren Prentiss), an indecisive traffic reporter who lives alone, being visited by Sara (Rosie Anderson), a gutsy third grade teacher.
A comparison of the Beijing Opera and the Italian Opera reveals a significant contrast in almost all fundamental areas of music between the two examples. Because of cultural influences, the two performances share little commonalities, as the timbre, medium, elements of pitch, rhythm, dynamics, form and phonic structure are definitely not similar. For instance, the musical and physical performance dynamics of the Beijing opera music are forceful, the timbre is loud, tinny and harsh, the rhythm is lively and vigorous, while the Italian Opera music has a gentle dynamic, steady and rolling rhythm and an emotionally deep timbre. One commonality that is noted for both examples, is the powerful delivery of the entertainment.
One of Mozart’s most well-known operas is The Magic Flute, which is classified as a Singspiel. A Singspiel is a German comic opera-play that connects musical numbers with spoken dialogue. The content, called the libretto, was considered simple, silly, and easy to follow. This simplicity made it a popular form of entertainment among people of the lower and middle classes.
The stage directions are not so descriptive. The setting is described in two lines and the characters are little described. They are limited to describe the actions of the characters. There are sound effects such as the bell that sounds at the end of the play and lightning effects such as the fade out that occurs at the end of each
