Myung,+Dan

Dan Myung THEA2100H Dr. Farley Richmond April 30, 2012 **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."**

Although the act of directing is an art in itself, requiring both creative vision and coordination from the individual assuming the role, it is shortsighted to assume that any one facet of the collaborative art that is theatre is more important than the next (1). As much as a conductor cannot put on a concert without an accompanying orchestra, so is the director unable to reveal his/her vision to the world without the aid of actors/actresses, stage managers, and many other individuals who comprise the backbone of theatre.

It is also incorrect to assume that directing is more important a craft than acting, as directing is merely part of the whole craft of theatre. For the same reason that a roof does not stay up without the collective support of all of its underlying columns, the director’s vision is impossible to express without the aid of the actors/actresses. To put it plainly, without the added efforts of actors, theatre would be a trite experience, reliant on the talents of one individual to entertain and enlighten a demanding audience—the resulting show of which would resemble a one-man band more than a proper production of theatre.

A large portion of theatre is devoted to presentation, and although the director provides the underlying interpretation and idea behind a certain play, it is ultimately the dynamics properties provided by the acting which determines whether or not the director’s vision is communicated properly (2). Audiences demand a dynamic presentation, one which is oftentimes difficult to achieve without the aid of acting.

 Dan Myung THEA2100H Dr. Farley Richmond April 23, 2012
 * 1) 1. Arnold. //Creative Spirit //, p. 96
 * 2) 2. Arnold. //Creative Spirit//, p. 115
 * Word Count: 257**

Chicago Critique

Amid a smokehouse atmosphere, //Chicago// opens with all the “razzle dazzle”(1), jazz, and sultry pizazz typical of a Broadway musical. The enthusiasm of the cast combined with the attention to detail evident in the set design and lighting embodies the over-the-top spirit of the uniquely American musical, and provided for a truly entertaining show. Prior to the show’s opening, the theatre was filled with a hazy fog which enabled the mind’s departure from contemporary times and into a unique period of American rebellion where bootleg liquor flowed freely at speakeasies, and flappers and danced the night away to jazz music at smoke-filled nightclubs(2). The costume design captures this period’s vibrancy and free spirited nature through the provocative dresses worn by the female performers. Their fishnet-stockinged legs topped by hair done up in stylish bobs appropriate to the period capture the garish feel of the vaudeville stage(3). The decision to place the live band onstage complements the attempt to portray a variety show-like atmosphere, and the scene involving Amos’s request for exit music was particularly effective in acknowledging the presence of the band as part of a dynamic stage.

Being a musical, the defining elements include singing and dancing—which in this production had moments both outstanding and mediocre. The choreography of the opening scene with Velma came off as mechanical and awkward at times; however, the show progresses to more fluid scenes such as the one involving Roxy impersonating a ventriloquist’s doll during a press release. The level of refinement in the choreography of this scene was particularly effective in that it explored the novelty of a ventriloquist metaphor without becoming overbearing. The actress playing Roxy performed magically, combining comical facial expressions, such as crossed eyes at just the right moments, with fluid lip-syncing in order to portray a realistic, and hilarious, doll. The stylized approach to character design is also evident in Roxy’s hair, which was filled with red streamers to signify her red-headed status in lieu of a wig. Also, the exaggerated bowtie, shoes, and trousers worn by Amos enabled a clown-like appearance which both complemented the exaggerative tendencies of musicals and his own clamoring for attention. The desperation evident in Amos’ desire for recognition was amplified by his ridiculous outfit, and the effectiveness of this combination was felt in the audience sympathy the character gained by the relatively passive character. Another ingenuous costume element included the faux fox fur worn by the matron. Her faux fur ended in four points which was reminiscent of the paws left on a fox pelt scarf, and this improvisation in costume design stylistically complimented the exaggerative tendency of the musical.

Another key attention to detail involved the scene in which a mock-up poster of the crime scene was presented to the onstage jury, and on the diagram the arrows above the bed pointed up and down, telltale of a sexual encounter. This played well into the obviousness of the deception perpetuated by Billy Flynn and Roxy, in that it contained the factual elements of Roxy’s adultery, yet the “razzle dazzle” of courtroom presentation prevails in convincing the jury otherwise. This attention to minutiae was probably lost to those seated further from the stage; however, its presence alone completes the detail-oriented approach to staging, embodying both the dazzling and exaggerated movements of dance and song while preserving the more subtle, and oftentimes ingenious, elements of theatrical stage design. More evidence of the ingenuity in prop-design included the bungee cord jail cell bars, which were set on wheeled bases to enable movement among the different inmates during the “Cell Block Tango”(1). The fluidity of the actresses’ movements in and out of their jail cells, and their formation of a variety of cell configurations added immensely to the polished feel of that scene, and this resulted in a captivating performance. Also, their ease of movement in and out of jail, which is typically thought of as a concrete and static establishment, added to the play’s central theme of deception by which Roxy and Velma move in and out of jail freely due to their theatrical abilities.

Overall the musical was effective in its performance, combining ingenuity in set-design and costume with well-choreographed song and dance numbers. The manifold elements of set design worked together and pointed towards the overall themes of deception and desperation, and this laborious attention to detail, combined with the enthusiasm and energy of the cast members, provided for an engrossing show. 1. Ebb. Chicago. 2. Website. Wikipedia, [] 3. Website. Wikipedia, []

**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.**

In both //And the Soul Shall// Dance, and the plays presented in the Realism webpage are similar in their incorporation of the motions and interpersonal conflicts reminiscent of real life; however, in //And the Soul Shall Dance//, an intersection between two fundamentally different cultures is presented in the struggles of two immigrant families establishing a new life, whereas the plays presented on the realism page embody a single culture, be it European or American, and the struggles evident in those individuals of a single culture.

The most obvious incorporation of the multiculturalism inherent to //And the Soul Shall Dance// is evidenced by the emphasis placed on Emiko’s kimono.1 Her dress represents the alienation of individuals who carry with them the trappings of their previous lives, and how their past relics and customs, however ornate and valuable, become muted by the harsh realities of displacement and assimilation. This emphasis on a single prop is unique to this play, as none of the other realistic plays utilize a single symbolic prop to convey a cultural theme.

Although emphasis on prop use is evident in //The Glass Menagerie//, the shattered lamp is symbolic of a single idea, the breaking down of familial bonds, and not of an entire past. The scene in which the lamp breaks is unlike the use of the kimono in //And the Soul Shall Dance//, as its exhibition is brief, and its importance lies in the fleeting moment that it breaks; this is unlike the use of the kimono, which is emphasized throughout the play, and invites the audience to embrace and establish a personal connection with the item.

1Arnold. Creative Spirit. Page 219.


 * Word Count: 270**


 * 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. **

George displays an uncertainty which is typical of a man who has recently given up his lowly born tags(1) and exchanged them for success or fame and, while popular, does not know how to handle his newly elevated social station. Once a knee-bruised little boy, his recent pubertal leap has afforded him the physical demeanor of a man, and in his development he has won the affectations of his peers, along with that of his elders; however, his past tendencies prevail despite his radical physical changes. George’s inherent confidence is now misconstrued as arrogance, as his newly gained physical bearing and attractiveness has inspired jealousy in his less-advantaged peers, among them his childhood crush, Emily.

**George:** Emily, why are you mad at me? // It seems that many individuals with whom, in the past, I’ve indulged in mutual joviality have taken a cold shoulder to me, and, alas, you are no different. // **Emily:** I’m not mad at you. **George:** You’ve been treating me so funny lately. // You and everyone else, it seems as if my whole world has been turned upside down. Nothing is what I’d expected it to be. I’ve finally made the baseball team, and made many friends as a result, but it seems that they treat me more as a commodity to be exploited, than as a warm-bodied human being. // **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. // How frustrating it is, to have everyone suddenly interpret my goodwill as conceit, and my inherent self-reliance as arrogance. It seems that ever since I’ve grown so, that individuals see it fit to adapt my behavioral inspirations to accommodate their own presumptions. I can’t believe it has even turned Emily against me—Emily, whom I’ve always admired. // **George:** Gosh, Emily—I never thought such a thing was happening to me—I guess it’s hard for a fella not to have some faults creep into his character. // I assure you that I am the same George you knew as a little child. I am stifled by the knowledge of others’ callous interpretations of my behavior following my physical maturation. // **Emily:** I always expect a man to be perfect and I think he should be. // I’m not perfect! And it is in this acknowledgement of my own imperfections that I was able to find my true self! And why is it so? That when I try to show my true self, that you are so quick to twist my actions to suit your underlying assumptions. // **George:** Well, I feel it’s the other way round; that men aren’t naturally good, but girls are. // How else could I describe you Emily, you who has captivated my interest for so long. You who inspired me to achieve so that one day I might have the chance to curry your favor, and ultimately your love. //

1 Song. Sarstedt. //Where Do You Go To (My Lovely)?//


 * Word Count (Not Including Script Excerpts): 375**

(PLEASE COPY AND PASTE THE QUESTION HERE NEXT TIME. THANKS!)

(YOU WRITE WELL AND FOR THE MOST PART I AGREE WITH YOU BUT I THINK YOUR CONCLUSIONS ARE PERHAPS TOO NARROWLY DRAWN.) Theatre is an institution rooted in religion and ritual, and this is evidenced in the overwhelming presence of religious institutions such as the Catholic Church in the mystery circles(1) of the middle ages; however, due to impactful events, such as the bubonic plague(2) and the overall social and economic globalization fostered by trade, theatre was transformed from a narrowed means of religious enforcement, to a broader medium for cultural exchange. As globalization took its roots, the institution of theatre was also adapted to better fit, foster, and evidence the currents of change.

The shift of theatre from a religious to secular institution was catalyzed by the burgeoning period of progressive thought and development known as the renaissance. A medieval Europe, defined by a rigid feudal system and church authority, had evolved due to the onset of the bubonic plague, during which trust for the state and church was lost due to the devastating impact of the disease which highlighted the church’s shortcomings as a purportedly infallible institution. The old institution of theatre, which was instilled by the Catholic Church, drew its prominence from its involvement of community; however, its main role was to disseminate Christian teachings among a largely illiterate populace. Post-medieval secular theatre shared many of the same facets of religious theatre, however, its aim developed from the microscopic goal of teaching religion, to a broader approach which incorporated enterprising aspects along with an awareness of culture as a whole.(WHILE I SHARE SOME OF YOUR VIEWS YOU GENERALIZE TOO BROADLY ABOUT WHY SECULAR THEATRE CAME ABOUT. I DON'T THINK THE PLAGUE NECESSARILY CAUSED SOME PEOPLE TO TURN AWAY FROM THE CATHOLIC CHURCH. YOU MIGHT CONSIDER THAT RULERS LIKE HENRY VIII DECIDED THAT THE POPE EXERTED TOO MUCH INFLUENCE IN RENAISSANCE ENGLAND AND SO FORMED HIS OWN RELIGION.)

This shift to a market approach fostered the development of modern, secular theatre, which prevails today as a dynamic medium for increasing cultural awareness and disseminating new ideas(3).

Word Count: 267


 * 1) 1. Arnold. //Creative Spirit//, p. 22
 * 2) 2. Website. BBC, []
 * 3) 3. Arnold. //Creative Spirit//, p. 42

Armitage Critique Armitage opens with a living collage of all of the story’s characters simultaneously on stage, and with the first of many sexual nonsequiturs emitted by Eva, the audience is awkwardly welcomed into this desperate tale, an elegy of entrapment1, woven from threads of human pettiness, existentialism, lust, and greed. The initial scene provokes intrigue and pity, as the strange juxtaposition of characters, all barefooted and cast in an eerie blue light, is evocative of melancholic regret. Each character is absorbed in a certain ritual: one paints, one whittles, one moans, and one toys with the floor. The resulting sound of each individual ritual culminates not in a cacophony, but a sad melody echoing the steadfast monotony of daily life. The playwright reveals that, particularly when it pertains to human misery, the whole is greater than the sum of its parts, and this notion is embodied throughout the play as the microscopic actions of the characters interweave to form a complex drama of misery, and its critical human component which is necessary for its perpetuation.

There are many asides in which the very nature of human existence is called into question, and oftentimes these attempts mock the involvement, or implied lack thereof, of a Judeo-Christian God. Indeed, the myriad of visceral interactions between kin and next of kin are evidence of incest, and its apparent moral standing in contemporary culture. There are many critical points in the story in which the fundamental notions of heaven and hell are made a mockery of. A notable instance involves a statement from Zachary Pendragon’s father who jokingly tells of the diversity of interesting characters that inhabits hell in contrast to the “ugly” often embittered individuals who go to heaven. The embittered tone taken on by Zachary Pendragon’s father is appropriate and its genuine tone made the spite felt on the character’s part tangible.

Zachary Pendragon’s mansion is evocative of the Winchester Mystery House, once owned by Sarah Winchester. Pendragon’s construction of his house as a sanctuary and means of escape from his own demons is mirrored in real life by Sarah Winchester who demanded constant construction of her house in order to prevent malevolent spirits from inhabiting it.2 Indeed, the real life parallels made by the playwright enable an exploration into paranoia and supernatural beliefs, and the example of his house is particularly relevant given that much of the play centers around the concept of a house being imbued or tainted by actions past.

The play was not over reliant on external sources of audio, instead it relied on subtleties in the actors’ voicework in order to convey the appropriate emotion. For instance, much of the ambiance of a particular scene could be felt from the narrator’s inflection, from the quivering indicative of preparation for a fearful scene, to the sneering tones she utilized when she was mocking someone. The only times that external audio supplemented the actors’ performance was during outdoor scenes in which weather conditions needed to be replicated.

Given the relative difficulty of improvisation without props, the cast members gave excellent performances. For instance, the quick changes between flashbacks and current time were handled skillfully. And although the actor playing Zachary Pendragon stumbled his lines a couple of times, he caught himself quickly and without fluster, thus enabling a fluid progression of the show. Another notable moment in the play includes the scene where the two daughters are crouching in the corner and crying while their father goes on a drunken tirade—it becomes evident that their crying intervals must be frequent enough to make their presence in the scene known, but not present to the point where their crying overpowers the conflict between Eva, Zach, and their father. The subtle attention paid to the detail of timing in itself was great in that I was able to focus on the main conflict occurring, yet was also conscious of their presence.

One particular scene in the play which I found disagreeable was the one involving the servant girl and Zachary Pendragon’s son. I felt the nudity was too sudden and contrived, in that it took away from the scene with its inherent flagrancy more than it contributed to it as a dramatic gesture. I am fully aware of the fact that sex does sell; however, the scene would have been just as effective without it. Other than this minor quibble, I thoroughly enjoyed the show, and was able to recognize and appreciate how dedicated the actors and actresses of our school are to their craft.

1. Website. Wikipedia. [] 2. Website. Wikipedia. []