Categories
Theater studies

1.first you have to read backwards and forwards by ball.

1.First you have to read Backwards and Forwards by Ball.
2. Read the play Death and the King’s Horseman by Soyinka. I have attaching both readings.
3. Using Ball’s method in Backwards and Forwards, please describe the “triggers” and “heaps” that make up the central action of Death and the King’s Horseman. Make sure your chain is equally precise backwards as well as forwards. Format this analysis however you like, but it should be
Clear to read
Require no further explanation that isn’t on the page.
No word count.
Note: this will be graded complete/incomplete based on whether I feel you’ve met the terms of the assignment. And trust me, it’ll be useful for our discussion in class.
*I am sending examples of Trigger and heaps but from another play (Antigone) so you have an idea how the assignment is done. But for the best development of this is to read the method Backwards and Forwards (Ball) as the professor has ordered.

Categories
Theater studies

Under that heading, propose four general statements indicative of your personal taste in movies.

Part 1: View a feature film made between 1940 – 1970 you have not seen before (or will see later in this class) by a great director. Many directors were active both before and after 1970 so make sure you see a pre-1970 FEATURE fiction film.
Suggestion: American directors such as Frank Capra, George Cukor, John Ford, George Stevens, Preston Sturges, Billy Wilder, or William Wyler. Foreign directors such as Ingmar Bergman (Swedish), Luis Buñuel (Spanish), Claude Chabrol (French), Federico Fellini (Italian), Akira Kurosawa (Japanese), Lina Wertmuller (German) or the British team known as “The Archers” made up of Michael Powell and Emeric Pressburger. For other possibilities, try: http://www.filmsite.org/directors.html Comment on the specific film you saw in terms of its genre and the quality of the film itself. Pay attention to the camerawork (cinematography) the editing (montage) and the sound (including music). What did you like and what did you dislike? Why do you like the things you like, and why do you dislike the things you dislike? Finally, is the film successful in creating a work of fiction using the craft of filmmaking and considering when it was made? (Note: This is not the same question as whether or not you liked it. It is entirely possible to like a film that you are aware is not very good.)
Part 2: Draw some general conclusions about the work of the director and one of the main actors or actresses. For example let us say you watched the 1962 film Lawrence of Arabia. Did you like David Lean as a filmmaker? Explain your answer. Did you like Peter O’Toole in the role of Larwrence? Why, or why not?
End with your overall impression of the film, including how you see it as an example of the its genre and time period.
PARTS ONE AND TWO SHOULD BE PRESENTED AS A SINGLE ESSAY!
Part 3: On a separate page, insert the heading “My Criteria for Quality in Film.” Under that heading, propose four general statements indicative of your personal taste in movies. These statements should be numbered (1) through (4), and they should be written as complete sentences or a short paragraph. For example, if you commented in your essay that you liked the acting because it was realistic and you liked the scriipt because it had a happy ending, you could propose these two statements as criteria for quality: “(1) Excellent movies feature realistic acting. (2) A movie is more likely to be good if it ends happily.” Think about and then explain what words such as good, excellent, and effective actually mean.

Categories
Theater studies

The review is based on Rent only. Instructions are on the document ; will be che

The review is based on Rent only.
Instructions are on the document ; will be checked via turn it in and safeassign

Categories
Theater studies

After viewing the short film “Our Time Is Up,” by robpearlstein https://youtu

After viewing the short film “Our Time Is Up,” by robpearlstein
https://youtu.be/OsnzGqIWXDE , review the five components of the Plot Structure Diagram. Identify each component in the film, and explain how your choice fits the descriiption/function of each component. For example, identify the events of the film that comprise the Exposition, and explain how the events you have identified serve the function of the Exposition. Then do the following for the inciting event, rising action, climax, and falling action. You may do a short paragraph for each of the five plot structure components. It is STRONGLY recommended that you write about each of the components IN ORDER (for example, start with the exposition rather than the climax).
As you write, keep the following points in mind:
The exposition introduces us to the NORMAL WORLD of the main character
The Inciting Moment or Inciting Event is the moment at which nothing will ever be the same for the protagonist. It is a SINGLE EVENT that forever changes the protagonist’s life. This usually occurs fairly early on in the plot
The Rising action takes most of the time in the plot. This is the portion where events get increasingly complicated, and the audience still has questions about what will happen.
The Climax happens near the END of the plot. It is usually a single event or a very short sequence of events where the tension in the plot reaches its highest point and then releases. At this point, most of the audience’s questions about if events of the plot will turn out happily or unhappily will be answered.
The Falling Action is usually the last little bit of the plot where any final loose ends get tied up. Since the tension is pretty much gone from the plot by this time, this is more about tidying up any small, less vital questions in the plot.
The events of a plot are distinct (meaning one event in the film CAN NOT serve the purpose of more than one component of the plot). In other words, one event can’t be BOTH the inciting event AND the climax, for example.
The components of the plot will take place in order, so for example, the rising action will happen after the exposition and inciting event, not before.