Tiffany+Chu


 * There are important differences between __And the Soul Shall Dance__ and the video illustrations linked to the schedule page demonstrating "realism" in the European, English and American theatre. Briefly discuss a few of them that you consider the most important.**

__And the Soul Shall Dance__ is a play structured with elements of poetic realism, as it depicts the lifestyle and relationships of two families living in American WWII internment camps. Contrarily, the video clips are characterized by a more direct realism. The two different examples of realism show variations in language, plot exposition, and medium of presentation. The language of __And the Soul Shall Dance__ is presented with poetic realism because it is embedded with symbolism and hidden meanings, while in the video clips, the language is straightforward. Masako’s words, “And the dreams will dance” [1] deviate in content from the conventions of traditional realism, while in __The Glass Menagerie__, the two actors are arguing about more common matters of behavior. In __And the Soul Shall Dance__, the set features “two small rolling house units that were unfolded ingeniously in view of the audience” [1] that are shifted by hooded figures with highly stylized and choreographed movements. This takes away from the realism of the piece because the audience’s attention becomes diverted from the scene at hand towards these external motions. The settings in the video clips, however, are fixed in place, and the props merely exist to add realism to the portrayal of everyday life. Lastly, __And the Soul Shall Dance__ is presented on a stage to a physically available audience, while the scenes in the video clips are confined to the medium of film. While the first is able to garner reactions from the audience, the second has no means of interaction with its audience. Altogether, these elements illustrate the differences in the two style of realistic presentation and contribute to the overall realism of the plays.

Word Count: 274

References: 1. Arnold, //Creative Spirit//


 * In debate, there is usually a question that is posed for debaters to answer. It is stated in the form of a resolution. So is the following question in which you may take either the affirmative or the negative position."Resolved, directing is a more important art and craft than acting."**

In theater,the director is integral to the structuring and defining of a production; however, the actor is the one who truly commands the audience and brings the production alive.
==== The role of a director “emerged in response to developments of realism” in theater to fulfill the needs created by a desire for a “more detailed representation of place and character history” and “the profusion of theater styles” [1] that arose during the 19th century. A director is a manager, responsible for the gradual development of a production – from auditioning/casting actors to guiding them in a timely manner in preparation for performance. A director is also a visionary, one who makes decisions regarding stage design, costumes, interpretations, etc. after doing extensive research. ==== ==== Acting involves a process of transformation that must be undergone in order for the actor to fully embody his character, and this transformation gives reality to the performance. The actor’s commitment is both a physical and a mental process. The actor uses energy and charisma to draw the audience in and bring a sense of environment to the stage through his/her expressions, voice, and physical movements. Like the director, the actor must first conduct research, but unlike the director’s role as a visionary, the actor goes further to give the vision life. ==== ==== Many do not recognize the role of a director as an art because he/she commands the background in rehearsal but hands the stage over to the actors during the performance. Yet, when it comes down to it, acting is a more important art and craft because it is the liaison between the words of a playwright and the audience. ====


 * Your text offers suggestion on two basic approaches to acting, ie. the internal and the external. Chose either one and take the scene between Emily and George as your reference point and develop a fragment of "inner monologue" OR tactic concerning interpretation underlying a short section from the scene. I suggest the men choose to deal with George and the women choose to deal with Emily, although if you wish you may choose to develop an "inner monologue" or "external tactic" for either character. You may use up to 500 words for this module, given the complexity of the requirement. Be sure you let me know exactly which section of dialogue you plan to use for developing your answer. **

[Emily] p. 50-51 Internal Approach – Developing an inner monologue

(//I can’t believe he’s offering to carry my books. I mean, why is he even bothering? We have spoken to each other in such a long time; it’s almost as if he forgot all about me. I’d much rather him just leave me alone.)// (//Oh, there’s Lizzie. How I wish that I could walk with her instead of having to deal with George…)// //(Geez, what exactly does George mean by all of this. It is just so unlike him, coming out of nowhere wanting to hold my books and talk to me. Does he expect me to jump up and down in excitement because we will be working closely together next year? I’m not even sure how I feel about all of that yet.)// //(Well, isn’t it obvious? We’ve been friends for such a long time, and I’ve liked him all long. Then he went and joined the baseball team. His whole life started revolving around baseball – baseball this baseball that. He changed. It felt like I didn’t even know him anymore.)// //(Should I just tell him? Yes. Yes, I think I have to. He needs to understand how much his change has affected me, how much it hurt me when I was no longer an important part of his life. But, I’m still not sure where to even begin. What should I tell him, the entire truth? I hope I don’t hurt his feelings…well, if I do, I still think it’s his own fault for starting this in the first place.)// //(Okay, just take a deep breath and say it, Emily. I’ve wanted to say these things to George for such a long time; it’s a relief to finally let everything out. I’m not going to keep anything from him. I mean, what is the worse that could happen? He might choose to never talk to me again in the future. Yes, but that is a risk I will just have to take. I know that I still care about him, and I should at least tell him with complete honesty that I do. Maybe, just maybe, he feels the same?)// //(I liked him so much, even loved him. Actually, now that I am thinking about it, I see that I still love him. It hurt so much to watch him make baseball his number one priority above not just his friends but also his family. I wish that George was the same guy I once knew, not conceited and stuck up like all the girls think now. I hear other people talking about him, but I cannot defend him because it’s all so true. I understand the dedication that is required for him to be a successful baseball player, and I am glad that he has found something that he loves, but I just wish he could find a better balance. I don’t want him to give up baseball. I just want to be a part of his life again.)//
 * George:** Emily, can I carry your books home for you?
 * Emily:** Why – uh – thank you. It isn’t far.
 * George:** ‘Scuse me one minute, Emily, will you? – Say, Bob, if I’m a little late, start practice, and give Herb some long high ones.
 * Emily:** Goodbye, Lizzie.
 * George:** Oh, goodbye. I’m awful glad you were elected too, Emily.
 * Emily:** Thank you.
 * George:** Emily, why are you mad at me?
 * Emily:** I’m not mad at you.
 * George:** You’ve been treating me so funny lately.
 * Emily:** Well, since you ask me, I might as well say it right out, George – Oh, goodbye Miss Corcoran.
 * George:** Goodbye, Miss Corcoran. –Wha – what is it?
 * Emily:** I don’t like the whole change that’s come over you in the last year. I’m sorry if that hurts your feelings; but I’ve just got to – tell the truth and shame the devil.
 * George: -** A change? – Wha – what do you mean?
 * Emily:** Well, up to a year ago, I used to like you a lot. And I used to watch you while you did everything – because we’d been friends so long. And then you began spending all your time at baseball. And you never stopped to speak to anybody any more – not even to your own family, you didn’t. And George, it’s a fact – you’ve got awful stuck up and conceited, and all the girls say so. And it hurts me to hear ‘em say it; but I got to agree with ‘em a little because it’s true.

Word Count (Not Including Script): 492


 * Contrast and compare the role and purpose of secular drama and theatre as an expression of the communities from which it arose and for which it has served with that of religious and ritual drama and theatre**

(YOUR ANSWER IS GENERALLY GOOD ALTHOUGH I HAVE A FEW QUESTIONS. YOU MIGHT HAVE BEEN A LITTLE MORE CAREFUL ABOUT HOW YOU STATE THINGS.) Theater has had significant impact on society throughout history by presenting itself through both the lenses of secularism and religious devotion. Different communities used theater rituals for different purposes: some desired to reinforce the collective values of the people (I DON'T KNOW WHAT YOU MEAN BY THE COLLECTIVE VALUES OF THE PEOPLE) and others to promote religious observance [1]. No matter their objective, both forms have left a significant impact on the fundamental ideals of the community.  Secular theater first became prevalent during the Renaissance, when Queen Elizabeth I governed England with a stability that fostered development of the arts [1]. Elizabethan theater originated when noblemen began supporting acting companies for secular entertainment [2] and primarily produced plays in one of two categories: comedy or tragedy. (WHAT ABOUT THE HISTORY PLAYS?) It contrasted with the Greek and medieval productions, which merged religious observation with performances that entertained as they reinforced community values [1]. Also, these secular dramas took place virtually year-round, which differed from the Middle Ages when plays were seasonal and revolved around religious festivals [2].(GOOD)  Religious drama and theater, during its onset, were associated with community celebrations and ceremonies. In addition, many people contributed to these rituals because acting was not yet specialized (YOU MIGHT HAVE REPLACED SPECIALIZED WITH "ACTING WAS NOT A RECOGNIZED PROFESSION?) at the time. One example of early religious rituals is the Kachina Performances of the Hopi Native American community. Using costumes and masks, the ceremonial dramas made the Kachina spirits visible to the Hopi community, and these performances were a way of preserving their belief system and way of life [1].   Though secular and religious dramas have had differing roles in society, they both served the purpose of binding communities together. Whether people participated actively or merely as an audience member, they were exposed to ideas that cultivated the ideals of suffering and triumph.(SUFFERING AND TRIUMPH SEEMS TO BE NOTING SOMETHING SPECIFIC WHICH YOU DON'T INDICATE ANYWHERE. WHAT DO YOU MEAN BY THIS STATEMENT?)  Word Count: 274   References:   1. Arnold. //Creative Spirit//, p. 19   2. Richmond Lecture. 01/20/12