Our time with Dan Ross was very informative. I was not very familiar with the art community of Fort Wayne. Dan Ross explained how important art was in our community, and he described how impressive it is that we have such a thriving art scene. When Dan Ross explained his job description, I could tell how passionate he felt about promoting the arts. I especially like when he described how the ballet studio was created because it showed that he was involved with all aspects of the art community. The black box theatre space is extremely versatile. The space can be used for any number of performances at a lesser cost than other theatres. The seats can be rearranged in multiple ways to fit different types of performances. The size of the theatre is small, yet it can fit plenty of people(it would be a bit too small for BCT musicals). During The Secret Garden, the audience was set up in a basic format with the performance at the front of the theatre. …show more content…
The set was creative with the spinning wall, and the bedrooms at both side of the stage. The set design allowed the stage to be divided into three sections with different scenery. The lighting helped to guide the show. Depending on what setting the characters were in, the lighting would shine on one of the sections and dim in the others. The lighting in the windows of the bedroom was my favorite part. The costumes were accurate for the time period. There were not many costume changes, which was okay but I wish they had more. I like when the costumes change often, but I realize that is not easy. The props were well used, and they all seemed to have a
The scenic designer, Terry Martin, truly captured the elements of this production. The way E. Turner Stump Theatre was set up made you feel like you were in the side show yourself. There were lights hanging from the ceiling, and cages set up for the “freaks” on the stage. It was creepy, uncomfortable, and mesmerizing. Examples where the set design was most adequate was during the love tunnel scene, during the beginning of the production, and at the ending of the production.
My purpose here is to compare. The subjects of this comparison are the novel Where The Red Fern Grows by Wilson Rawls, and the 2003 film based on the book, which shares the title. The film was directed by Lyman Dayton and Sam Pillsbury. The movie and the book are similar in many ways, as one would assume of a film and the book of which it is based upon. There is the most obvious similarity: most of the plot is identical.
As you watch the movie you get to see how realistic it really is. The people who design the outfits for the casts did such an excellent job. They made each and every person seem like they came from the past. Not only did their outfits fit the time period that they were trying to portray, but also their acting skills made it seem more like the time period. The set that was used also seemed like it fit the time period really well.
The seating wrapped around the stage for the audience to be able to see the play from where ever they were seated. I sat in the upper orchestra and loved the seating. In these seats you were up looking slightly down to the stage and I was
Trees were placed at either side of the set to frame the setting. Logs were also placed DSR and DSL, this was a representation of where the younger version of Alice would commonly go to play and look at the mountains with Nugget. There was a see through curtain at the back of the stage where each character placed themselves when not in the scene, this gave the characters purpose on stage. The table placed centre stage provided the main space for characters to communicate and connect. An example of the use of the table was when Nugget and Alice would sit around the table - he would tell her stories and helped Alice with her schoolwork.
I feel like the costumes made the movie seem more accurate and real. The costumes made the characters look as if they were actual
The added puppet work furthered whimsy and character into a great classic. Shown in giant puppets like the moving ocean, or man held just the simple tiny arms hanging out of sail boats. The puppet work really showcased the actors well, and also fitted perfectly with the over the top comedic take of the production. The scenes flowed together effortlessly and had a creative presence due to the bight colors and costuming. The set truly took a character of its
How would you characterize the theatre lobby as far as its potential for audience socializing before and after the show and during intermission(s)? All the actors were acting great by grabbing the attention of the audience till the end. How did the
As matter of fact, the actors at some points are out in the audience, which makes for a kind of unique experience; things like lighting cues, set pieces just kind of spice it up. I think people will recognize the touch TJ theatre puts on
This novel is about three lonely children: Mary, who is sent to England because of her parent’s death by cholera in India; Colin, a cousin with full of hatred and even more unpleasant than Mary is; and Martha 's brother Dickon, who has the power to delight both people and animals, Without Dickon neither Mary nor Colin would be able to boost their health and happiness as much as they do. The main character, Mary, is a disagreeable, sour, unhappy, unpleasant and perhaps ugly girl. She has never experienced love because her mother has hardly liked Mary. She is so awfully lonely. Because of her parents’ death by cholera, Mary is sent to England where she is going to learn to experience friendship and magic.
The set varied, therefore it needed to be simple and easy to perform. We used small black stage blocks in the entire performance that symbolised chairs. To communicate with the audience that we are in another scene, the stage blocks would be moved around by actors to represent a change in location, for example, when the exam scene finished, we had to quickly put the stage blocks in two to signify that we were in a dating scene; the popcorn buckets was another element that suggested that we were participating in a movie theatre. Each performance we would have different sounds that would contribute to a particular scene. For example, the first scene had a school bell sound, that suggested that students are coming to class.
The Constant Gardener by John le Carré is an unusual novel in many respects. Combining the suspense and thrill of the espionage novel for which le Carré is justly famous, it exhibits, perhaps for the first time, the author’s deep-rooted humanism especially at the suffering of the less privileged living in the Third World countries among whom Africa ranks first. Though the novel could have easily slipped into some sort of sentimentality, le Carré has supported it with a mass of well-researched details which go to make up, with a great deal of authenticity, this narrative of exploitation and betrayal and blind profiteering from the sufferings of others. It lays bare the machinations and structures of monolithic corporations which manage to penetrate even such edifices like the WHO. The power of these global corporations transcend geographical boundaries and in today’s world of commerce they wield a power greater than that of governments and even policies of governments are made manipulable by the nexus that exists between the politicians, bureaucrats and the businessmen.
Abandonment and isolation are prominently viewed in one’s eyes because the essence of happiness takes longer to grow. The same can be said for the themes in Frances Hodgson Burnett’s novel The Secret Garden in which the characters, Mary Lennox and Colin Craven, undertake themes from the novel that change their identity. Some of these themes prove to be easier to spot than others, for example, the recurrent theme of happiness from the garden; however, the themes of isolation and abandonment are presented by the characters ' lonesome childhood.
At the back stage, actors will behave differently than when in front of the crowd of audience on the front stage. This is where an individual truly express himself or
At first, private playhouses could only be located in the city of London. Only six existed at the time and the wealthy mostly attended. The very first private theatres were called Paul’s playhouse, and the first and second Blackfriar (Narey). The private theatres were a considerable amount smaller than the public theatre, and they were also roofed. Private theatres have about one fourth to one half the seating capacity that a public did.