Category: Drama and Theatre

Read “How I Learned to Drive,” and answer the following Discussion questions and answer the 5 Quiz questions
attached in the files. Answers to the discussion questions do not need to be long. Just need to be answered.
1. Who is the protagonist?
2. Which characters are the protagonist’s opposing forces?
3. What is the climax?
4. What is the major dramatic question?
5. What is the introductory incident?
6. What is the moment of engagement?
7. Do the proposed introductory incident, moment of engagement, and climax support the major dramatic question?

Write a 700 to 800-word response that critically reflects on this week’s film and at least one reading from the week. Relate the film and reading and connect them to the broader themes of the course. Your response should demonstrate your understanding of both the film and the reading. Do not simply summarize the film. You must use proper citations for all sources in your response. Below are some questions to serve as prompts for reflection. You do not have to address all of these questions in your response.
What are the central arguments made by the films and/or the texts and how do they relate to each other?
What social, cultural, political, or historical issues are brought into focus in the films and how?
What themes emerge from the films or texts and how do they relate to the broader themes of the class?
How do you personally connect to these themes or issues and how do the films and readings help you understand them in new ways?
Describe the film language in technical terms and discuss how it frames the film’s main themes.
Film: Le noire de/Black Girl (Ousmane Sembène, 1966, 55m) https://www.kanopy.com/en/product/10913163?vp=buffalo
Readings: “Fabulation: Toward a Minor Cinema,” D.N. Rodowick; “The Roots of the Nomadic: Gilles Deleuze and the Cinema of West Africa,” Dudley Andrew; Cineaste Interview with Ousmane Sembène
Notes/Lecture: Minor Cinema lecture, Nomadic Cinema lecture, Black Girl analysis

In your response, you should address most of the following topics:
Your overall reaction to the play.
A general plot analysis (Aristotelian or departure-DO NOT RETELL THE STORY.)
How does the play reflect the society out of which it came?
How is the world of the play different from our own?
How would you stage this play?
Why is this play worth/not worth doing for a modern audience?
What are its strengths/weaknesses?
What do you think the playwright was trying to communicate to his/her audience through the play?

#5 Two custodians have just discovered an envelope stuffed with dozens of $100 bills in a wastebasket. It’s late at night; no one else is around. The scene. should start immediately after they money has been found.
A. You need the money. You want to split it with your friend and not tell anyone else about it.
#5 Two custodians have just discovered an envelope stuffed with dozens of $100 bills in a wastebasket. It’s late at night; no one else is around. The scene. should start immediately after they money has been found.
B. You want to do the right thing and report what you find to your boss.
I’m A
1.What are the Given Circumstances of the Scene?
WHERE is this scene taking place? WHEN is this scene taking place? What time of day exactly, i.e. 2 PM or 2 AM? What month/season/year/era? Is it a special occasion, i.e. a birthday or Valentine’s day? etc. etc.
WHAT is taking place in the scene? Where are your character’s IMMEDIATE CIRCUMSTANCES? What has happened to your character before the scene begins?
2.What does your character Want in this scene from your scene partner, i.e. what is your character’s Objective?
Examples: I want them to give me $100. I want them to give me a hug. I want them to leave the room. I want them to respect my authority. I want them to forgive me. I want them to share their lunch with me. I want them to ask me out on a date. I want them to drive me to the mall. I want them to marry me. etc. etc.
3.What Tactics (also known as Actions) will your character use to attempt to achieve their Objective? What will your character do to get what they want? What is your character’s “strategy”, as stated in verb form?
List at least four tactics (in verb form) that you, as your character, have already attempted in rehearsal(s), or will attempt to employ during your next rehearsal(s) and/or the presentation.
Examples: to flatter your partner, to distract your partner, to horrify your partner, to tease your partner, etc. etc.
Note: Choose the most physical and vivid verbs that you can for your character. For example, if your character wants to make your scene partner feel awful about themselves, you might try to flatten them, or stomp them, or demolish them with your character’s lines/behavior.
4.What is an External Obstacle that you could add to escalate the conflict, or “Raise the Stakes”, of your scene? Decide on one with your partner, and try playing the scene with this External Obstacle now included.
Examples of External Obstacles: One character’s parents are picking them up in five minutes. The test you are both studying for is not just any test, it’s the freaking LSATs. It was supposed to be a sunny day for this picnic, but it’s just started raining. One character is on crutches. etc. etc.
5.What is a potential Inner Obstacle for your character, i.e. what is one of their Secrets? Avoid sharing this with your partner!
Examples of Internal Obstacles: Your character has terrible social anxiety. Your character has always had a little bit of a crush on your scene partner. Your character has never been on a date before. Your character has road rage. Your character still sleeps with their baby blanket, etc. etc.

Script analysis of the play A Streetcar Named Desire by Tennessee Williams.
ACTION ANALYSIS (Chapter One)
EXTERNAL EVENTS: Broken down by scene (keep it simple)SEED / Theme Internal Events relating to SEED following external events above
THREE MAJOR CLIMAXES
GIVEN CIRCUMSTANCES (Chapter Two)
Time of Composition, Of Action, Dramatic Time PLACE: Geographic, Specific, Society, Economics, Politics and Law
Learning and the Arts
Spirituality
BACKGROUND STORY (Chapter Three)
Discuss and give examples of how the background story is revealed. (Historical/Modern/Minimalist Technique)
EXTERNAL AND INTERNAL ACTION (Chapter 4) Choose two of the following:
Blocking (from dialogue and stage direction)
Properties
Special Activities
PROGRESSIONS AND STRUCTURE (Chapter 5)
Full FRENCH SCENE BREAKDOWN for play in CHART formation (with minimum FS#/Page # / Characters ) CHARACTER (Chapter 6)
Protaganist/Antagonist – Identify
Identify all secondary characters and their relationships to primary
3 Values of all / 3 Personality Traits of all
Discuss ROLE CONFLICTS within the characters (Minimum 2).
IDEA – Chapter 7
Title (also names of characters)
Discussions
Aphorisms
Choose 2 of the following: Allusions. Set Speeches. Imagery. Symbolism
Discuss how idea is expressed through applicable: Narrator/Chorus/Raisonneur/Confidant/NormCharacter
DIALOGUE – Chapter 8
Ideas expressed in words (Abstract/Concrete/Formal/Informal/Jargon/Slang)
Sentences – Length/Type
Punctuation – common use?
Poetry? Dialect? Charm?
GROUP BREAKDOWN – Additional and FULLY DEVELOPED work.
ONLY ACTORS fully developed
You must pick one character (I have chosen Blanche) and do a full character analysis of this one character. All values, personality traits, etc. Full character analysis.
Pick ANY character.
Objectives per scene phrased as “I need ______ to_____
Actions (tactics) leading to that objective used in the scene
Role conflicts between you and all other primary and secondary characters

This week’s discussion will focus on the story of Antigone originally written by Greek playwright Sophocles. Please read the play Burial at Thebes, an adaptation by Seamus Heaney. After reading the play and watching the powerpoint presentation on Festival Theatre and reading the corresponding Chapter Festival Theatre pages 59-77 in your textbook, please post a discussion comment here. Much to discuss. Antigone vs. Creon, Ismene vs. Antigone, Hamon and Antigone, Creon and Jocasta – the play is composed of many pairs and the relationship between these pairs forms the interlocking dramatic networks of the play. What does writer and philosopher Albert Camus mean when he writes that, “Antigone is right. But Creon is not wrong”?
Do you agree with Antigone? Did you feel aligned with her and her decision to bury her brother, or did you feel more for Creon and his difficult choices as the head of state? What do you make of the fact that women in Greek society were essentially powerless and denied access to public life, and yet in this play, we encounter a central female character who is strong, forceful, and poses some of the play’s most challenging questions? Please discuss your responses to the play. Also, please find and attach an image from our current media/news/events that you feel represents some of the themes or conflicts in the play. Action items:
Post a discussion response
Attach an image

Explain auteur theory. ( I inculded the book in pdf)
Describe, using Chapter 8 of the text as a reference, the criteria for what makes a director an auteur.
Identify a director who meets the criteria posed by auteur theory
Summarize briefly the ways in which this director meets those criteria using examples from at least two of the director’s films.

Apply the lens of auteur theory in breaking down the director’s technical competence, distinguishable personality, and interior meaning using specific examples of his/her work (e.g., particular scenes or plot components).
Analyze the specific ways in which filmmaking techniques, consistent themes, and storytelling distinguish your chosen director as an auteur among his/her peers.

The Directors and Auteur Theory paper
Must be 900 to 1200 words in length and formatted according to APA style as outlined in the University of Arizona Global Campus Writing Center’s APA Style (Links to an external site.) resource.
Must include a separate title page with the following:
Title of Your Essay (in bold)
Your First and Last Name
University of Arizona Global Campus
Course Code: Name of Course (e.g., ENG 225: Introduction to Film)
Instructor’s name
Due Date

I need a essay written on the play Guys and Dolls It has to be times new roman font size 12 and it must be at least 3 pages.

For this assignment, you are to research one of the following positions in more detail and then report your findings below in a 250-word essay
Some of the positions you could use for this assignment are :
The Director
The Playwright
The Stage manager
The Actors
The Set Designer
The Costume Designer
The Makeup Artists
The Sound Designer
The Lighting Designer
The Running Crew
The Light Board Operator
The Soundboard Operator
The Publicity Team
Follow these guidelines:
One paragraph discussing the importance of the position, the responsibilities, duties, and training necessary for the position, and any other relevant pieces of information (10 Points)
One paragraph discussing an important individual from Broadway/Theatre that held the position you researched, their impact on the Theatre profession, and any major works attributed to them. (HOLLYWOOD/MOVIES DO NOT COUNT! YOU MUST RESEARCH THE THEATRE!!!) (10 Points)
One paragraph discussing what you believe the future of the position will be in the Theatre Profession. How will it change/evolve? (10 Points)
Paper is ONE PAGE, DOUBLE SPACED, in SIZE 12 Times New Roman text w/ 1″ margins (10 Points)
Paper uses correct spelling, grammar, and sentence structure. (10 Points)

Write an essay EITHER about:
– The relations between Shylock and Portia in Shakespeare’s The Merchant of Venice OR
– Lucy and Brazil in Suzan-Lori Parks’s The America Play OR
– Nagg and Nell in Beckett’s Endgame
Whichever pair of characters you choose, explore their similarities and differences; what do you see as most essential to the relationship between each pair, and what, if anything, do they have in common beneath their differences?
Notes from professor:
Make sure the essay begins with a clearly written and developed thesis paragraph that addresses the
topic or question, and that the body of your essay cites and analyzes details from the play or plays you
discuss in order to explain and back up your thesis.
– Avoid plot summary; avoid duplicating ideas that may have come up in class discussion.
– As always, I’m looking for your opinion, based on your reading of the plays, and using the approaches
we’ve discussed over the term.