Write a 10 pages, MLA style, research paper which addresses a spec.docx

Write a 10 pages, MLA style, research paper which addresses a spec.docx

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  Write a 10pages, MLA style, research paper which addresses a specific question related to the social, cultural political, and/or historical context, production history, or production challenges of the play: Medea, Euripides. You must use a minimum of 6 different sources. MAPP Model For MAPP Model for ____________ Insert Student’s Name Here South University Insert Date Submitted Abstract Mobilizing for Action through Planning and Partnership (MAPP) is MAPP Model Matrix for _______________ Issue Key Elements Goals formulated Insert your chosen public health issue here. Insert the key elements of concern for your chosen public health issue here in bullet format: · Insert your goals here that you want to achieve in bullet format: · Repeat as above. Repeat as above.
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  Repeat as above. Repeatas above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Repeat as above. Action Plan Devise an action plan based on this MAPP Model Matrix. One page is all that is necessary. References Make sure you list any references you use for this assignment in proper APA format. 2 GUIDE TO BASIC ELEMENTS OF THEATRICAL PRODUCTION Scenery * Acting * Lighting * Costumes * Spatial Relationships * Sound * Audience By Dr. Barbara Clayton Successful writing about theatrical performance relies on the writer's ability to identify, describe,
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  analyze, and evaluatespecific elements of production. Usually shaped by a director, designers, and actors in response to dramatic text, these production elements create the meanings spectators take from theatrical performance. All of these elements interact, so the planning of a production is usually a collaborative endeavor by the director, designers, and actors to create a specific theatrical experience. Intended to aid students in analyzing production elements in performance, the following Guide briefly summarizes the primary production elements. Scenery Scenery provides the physical environment in which the dramatic action comes to life. Two important functions of scenery are to create a visual world for the dramatic action and to provide an interesting space for actors and director to use in creating physical action onstage. Scene designers use style, color, mass, form, line, and texture within a defined space (usually a stage) to create the world of the play. When analyzing scenery in a production, consider the following topics: ● Environmental conditions: What does the scenery convey about time of year, weather, geography, or other environmental conditions? ● Movement potential: How do actors enter and exit the stage? Are there staircases, spiraling ramps, large open spaces, or other features that
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  suggest specific movement patterns? ●Style: Does the scenery create a realistic sense of time and place? Or is the space symbolic or abstract? Does the scenery employ scenic conventions from a different time or place? Japanese Kabuki staging, for example, or painted scenery in the style of 18th century England? ● Color, texture, line, and rhythm: Does the scenery use bright or subdued colors? Rough, jagged, soft, or silken surfaces? Smooth, undulating lines or rectilinear forms? One door or many doors? What atmosphere or mood do these choices create? Size and scale? How large or small are the scenic elements in relationship to the actors and the audience? What might scenic scale imply about the action of the play? ● Scene changes: Does the scenery change, how often, and why or why not? How do the scene changes influence the overall rhythm of the action? ● Relationship to audience: What relationship between the audience and the performance does the scenery suggest? Do scenic elements blend into audience space? Is the audience separated from the performance space by a spatial or physical barrier? 2
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  Acting Actors bring thecharacters to life, investing them with movement, voice, passion, intellect, and desire. Voice and body are the actor’s primary tools, but other production elements often assist the actor in representing characters. Costume, including hair and make-up, is especially important. Also important is an actor’s ability to shape his or her performance in relation to the ensemble (the other actors). Different production styles (for example realism, epic theatre, or theatre of the absurd) call for varying acting styles. When analyzing acting in a production, consider the following topics: ● Voice: Does the actor use specific pitch, range, volume, quality, or vocal rhythms to create the character? Does the actor use dialect or accent? Does the actor use any unusual vocal mannerisms to create character (for example, a cough or other repetitive sound)? How do these vocal choices create character? ● Body: How does the actor stand and move? Does she crouch and creep about the stage? Or does she stand tall and walk with stately grace? What rhythms does the actor use? Is his movement abrupt and unpredictable or smooth and flowing? Does the actor use any physical mannerisms (for example, constantly straightening objects on a desk or picking lint from clothing)? How do these physical choices create character?
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  ● Ensemble: Doesthe actor seem to listen to the other actors and respond accordingly? Is there a real sense of give-and-take on stage? What does the actor do when not speaking? ● Style: Does the actor attempt to believably embody the character? Is the actor’s goal to “show” a character’s actions without fully embodying them? Does a character’s believability seem less important than the playwright’s or director’s specific vision? What specific choices in voice, body, and ensemble create the sense of style? Spatial Relationships The term "spatial relationships" (sometimes called "blocking") refers to the physical positioning of actors on the stage relative to other actors, scenic elements, the playing space, and the audience. A director usually works with actors to establish patterns of movement and physical positions that illuminate characters, character relationships, and the dramatic action. When analyzing spatial relationships in a production, consider the following topics: ● Areas: Are specific areas on the stage associated with specific characters or actions? ● Levels: Does the scenery permit actors to appear on different levels? What implications about character relationships emerge from the use of levels? ● Distance: Do characters appear close together or far apart
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  when they interact?What information about their relationship is implied by physical distance? ● Rhythm and line: Do actors move quickly or slowly? Do they approach others directly or indirectly? What do these patterns of movement convey about the characters, their intentions, or their relationships? ● Change: Does the actors' use of areas, levels, distance, or rhythm and line change during the performance? What does the change imply? ● Relationship to audience: Do the actors speak and interact with each other as if the audience weren't there? Do the actors speak or physically interact with the audience? What does this imply about the style of the performance? 3 Costumes A character's costume includes his or her clothes, makeup, and hairstyle, and might also include personal items such as a handbag or umbrella. While a costume may convey external aspects of a character such as his/her profession and social class, it also suggests inner elements of character such as mood and personality. Costume designers use color, texture, pattern, weight, as well as historical period, to create a character's costume. When
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  analyzing costume choicesin a production, consider the following topics: ● Socioeconomic class: What does the costume convey about the character's position in society? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Environmental conditions: What does the costume convey about time of year, weather, geography, or other environmental conditions? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Occupation: What does the costume convey about how the character spends his/her time? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Culture: What does the costume convey about cultural origins or affiliations? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Mood and temperament: What does the costume convey about the character's state of mind, preferences, habits, and way of life? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Relationship to the play and other characters: What does the
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  costume convey about thespirit and style of the play and the character's relationship to other characters in the play? How is this information conveyed through texture, style, color, pattern, weight, or fit of clothing? ● Costume changes: If a character changes costume, what does the change in costume convey about the character's actions or state of mind? ● Movement potential: How does the costume facilitate or constrict the movement of the actor? To what effect? Do the fabric and cut of the costume create movement when the actor moves? Consider a heavy robe, a long train on a dress, or a silky, flowing gown, for example. 4 Sound Sound effects and music generate meaning, create mood, and enhance atmosphere or feeling in a theatrical performance. In addition, directors and sound designers often use preshow music to establish the initial mood of a performance or postshow music to prolong the final mood of a performance. When analyzing sound in a production, consider the following topics:
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  ● Environmental conditions:What does the sound convey about time of year, weather, geography, or other environmental conditions? ● Style: Does the sound create a realistic sense of time and place? Or is the sound symbolic or abstract? ● Mood: Does the sound contribute to establishing the mood of the dramatic action? Spooky sounds on a dark night, for example, might suggest a mysterious atmosphere, or wind rustling the leaves of an aspen tree might suggest a cool, relaxing summer afternoon. ● Rhythm: Does the sound work with movement of the actors and the lighting to create a specific pace for the dramatic action? ● Volume: Is the sound a soft, background noise or a loud jolt? Why? ● Live or recorded: Does the performance use live sound, recorded sound, or a mix? To what effect? Lighting Theatrical lighting serves not only the important practical purpose of making actors visible on stage, but also the artistic purpose of conveying information and
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  atmosphere about thedramatic action. Lighting designers use the color, texture, intensity (brightness or dimness), direction, and movement of light to help create the world of the play. When analyzing lighting choices in a production, consider the following topics: ● Focusing attention: How does the light focus attention to particular areas of the stage? Are some areas more brightly lit than others? Is light used to provide scenic transitions? Is absence of light important? ● Texture and pattern: Does the light use texture or pattern to suggest scenic location or environment? Leafy texture, for example, might suggest an exterior location, or a window pattern an interior location. ● Direction and color: Do the direction and color of the light mimic real life sources such as the sun? Do the direction and color convey a mood or atmosphere? Is the color warm or cool? Does the source of the light appear to move or change? ● Style: Does the light create a realistic sense of time and space? Or is the light more abstract, disobeying "real world" rules about the way light looks and behaves? Are there lamps, chandeliers, or candles on the stage? What effect or mood do they create? ● Rhythm: Does the light change quickly in texture, pattern, color, direction, intensity,
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  or movement? Ordo the variations in look or feel of the lights happen slowly? 5 Audience Though often overlooked, the audience is a critical element of theatrical production. In fact, many theories of theatre are founded upon the assumption that the basic minimum requirements for performance to occur are the presence of at least one audience member and at least one performer. Theatre practitioners must take the audience into account in many ways in planning and executing a production, including: • Presentational/Representational Style: Do the actors acknowledge the audience and sometimes speak directly to them (Presentational style) or do the actors construct a fictional world that the audience looks in on voyeuristically without the actors acknowledging their presence (Representational style)? • Motion: Does the audience remain seated throughout the performance, or does the audience move from place to place as part of the performance? Physical arrangement: In theatres with flexible seating, how is the audience arranged? (On all sides of the
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  action? On threesides of the action?) Are there unusual seating choices, such as audience members seated on the stage? Does the performance extend into the audience’s seating area, with performers directly interacting with audience members physically? • Emotional relationship to the action: Is the audience meant to be emotionally engaged by the scenes unfolding onstage, or does the production take steps to keep the audience at a critical distance? Is the audience meant to feel safe and comfortable, or does the production confront the audience with uncomfortable or disorienting experiences? • Dramaturgical materials: What, if any, materials are provided to the audience to contextualize the play, and how do they prepare the audience for the theatrical experience? Is there a director’s note? Historical background on the play? Images? Special instructions to the audience? • Audience makeup: Is the audience made up largely of a group that knows one another (school groups, for instance) or has special needs that must be taken into account (groups with multiple language capabilities that require translation)? Is the audience required to be here for a class? Is the group diverse in terms of age, socio- economic status, gender, race, familiarity with the play in question, etc.? Has the production taken diversity into account in its approach to the audience?
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  English/Theatre and Drama120, Sections 317 & 322 TA: Ben Fleer Production Elements Essay #1 Due on Monday, October 3rd at the beginning of discussion. Essay Length: 750 words Production: Laughter on the 23rd Floor at the Bartell Theatre Production Element: Costumes Assignment Objective: Your assignment is to write an analytical essay focusing on how the costume design choices made in Laughter on the 23rd Floor created meaning for you while viewing the production. Assignment Recommendations and Tips: *Keep in mind that a mere summary of what you witnessed
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  while watching theproduction is NOT the goal of this paper. Your efforts should instead be three-fold: first, to objectively describe what you saw, then to discuss your subjective beliefs regarding what you believe what you saw meant, and finally, to express subjective opinions over whether or not you feel the production benefitted from what you saw. *Since this assignment has a 750-word length requirement, know that you are not expected to discuss every aspect of the production’s costumes. Pick specific elements of its costume design that really stood out to you to write about—the ones that had some sort of emotional or intellectual impact. *Support your argument with detailed descriptions of how costumes were used in the play. Make your language as specific and vivid as possible. “I thought Jack’s suit looked cool,” does not really tell your reader anything about the production. “Jack’s sleek, genteel suit made out of fine green and violet fabric gave him an air of sophistication, showing us that this was a man of great taste and high class, and it provided him with the appearance of being confident and well- composed—however, his magenta bowtie
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  and silver cufflinkswere costume pieces that he often fiddled with during tense moments in the action of the drama, and, in my opinion, these afforded the actor playing the character in this production with a cleverly nuanced means of revealing that, beneath his veneer of self-assurance, Jack actually struggled with a rather substantial degree of insecurity,” tells your reader a great deal more. *This is an academic paper. That means certain things are expected from your essay. It needs to have a clear thesis (a central argument) expressed by a coherent and comprehensive thesis statement. Your essay needs to have an introductory paragraph containing your thesis statement, so that your reader can obtain an idea of what you are going to be writing about. Finally, your essay needs to have a concluding paragraph, one that not only summarizes your argument, but also states the point of that argument, as well as illustrates its significance to your understanding of the production and the impact that its costumes had on it.
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  *It’s perfectly acceptableto jot down notes on the night that you see the play to help you write your essay at a later date—however, wait until intermission or after the production has concluded to do so. DO NOT TAKE NOTES DURING THE PLAY! IT IS ONE OF THE RUDEST, MOST DISTRACTING THINGS YOU CAN DO IN A THEATRE. Plus, you will miss out on important things happening in the performance if you try to take notes during the show. *Your emphasis should be on the quality of your analysis and the means by which you support that analysis with evidence (examples from the production), not on the quantity of things surveyed within your essay. *Reread your essay once you have completed it. Maybe read it to yourself out loud. Seek out the places where you can make your word choices, your descriptions, or your claims more insightful, clear, or specific. Check your paper for spelling and grammatical errors, and check to make sure you have
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  followed all ofthe formatting guidelines for the paper. Formatting guidelines for writing assignments are located in your discussion section syllabus. *If you find that you cannot decide on what aspects of the production’s costumes you want to write about, don’t panic! You can always refer to the information contained within the "Guide to Basic Elements of Theatre Production" handout posted on the class website at [email protected] for ideas. *For general tips on how to develop a thesis statement, go here: http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html *For general tips on how to write an introduction to an essay, go here: http://www.writing.wisc.edu/Handbook/Introductions.html *For general tips on how to write a conclusion to an essay, go here: http://www.writing.wisc.edu/Handbook/Conclusions.html *Note that you must limit your analysis of Laughter on the 23rd Floor to the production
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  element of costumes,otherwise your essay will not be accepted. Grading: Your essay will be graded based upon four criteria. These are content, thesis, style, and format. There are a total of 80 points possible on this assignment. Content—Your essay provides vividly described examples of the use of costume in the play. For each example, your essay analyzes how it supports your thesis. Content counts for 70% of your grade (56 points). Thesis—Your essay offers your reader a clear thesis that articulates a specific and supportable point of view about the production. Thesis counts for 10% of your grade (8 points). Style—Your essay displays good organization and paragraph structure, careful and varied word choice, correct spelling, and correct grammar. Style counts for 15% of your grade (12 points). Format—Your paper adheres to the formatting instructions
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  outlined in yourdiscussion section syllabus. Format counts for 5% of your grade (4 points). mailto:[email protected] http://www.writing.wisc.edu/Handbook/Thesis_or_Purpose.html http://www.writing.wisc.edu/Handbook/Introductions.html http://www.writing.wisc.edu/Handbook/Conclusions.html