The stage was proscenium type, having the audience seated in the front of the stage, which helped the audience to watch all the artists at the same time. The stage settings, café set,
So this was not my first time at the University’s theater. I arrived early in hopes of finding a good seat, and saw a number of tables set up across the stage. In addition
The set was simple, and it had a lot old fashion furniture that you don't see that much unless you have grandparent that still have old style furniture. The theater was small and minimalistic and help the audience feel closer the
Thomas Campbell’s eureka moment occurred when he was studying the art of the courts of Northern Europe about the paintings, sculptures, and the architecture. It was he eureka moment because Thomas came across descriptions of tapestries, and it appear to him that there was a missing component. The challenge and fun about his job is about supporting the vision of his curators. Thomas believes that nothing can replaces the authenticity of the object presented with passionate scholarship, and how it bringing people face to face with the objects which is a way of bringing theme face to face with people across time, across space. The Great Hall at the Met is one of the great portals.
The iconic Seagram Building stands 515 feet tall with 38 stories and was completed in 1958. Since its construction, it has remained one of the finest examples of the functionalist aesthetic and corporate modernism. Designed by German architect Ludwig Mies van der Rohe, the style of the Seagram Building has had a pivotal influence on American architecture. The style argued that the functional utility of the building’s structural elements when made visible, could supercede the formal decorative; and more easily convey its beauty to a lay public than any system of applied ornamentation.
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.
We went to the Royal Shakespeare Theatre on Thursday 22nd October 2015 located in Stratford to watch Gregory Doran's adaptation of Henry V, written by William Shakespeare. Doran cleverly intertwined Stanislavskian characterisation with Brechtian elements to create a realistic yet dramatic performance. My expectations for this play were high because the Royal Shakespeare company are highly renowned and it intrigued me to see how they would make a historical play set in the 15th Century captivating and relatable to a modern audience. Doran's use of the thrust stage broke the illusion of a fourth wall as the two walkways (used as both entrances and exits to and from scenes) further involved the audience, ultimately making them feel part of the story and immersed in the action. The use of breaking the fourth wall displayed a Brechtian element to the play
The tour began in the beautiful outdoor courtyard with fine Italian architecture which finished in 1929.Mr. Ringling purchased most of the outdoor sculptures from Italy. In addition, many of the sculptures were originally supposed to be displayed in the Ritz Carlton, but never made it there because Mr. Ringling sent Julius Boger to Italy to pick and choose those sculptures to be displayed in Mr. Ringling’s sculpture garden. As the docent tour guide Maureen continued, she pointed out the large beautiful columns and bases all along the courtyard, and asked the crowd what do we see wrong with the columns, and bases? After a brief pause Maureen responded to the question, and stated that all the bases were uneven due to short, and tall columns.
What being Hispanic means to me is mainly opportunity. I say opportunity not only in terms of my educational interests, but my social and cultural ones as well. For example, one area in which I 've seen myself taking advantage of these opportunities is theatre. Over the past 3 years at DePauw, I have been very involved with DePauw theatre, and this past year especially, have taken leadership roles within the department. This involvement has opened my eyes as to exactly how little people of color are represented within theatre, not only in acting roles, but especially in leadership roles.
One thing that caught my attention are the machinery used to transform the stage into a bedroom. The wall that was stored on top of the stage gliding down the stage transforming it into a bedroom. Pulizer Prize winner David Lindsay-Abaire’s play, Wonder of the World was directed by Tara Blau. “Ms. Tara Blau has been directing credits which includes, The Pavilion for the Cinnabar; Theatre Company; Love Letters,” to name a few. This play was produced with permission by Dramatis Play
As I enter and look for parking at the museum Addison Gallery of American Art, I take a quick glance at the building and it looked like a big museum. When I enter the building, I noticed that there were two large rooms with art frame pictures around the walls. There was nothing on top of the floor; one of my first impressions was to ask, “why don’t they use the full size room?”. As I see different pictures in every room, including the second floor, there was one picture that got my attention. It was a medium sized frame artwork with a picture of a young boy.
The Greeks were the first to introduce the concept of theater. As a matter of fact, one performer, Thespis, created the idea of a chorus, which was a group of people that expressed opinions, gave advice, and had the author’s point of view. The chorus would be the equivalent to the “score” in modern theater. The International Thespian Society, an organization formed to honor student’s success in the theater, was named after Thespis. In Greek theater, the place that the actors performed was called the “paraskene,” while in modern theater it is called the stage.
I walk two blocks south to arrive at Carnegie Hall. I gaze in awe as I see horse-drawn carriages lined up for a quarter of a mile outside the hall. It’s opening night, May 5th, 1891, and people are swarming everywhere trying to get in to see Damrosch and Tchaikovsky conduct at this magnificent hall. The architecture is absolutely gorgeous with a façade made of terra cotta and iron-spotted brick. I manage to get inside where the main hall is jammed to capacity.
“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.
In Rasmussen’s Experiencing Architecture, the author differentiates architecture from sculpture through utility. Therefore, the eye-catching curvilinear shapes of the hall’s exterior are more than bizarre geometric shapes. Surrounded by an urban setting, the concert hall’s undulating contours invigorates the cultural atmosphere of downtown Los Angeles. Spectators feel free to creatively interpret its ambiguous and novel shapes; whether the curves represent the crashes and clashes of orchestra or the frenzied hand gestures of the conductor, the concert hall ultimately reshapes the cultural landscape of LA as a unique architectural statement. Additionally, the materials used to construct the hall are stainless steel panels that hover above an asymmetrical band of glazing at the building’s base.
