The amount of personal exploration and realization involved in thistype of improvisation is concurrent to the way in which the explorationbenefits the needs of the production. What seems important for theatreartists is not the personal growth of the actor but the growth of thecharacter. Although improvisation may definitely be utilized in thismanner, the inference is that it is a supplement to some other moreformalized dramatic experience rather than central to learning.
1. What is Theatre in the East?
There is no single Eastern theatre. There are a number of theatrical forms-- Sanskrit drama in India; Beijing Opera in China; Kabuki, Bunraku (traditional Japanese puppet theatre) and Noh drama in Japan. Although they share several common characteristics, each theatrical form is different.
AS essay, what is the difference between drama and theatre
Home or theater? They are two very different settings, but like other things, they also have similarities. No matter where you go, you’re still watching a movie. You can still eat to an extent, and still spend time with your friends and family. Hopefully you are watching something that you have been looking forward to seeing, and you are enjoying yourself, whether at home or the theater. Another similarity is that you can whisper in small amounts, as long as you aren’t bothering anyone. One last similarity is that in both settings, nobody likes their movie time to be interrupted by a phone call or text, so turn it off!
Whenyou’re touring, your songs can come to life in adifferent way than they do on an album, although the mass public is probablymore familiar with a recorded version of one of your songs than any liveversion. Theatre seems to be a little different because it’s always evolving.
Exactly. That’s the beauty of it,and the wonderful thing is that you can go to a show on any given night and geta different experience. It’s a living, breathing thing, and that’s actuallygreat.What advice would you give to up-and-coming composers,either people who are musicians in the field or who want to get into it?
What I’m always interested in ispeople having a truly unique sound to their songwriting and how they thinkabout harmony, words, melody and rhythms and how those things fit together. Ilike to hear things that are different and have nothing to do with how othercomposers sound and have their own set of rules. Unfortunately, so much musicthat is composed for theatre just really sounds the same to me. You wantthemedium to really thrive and to go in different places and different directionsand to be this living, breathing thing. My advice is always don’t be afraid ofeccentricities and sounding different than what’s out there because that’sultimately something to be championed.Stage Directions:How did the run of Whisper House go in San Diego?
Duncan Sheik: It was really good. It was really productive. Welearned a lot, and I think that we all know how we want to do thingsdifferently the next time around. Musical theatre projects involve so much moredevelopment than making records or almost anything else, and this is arelatively new project. We’re gearing up to re-imagine and re-conceive it alittle bit and see if we can get it better.The City Dionysia referred to a religious festival of ancient Athens undertaken to honor the god of Dionysus. The festival was a central event that marked the performance of tragedies and later comedies after 487 BC (Wilson and Goldfarb 221). Ludi Romani was a religious festival of the ancient Rome. It is evident that both were religious festivals; however, there are significant differences in terms of theatrical genres, with Dionysia comprising of comedies, tragedies and dithyrambs whereas Ludi Romani comprised of Roman games such as horse races, gladiatorial and theatrical games (Wilson and Goldfarb 225). Ludi Roman was mostly public games carried with the primary goal of benefiting and entertaining the Roman people. Both City Dionysia and Ludi Romani were state-sponsored festivals in ancient Athens and ancient Rome respectively. The entertainment value of these festivals surpassed religious sentiments; as a result, Christians were not advised to attend these theatre events (Wilson and Goldfarb 230).