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Summary Of The Blind Giant Is Dancing

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Stephen Sewell envisioned the political and passion in reflecting the Australian society in the early eighties in his play The Blind Giant is Dancing. Basing its narrative on the economic cries of post-World War II, the beginning of what Sewell and director, Eamon Flack, believed had created the destruction of the working class, it is that the development of socialism itself had its own devastating results. With the characters of the play fighting for their own ideology, both Sewell and Flack intends to capture the audience’s attention through a historic remembrance of how the Australian political society came to be, and how it is still relevant in today’s contemporary political discourse. As such, The Blind Giant is Dancing is a successful …show more content…

The set was a simple layout of a monitor screen placed as a centerpiece of the stage that functions both as lighting and a title billboard to identify the location. The stage revolves around one chair and a table that is used for various purposes in different time and setting. Accordingly, this is so that it reflects the tension in the political realm of the Australian society in the eighties, where power corrupts and the working class are undermined, focusing more on the dialogue of conflicting ideology rather than in the detail of the props. Additionally, an element of proxemics was also evident in the unique design of the stage in which it was set up as a thrust stage, with a three-sided playing arena, along with the exit wing being the down right center of the stage. The stage provided the actors to have several scenes that are mainly in the downstage, which increased proximity with the audience. Furthermore, the moody sound cues and the hard lighting of the background was a perfect combination to most of its electrifying scenes, such as the cross-examination scene of the main antagonist, in order to reflect a mostly conflict ridden and angry scenes. For me, this is because the entire play is staged as when it is written, where its historical significance is key to the plot. Thus, as a spectator, I was swayed by the timely vibe of Australia in the eighties, complemented by the timeworn

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The scene I would like to focus on occurs at the beginning of the play as the two main protagonists are being introduced. Agnes, a 22-year-old designated university graduate and designated high school teacher delivers an accurate verbal reflection of herself to the audience by listening to pop-music, which gives her an ordinary and, at the same time, contemporary demeanor. Contrasting her personally and even visually, through standing in front of a canvas that supports the appearance of both by shadow pantomime, is Tilly who is basically obsessed with Dungeons & Dragons, a fantasy table-top role playing game that assigns each player a specific character (in Tilly’s case, Tillius the Paladin) embarking upon fantastic adventures. The depiction

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Stage directions are essentially little blocks of text in between before dialogue which explain unspoken details of the scene. For example, the stage directions might indicate that a white character is standing or sitting while an Aboriginal character is crouching or kneeling. This physical positioning reinforces the power imbalance between the characters. (pg. 91) “Moore River settlement, Australia Day 1943, a very hot afternoon. Mr Neville, Mr Neal, and Matron are seated on a dais.”

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Through reviewing artworks at the Museum of Contemporary Art, an artwork by artist Brook Andrews captured interest. Andrews’s artwork titled “Loop. A Model of how the world operates 2008, defined as a wall painting, embodies various physical and conceptual aspects of the contemporary, depicting how the contemporary world operates in the present. Andrews symbolically displays the effects of how the contemporary world functions in the Australian art scene throughout the 20th century.

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Ray Lawrence’s socially provocative Australian film, Jindabyne(2006), presents a thought-provoking and contemporary outlook on racial prejudice, the dramatised moral dilemma of responsibility, and a confronting depiction of reconciliation. The film dramatises the struggle over Australia 's history, representing the past as deeply alienating, as it explores the complexity of the relationships between racially diverse characters in post-colonial Australia. Lawrence establishes the reconciliation of characters through sound, further examining the relationship between cultures and genders in conflict. Through symbols, Lawrence explores deceit, and the roles, perceptions and experiences of men and women within various relationships, demonstrating the unforgiving consequences of division and distrust. The film presents

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The production is often staged in proscenium theatres, which feature a framed arch separating the stage from the audience. This traditional setup provides a versatile canvas for creative set designs, seamless scene transitions, and immersive technical effects. The proscenium arch also serves as a visual frame, focusing the audience's attention on the stage and enhancing the theatrical

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The stage design gives the impression of the characters being in two separate rooms, the positioning of blocks and pillars helps again to demonstrate this. This intricate attention to detail enables the performance to be compared so similarly to the movie adaptation of Shakespeare’s classic, although the ‘big screen’ enables more room for a fast change in setting and shots, Rourke does a phenomenal job trying to create this illusion which works so brilliantly. The night before the wedding or you could refer to it as the ‘stag and hen do’ was an unexpected twist that the audience definitely did not see coming. Again, the revolving stage was used to represent the divide between the women and the men and to compensate for the lack of space that the stage could carry.

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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.

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Theatre reflects the society in which it is in. Use of particular elements of drama and production in Harrison’s Stolen and Keene’s Life Without Me and evokes the audience’s engagement and understanding of the dramatic meaning that is created. By exploring the development of the character’s personal concerns the audience can effectively engage with and consider the cultural issues expressed in these two plays. By highlighting and exploring these key issues the audience is challenged and confronted with a representation and reflection on parts of Australian culture. The thematic issues and concerns of both plays include – Racism, Discrimination, Persecution, Lack of Respect, Identity, Belonging (or lack of), Discovery and the issues of Home.

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Through the director's instruction variations of local Australian settings such as deserts, bushland and Billabongs where portrayed, this allowed the audience to communicate with the actors and understand them as a fellow Australia’s rather as the actors and audience shared the same local Australia environment. The actors typically represented an average Australian through costuming such as police uniforms, Akubra hats and taffeta skirts. This likeness to an average Australian allowed the audience to relate to the actors in the melodramas as they too would be wearing typically Australian clothes like the audience this allowed for a deep relationship to form between the audience and actors on stage. Further, the in early Australian melodramas local setting and common costumes allow for equality and understanding between the actors and the

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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

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Space is used in theatre in order to clearly imply to the audience where the action is taking place. The minimal props on stage allow the audience to interpret the performance in their own way and gives the play a sense of originality. An example of space is identified when actors are switching between scenes in Gallipoli and scenes in Australia. To represent times at war a long black box positioned down stage is utilised by actors to jump over and sit in front of to resemble a trench; giving the notion that the scene is set in war. On the other hand, the actors perform up stage behind this box when presenting scenes in Australia to create a clear distinction between the two settings.

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One of the several themes that Priestley has introduced to the play is ‘Time,’ and this theme not only interlinks with some others like ‘Age and Youth’ and ‘Social Responsibility,’ but also introduces a very important drama technique into the play for the audience called the dramatic irony. In Act One, Mr. Birling, as a representative of the older generation of the play and the head of the family, is talking to the others about the progress humanity is making and mentions the liner, Titanic saying it is “unsinkable, absolutely unsinkable.” The word ‘absolutely’ in this context shows just how confident in his words Mr. Birling is, without understanding that it will all change. As the play is set back in 1912, but is performed much later in 1946, after the audience knows, and finds it ironic that Mr. Birling, thinking he is an old, wise man says such nonsense, as time will show.

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