What Are The Key Features Of The Ugly Noo
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In the play The Ugly Noo Noo, Andrew Buckland uses the form of Poor theatre and the influence of physical theatre in his play. The play is a one man play, with various characters played by one leading actor. The play starts off with the first man by talking to the audience while demonstrating how he used the lawnmower with his body when explaining what he discovered (‘The Ugly Noo Noo’, 1988). Since the play is influenced by poor and physical theatre, Buckland uses many ideas from both concepts. The first example from the play that is
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For example, in the play, the white waitress says “You go round back if you want something to eat.” “Boy, you better get up off that seat. Don’t make me call the police and have you arrested.” The waitress is treating the boy's unkindly because they have a different skin color, they don’t understand that others treat people unfairly for their looks. Another reason why the theme is being different is because the play states “We have to eat in separate restaurants, live in separate neighborhoods, and even use separate drinking fountains.”
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The scenes consist of the many techniques mentioned above, there are two main characters are shown and the play is set in contrasting between the past and the present. There are two real locations that are the TV studio and Melbourne hotel, however the interplay of the techniques in the scenes works together to create a wartime setting. The audience awareness is developed through the historical information from each scene. Theatrical devices a re combined to create various features and have a great dramatic impact. The structure promotes the audience to watch the play because the structure of this storyboard is contrasted between the past and present that will attract audience attention, as it is an historical play set between different times.
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John Misto, the composer of the play ‘The Shoe-Horn Sonta’ cleverly weaves various distinctly visual techniques to illuminate the dramatic ideas, shared by two friends, Sheila and Bridie. Through the use of engaging dialogue, characterisation, symbols, stage directions, sound, and dramatic tension Misto explores, the key ideas of horrors of war, and heroism and creates distinctly visual images within the minds of the audience. An idea/theme which Misto cleverly illuminates through the use of distinctively visual techniques is that of the horrors of war. In one scene, where the women have sewn a pin into a guards loin cloth in an act of defiance, Misto cleverly uses voice over and soundtrack to dramatically convey to the audience the brutal beating Bride endures to protect Sheila from the wrath of Lipstick Larry.
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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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Throughout the centuries, a commonality of time enduring plays is that they often include themes that are consistently relevant to audiences as time goes on. Henrik Ibsen 's A Doll 's House and Susan Glaspell 's Trifle are two plays that were written in 1879 and 1916, and both are still well read and enjoyed plays because of this reason. One relevant theme for contemporary viewers that can be found throughout both of these works is the character 's conflict against conformity to social norms. This struggle is relevant to present-day readers because of the increased value of the individualistic mentality that has been prevalent in our culture. By analyzing these characters during their struggle against conformity to social norms, we can discover how this theme makes these two works relevant to present-day readers.
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The 1920’s mobster theme creates a sort of eerie a mysterious mood for the play. Taking place mostly at night under street lamps at the end of a suspicious alley, the tone is rather ominous. The mobsters add to
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One of the most important in this particular play is the acting. The actors are good at adapting from one role to the next and switching accessories quickly. The different use of British and other accents in a stereotypical but serious way. The director attempts to make the play successful by bringing everything to life and using the actors to do everything in a smooth and funny matter.
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Then in the movie they got to a place that looks like a sewer or the poorer part of town. There is a family who are very poor, barely enough to eat. Then the spirit takes him to the grave. In the play the part about the poor family doesn’t happen in the play. The either made up that part or completely skipped
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The movie ties in more brutality and violence to appeal to a modern audience that demands intense appeal to the senses. The play uses the simplicity of setting elements such as the balcony and common acting techniques to communicate Shakespear’s original message. Given the time period of the text, Shakepear’s use of these strategies are as modern as those unique techniques used in the movie. The movie and the play attract their audiences based on what appeals to them. Most importantly, both deliver the message to the audience that “For never was a story of more woe than this of Juliet and her
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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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The narrator is as if he 's in Bucks ' head throughout most of the story. It helps the readers understand how Buck feels and why he acts the way he does. The tone of the story is very reflective. Throughout the plot, London stops to show what Buck is thinking, the things he has learned, how he has changed, and what that lifestyle means to Buck. The story takes place in the Southland and Northland.
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“The Empty Space”, a book written by the director Peter Brook outlines his four theories of theatre each that evokes a different meaning, Deadly, Holy, Rough and Immediate. In his opinion, Deadly Theatre is the most common type of theatre, which fails to modernize, instruct or even entertain. This style concentrates on the act of imitation by mimicking successes from the past and relying on old schemes instead of exploring the deeper meaning from the text (Brook, Peter). However, Shylock, a character from the Merchant of Venice a play written by Shakespeare, has had various interpretations from actors through out time, causing tendentious reactions from its audience. This thought fueled my inquisitiveness to investigate the importance on how
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“Imagination no longer has a function”, says Emile Zola in his essay, ‘Naturalism in the Theatre’. Many of the ideas which Zola has discussed in this essay have been taken up by modern theatre, both in theory and practice. Modern theatre, for instance, is aware of the fact that analysis and not synthesis should be the basis for theatrical production. It is with this theory at the back of his mind that Bertolt Brecht has discussed theatre’s role as an educator only if the elements associated with spectacle are removed from theatre.
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“Godotmania” Samuel Beckett’s Waiting for Godot completely changed our perception of theatre as a whole, thanks in part to the unique and unusual path it took on the wide map of theater. It is perhaps those two words, unique and unusual, that best describe everything we associate with the drama, from its obscure plot and characters, all the way to the stories told of its curious production history. It is safe to assume that when Samuel Beckett’s Waiting for Godot was first released, nobody had expected that a nonsensical ‘adventures’ of two senile old men and their ludicrous inactivity would go on to have such an impact on theater. Ever since its release, the play had been treated as somewhat of an outlier, giving headaches to producers and actors alike. However, the few that had successfully tackled the production of such an absurd drama, can vouch for its importance.
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