Practical Play Analysis Essay Example for Free

Practical Play Analysis EssayTheme/ great dealGuan Hanqings S right away in midsummer essences on the idea of social injustice and human suffering particularly the unfair treatment of poor quite a fiddling during the Chinese G rareen Era. The play essential transcend a great star of oppression as intended by its playwrights to reflect the dark spatial relation of the society they were in, as the main instance (Dou E) leaves a horrifying curse as her unjust death served as a living proof of how under(a)- level lot like her are sop upn for granted and are short-lived despite living a virtuous invigoration while the evil ones prevailed. This issue pacify continues in the modern world so it is important that the stage lives up to its purpose of making the audience reflect on the existence of tyranny in the society and what should be by means of with(p) in order to put an end to it. Every main suits role should be well accentuate in order to make the message of the s tory more understandable. The characters moldiness be very much convincing to the extent that they are almost victorious the audience back to kwai Dynasty.An article do by Huo Jianyi, Yuan Dynasty Zaju, tells about how Guan Hanqing himself gave up his profession of macrocosm a doctor and chose to serve the habitual by writing plays that exposed the dark side of the society, particularly the indulgence in wine and women as a way of life especially for the Yuan rulers. He and his fellow playwrights angiotensin-converting enzyme-valued functiond their talents and knowledge in exposing tyranny and through their theatrical creations, spoke on behalf of the suffering masses despite the Yuan rulers forbiddance it. The success of this play give be achieved if the same fiery passion is justified by the characters.Stage Type and SettingsThe play is artistic therefore it would be ideal to use a proscenium or picture frame phase. It is not necessary to use a tralatitious proscenium s tage with its ballpark features like a large archway near the stage front or a curtain in order to close it during act or scene breaks. It is enough that the stage is raised several feet enough for the audience to see the view of the play while directly facing it (Stage Wikipedia).As the Snow in Midsummer is a classic play based on a Han Dynasty folk tale (although popularized in the Yuan Dynasty), the prevailing study should be based on the said period. The backdrop mustiness contain both unique and artistic images depicting a usual old Chinese scenario like that of a painting. Images of courtyard houses should be used. These residences would represent the different social status that coexisted in that period.Based on Spiro Kostofs A History of Architecture, traditional Chinese courtyard houses (such as the siheyuan) is composed of several individual houses around a square, where each house is owned by a different component of the family. Aside from this, more houses dejection also be constructed for additional family members that need to be accommodated.There must be a strong sense of quiet and privacy which should prevail and be maintained despite strong and loud scenes in the play. Garden and water is also a usual feature with these residences. The outermost part of these residences is where strangers are entertained while the innermost one is set apart for intimate friends and family members of the owner.Since the title of the play contains the word snow, then winter is other requirement for the play, in fact for almost the entirety of the play. This should allow an atmosphere of gloominess to dominate the stage, making the literal coldness of winter almost felt and intensified by the cold hearts of the villains in the play. The snow plays a critical part in this and it should fall dramatically on stage with the becoming sad music background going with it. Last but not the least, there must be flowers included. They should either be illustrate d in the backdrop as part of the stage props. Flowers have been a great part of Chinese art just like the dragon and bird illustrations they use in their browse porcelains. As a integral, the entire stage must become a big dropvass of living Chinese art.Stage Directions The director is responsible for bringing out the good quality of the characters acting and the stage production. Therefore he must be focused and fully aware of the background of the play so as to properly angle it.Directions are made up of inside information being heard and seen by the audience. These should be explained well in the script so as not to confuse the director, the movers or even the designers. The three kinds of stage directions must be considered, namely (1) scene directions, (2) staging directions, and (3) character stage directions.In the script, scene directions are indented at a measurement of 3.5 inches from the left side of the margin and 1 inch from the right. This indicates the fundamenta l place and time of the scene with details of the events on stage as the lights come up or become dim (How to initialize a Stage Play). Let us take scene one, act one of the play Snow in Midsummer as indicated in the script SCENE ONE(The period was between 1279-1368 A.D. In a typical Chinese village lives MISTRESS CAI, a leave, who appears on stage with a sign of great anticipation on her face. She paces at the center of the stage in her long, loose gown with wide sleeves and narrow cuffs. Then she faces the audience with the same facial expression.)Second is the staging directions. This contains the description of a genuine scene such as the entrance, exit, and struggles of characters on stage, as well as the changes in lighting solutions or musical background.MRS. CAIWhere?(The Doctor strangles the widow with the rope.Enter sexagenarian Zhang and his son Donkey. As they rushforward the Doctor takes to his heels. Old Zhangrevives Mistress Cai.)DONKEYIts an old woman, dad, near ly strangled to death.Last would be the character stage directions. These are short descriptive lines in parenthetical form sometimes placed under the name of the character. This shows the countenance body verbiage while delivering a certain line (How to Format a Stage Play). This particular direction puts more identity on acting. Here is some other example.MRS. CAI (crying)Ah, poor child How am I going to break this to you?Make upThe characters piece of music for the Snow in Midsummer need not relish like that from a Chinese opera although it may be elaborated to reflect its rich culture. It must enhance their acting and facial expression. A kabuki effect is suggested if the production team would like to add a little animation to it and lessening its tragic base.Dou E and Mistress Cais musical composition may use thick foundation with a rosy base to show femininity. However the application must be heavier on Mistress Cai to accredit her age along with some fake wrinkles. Th e fondnessbrows must be enhanced with a thick black color while the lips are pouty and deep red.As for the elder manlike actors (Doctor Lu, Dou Tianzhang, and Old Chang), a yellow base makeup can be used contrasted with a thick pink blush on. The eyebrows may also be enhanced however for the male antagonist (Donkey Chang), eye brows should be enhanced with an upward effect at both ends. Once again the appearance of wrinkles should distinguish ages.Basic Pointers for practiceing stage makeupAccording to Kate Hillard on her article Application of Stage Makeup, makeup is often applied on thick layers. Unlike the movies where the tv camera can focus on the actors face, audiences cannot afford to this kind of facility on stage plays. The makeup used for the Snow in Midsummer should be elaborate and bright especially with characters representing the high-class society. There may also be gradual moderation of the makeup for the middle and lower class members but the artist must make sur e that it is enough in maximizing the actors emotions on stage. Sometimes even the dark layers of makeup disappear on the glaring lights.A thick, heavy cream foundation should be applied first which be a little bit darker than the beat tone. The placing of foundation should be started on the forehead and blended well up to the hairline after which the remaining of the face is covered together with the ears, eyelids, and neck as if this is the actors consecutive complexion. The neck application should also be blended well so as not to create a mask-like appearance. When it comes to male actors, foundation is applied on the entire neck and back sometimes but this can appear messy. Following the general foundation, a lighter color is placed over the shadows under the nose and on the chin.When the foundation is done, the blush would follow. A rosy color is used for the female actresses but this should be applied on a lesser degree with male actors. It is sp accept over the cheekbone a nd about halfway down the cheek mixing it with a down and up motion. A of course rosy tone is needed for male actors while it should be darker for the females enough to maintain its visibility on stage especially under the hot lights. thrill must also be placed over the nose and forehead where it is very slightly blended.The most difficult part would be the eye makeup. A very white highlighter is first placed along the brow bone (right underneath the eyebrow) and under the eye. The makeup artist should make sure to give the adjoin eye areas a lightened appearance without leaving white smears. Following this, an eye makeup should be placed just above the eyelid, below the brow bone, and also beneath the eye which should be a little darker than skin tone. This should be topped with an even darker color along the eyelid top through a downward blending which can also be used as an eyeliner especially with male actors.For women, an even darker and rosier tone that gives the appearance of a indispensable eye shadow should be placed over. It should however be more recognizable on stage and should be placed a little above the eyebrow. A less rosy color is recommended for male actors though not required. Furthermore, a dark brown or similar-colored eye lining is placed. Black color is to be used for dramatic roles that need wild makeup. Lastly, mascara is placed on top of the lashes. In order to avoid or lessen the errors of putting mascaras, it is suggested to make the actor blink after putting the wand on his/her lashes.Following the eye makeup is the simpler part of putting on the lipstick. A color that is a little darker than the usual lip color is used for male actors and should be matched with a lip liner. Either can go first depending on the actors or makeup artists preference. The liner should be placed on the outside of the lips and not on the natural line otherwise this will obviously look fake. It can also be applied all over the lips to make it last bet ter and longer. A dark lipstick should be applied enough to be seen from the stage even if it looks like a Halloween makeup up close. It goes otherwise with male actors who should slightly be more natural even on stage.Last but not the least would be the loose powder. Before it is applied over the face, dip a large meeting unto a powder container then shake it to get most of the powder off in order to avoid leaving white smears over the makeup and therefore ruining it. Loose powder is for holding the actors make up even when they are sweating.CostumesCostumes are very important. They support audiences fall upon and understand the actors character and social rank as well as his traits and gender. The style and color would greatly suggest the occasion occurrent on stage. Colorful frameworkes and elaborate makeup may bring more life to Snow in Midsummer as this pertains to rich Chinese culture.The main character, Dou E, may use the traditional Ruqun which is used by ordinary women during the Yuan Dynasty. This is made up of an upper jacket and lower skirt. The jacket is made of a red marten or sheepskin garment with loose sleeves and white-haired(a) collars and cuffs. This is tucked below a maroon skirt with a gray sash accent to maintain its simplicity.The same type of robe costume may be used by the widow, Mistress Cai as they do not necessarily belong with the Mongolian Aristocrats who wore cur coats and fur caps. Their costumes must reflect their lifestyle and their role enough to bring out the emotion from the audience, however they should not look like paupers but more like average Chinese people however obviously struggling to maintain their dignity. However, after her execution, Dou Es costume must change to loose, ghostly white robe with its light fabric. The red smear of blood from the execution must appear on the cloth as well.The male actors may use the Yiseyi or Zhisunfu garments where upper and lower short garments were put together while addin g folds to the waistline. Furthermore, big beads were hung on shoulders and the back. The garments can either be course or of fine quality depending on the social rank the actor is representing (Costume in the Yuan Dynasty). Donkey Chang and Old Chang may use costumes may use colors that shows a status that is more advantages compared to Dou E and Mistress Cai, however not as luxurious as an upper aristocrat. Donkey Changs costume must be provoking and reflective of his selfish being.Of course the apparent hairdo must not be forgotten. For male actors, it should be the traditional snail-head, seated Buddha feature. As for females actors (Dou E and Mistress Cai), the hair must be long with the upper portion tied and placed with some simple white floral accents. Mrs. Cais hair must be all brushed up however with a bulky onion bulb appearance. visible radiationThis is perhaps the counterpart of camera trick. One of the things that make stage plays breath-taking is the lighting effect. In fact thanks to modern-day stage lighting, audiences now are able to afford richer visibility of the entire play, thus connecting more with the intense emotions of the actors.A careful outline of Bill Williams Stage Lighting Design shows four important objectives of stage lighting (1) Visibility, which helps the audience understand the play. It is influenced by contrast, size, color and movement. (2) Naturalism (and Motivation), where a sense of time and place is indicated. (3) Composition, the general image of the stage. Lighting must reveal actors, objects and scenery depending on their importance. (4) Mood (and Atmosphere), which is the psychological reaction of the audience is influenced by lighting effects that gives the stage a sense of happiness, sadness or even boredom.Dou Es execution would be a perfect example where lighting is highlighted as this scene indicates a transition from a normal way of life to a cursed one. In this case, the lighting effects must create a gr eat sense of grief , heaviness, and fear among the audience. confounding A play cannot be a play without the cast. As the front liners of the production, they are mainly responsible for leaving an icon for the play since they are the ones who have direct contact with the audiences. Casts are like the main course of a meal. Prof. Audrey Stanley from the University of California at Santa Cruz presents at least cardinal points to consider when casting a play (1) Interpretation of character type and function (2) Type-casting (3) Casting against type (4) Cross-gender casting (5) Gender- or race-neutral casting. (6) Generational relationships and differences between characters (for instance, how old are Lears daughters?) (7) Physical and vocal requirements of different roles (8) Audience associations and expectations of individual actors. Dou Es character must be portrayed by someone who can show her virtuosity but at the same time must have the ability to transform into a vengeful char acter. Her father, Dou Tianzhang, must be played as someone who is old of course but has enough strength to do some laborious works. Mistress Cai must reflect the same humility as Dou Es character but of course with a motherly touch. A trace of burden must be shown on her face from lifes squareities as well as how youth has been taken from her. Donkey Chang need not be good-looking however appropriately dressed. But his self-respecting appearance must not conceal his disgusting character. statementsBased on Simon Dunmores Advice on How to Approach Rehearsals for a Play, rehearsing is composed of thought, discussion, and doing. It is an important part of the play where the whole team gets to figure out what will work or not. That is why it is important to discipline oneself especially when it comes to the script. Even before the rehearsals, the actor must read it several times so he/she will get to be familiar with the character that he is playing. He should carry it one hand some place at his side and put emotion to the delivery of the line while looking at the script at a side glance. He must be patient and must take his time in memorizing his line. In case of long speeches, they should be delivered with much care and thought as single or short lines for it is usually a case where a certain idea starts and is connected throughout the story of the play.Stage directions on the other hand, must be read as possible pointers only. If they came from how the play was originally done, take into consideration that the present production might be different with the casts and circumstances being new. Pause and silence is a kind of stage direction that must also be given proper timing and must have appropriate place in the play just like long and short lines. Also in case of abbreviations, the intention of the playwright must be find so the essence of the communication will not be lost.Writing down notes either from the director or from oneself will be helpful in reme mbering how to delivery ones line properly. Notes need not be long. Directors may not be right all the time with regards to the character role. His long experience in theater acting may not give him enough knowledge or understanding of a certain character the way an actor does. Therefore, a careful and rational discussion must always be made between the two. Set and costume designs are also very important. They affect the way an actor moves about the stage. These objects must work harmoniously with the people of the play and not become a hinder. Rehearsals do not stop within the rehearsal room. Proper focus can be achieved with proper practicing though it should not necessarily occupy ones one-on-one time.Rehearsal for Snow in MidsummerBelow is a sample table for the Snow in Midsummers rehearsal schedule. It is usually done with six to eight weeks but the production team may change it depending on their needs (Sample Rehearsal Schedule).SundayMondayTuesdayWednesdayThursdayFridaySat urdayAuditionsAuditionsCall-BacksPostCastlistFirst Read-Thru makeConstruction Crew MeetsBlock sceneswith leadsBlock sceneswithFull CastBlock sceneswith leadsBegin SetConstructionBlock sceneswithFull CastOff achievement onSetConstructionWork sceneswithFull CastWork sceneswith leadsWork sceneswith leadsWork onSetConstructionWork sceneswithFull CastWork onSetConstructionHang Lightsand SetConstructionWork throughAct Ioff bookWork throughAct IIoff bookWork ontrouble spotsleads onlyFinish HangandRough FocusAct IRun-thruWork onSetConstructionFull CastPaint andWork DayAct IIRun-thruAct IRun-thruAct IIRun-thruWork onSetConstructionFirst FullRun-thruComplete SetConstructionFinal SetupTechand LightsFirst TechRehearsalwith CastRun-thruFull TechRun-thruFull TechCostumecheckTech CrewTroubleShootingRun-thruFull TechFinishingTouchesOn SetWork onproblem areasFull plantRehearsalFull DressRehearsalFull DressRehearsalFull DressRehearsalNo MakeupPerformancePerformancePerformanceThe Visions effects on the Audience The Snow in Midsummer is a play about tragedy and drama. However, the whole production team must keep in mind that as the story is based on real struggles of poor people in the past, it might leave a great sense of grievance to the audience. This is good but only to the extent that it will start their sense of awareness since basically, though the storyline dates back to old times, it is very symbolic of the abuse and tyranny that still exist even in our time. Therefore, there must be a balance by creating a great sense of hope especially during the scenes where a retrial for Dou Es case was conducted up to the plays ending. The play must establish to the audience that life goes on and there is hope and justice even in the hardest of situations.Steve Campsall wrote in draw up a Successful Play that plays must create a lasting appeal to the audience. Every words delivered by a stage performer should pass around out both meaning and feeling. That is why it is important to understand the writers intention behind the text he has created. Common methods such as vivid metaphor, powerful imagery, alliteration, use of rhyme or rhythm, etc, are said to be used often by writers (Write a Successful Play Effects on the Audience). Behind the scene interactions will help bring ones natural acting and transcend the same energy and passion. The audience must be convinced with everything, from the stage settings to the acting. Not doing so will be crucial and may create passiveness.Conclusion Behind a plays success could be in anything that is a part of it. From the directors vision to the actors execution, everyone should make sure that everything works harmoniously so that the flow of the play will be well polished on the grand day itself. It is both inspiring and fun to see actors on stage behaving like they are not actors but rather they own the stage and they are the characters that they are playing. Lastly, behind the inspiring acts, elaborate costumes, a nd colorful props, the message of the story must be retained. This is one important part that can be shared with the audience. The lesson that they can learn from watching a play can help them personally. Once the audience is touched by a plays story or vision, he/she can use the message or apply it once he goes back to real life.Work CitedStage. Wikipedia The Free Encyclopedia. 5 February 2008. 9 February 2008.http//en.wikipedia.org/wiki/Stage_(theatre)Kostof, S. 1995. A History of Architecture. The Oxford Press. 8 February 2008. http//en.wikipedia.org/wiki/CourtyardJianyi, H. 2003. Yuan Dynasty Zaju. 8 February 2008. http//www.chinavoc.com/magicn/yzaj.aspHow to Format a Stage Play. Script Frenzy Young Writers Program. 2007. 9 February 2008.http//ywp.scriptfrenzy.org/howtoformatastageplayHillard, K. 2002. Application of Stage Make Up. 9 February 2008.http//www.essortment.com/applicationstag_rgyu.htmCostume in the Yuan Dynasty. ChinaCulture.org. 10 February 2008. 10 February 2008.ht tp//www.chinaculture.org/gb/en_chinaway/2003-09/24/content_28414.htmWilliams, B. 1997-1999. Stage Lighting Design. Objectives of stage lighting. 11 February 2008http//www.mts.net/william5/sld/sld-100.htmStanley, A. 1995-1996. Shakespeare Examined through Performance. 11 February 2008http//www.tamut.edu/english/folgerhp/Recipes/7cstply.htmlDunmore, S. 25 August 1999. Simon Dunmores Advice on How to Approach Rehearsals for a Play. 11 February 2008http//www.btinternet.com/simon.dunmore/rehearse.htmCampsall, S. 2008. Write a Successful Play Effects on the Audience. 12 February 2008http//www.englishbiz.co.uk/mainguides/play.htmSample Rehearsal Schedule. Tupelo Community Theatre. 13 February 2008.http//www.tctwebstage.com/schedule.htm