...The Symbolism Concepts in Chekhov’s The Seagull Introduction Anton Chekhov was categorised as a realistic writer. His drama scripts also are realistic. The plot in his scripts describes a short fragment of ordinary lives from ordinary people. But his realism is not completely as same as traditional realism, which contains a lot of symbolism concepts. The traditional realistic play sees life in terms of what it might be, as well as in terms of what it is through an objective view (Sprinchorn 1124). Also, the visual description of characters’ personality and plot details are necessary in realistic drama play. In Chekhov’s play, it is hard to easily judge the character good or bad. And the plots are not developed with strong conflict as tradition dramatic realism. Also, his play cannot be presented as the same method as traditional plays. Chekhov’s plays have transcended the definition of realism because he already achieved a series of symbolist concepts in them. His plays can be regard as combinational works of realism and symbolism, which is different to previous playwrights’. Tolstoy has commented that: He cannot even be compared with the old Russian writers — Turgenev, Dostoevsky, or myself. Chekhov has his own manner, like the Impressionists. You see a man daubing on whatever paint happens to be near at hand, apparently without selection, and it seems as though these paints bear no relation to one another. But if you step back a certain distance and look again, you...
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...The Evolution of Acting In the ancient Greek theater, acting was stylized; indeed, the large outdoor theaters made subtlety of speech and gesture impossible. The actors, all men, wore comic and tragic masks and were costumed grotesquely, wearing padded clothes and, often, artificial phalluses. Nevertheless, there were advocates of naturalistic acting even at that time, and actors were held in high esteem. In the Roman period actors were slaves, and the level of performance was low, broad farce being the most popular dramatic form. The tragedies of Seneca were probably read in declamatory style, rather than acted on stage. During the Christian period in Rome, acting almost disappeared, the tradition being upheld by traveling mimes, jugglers, and acrobats who entertained at fairs. In religious drama of the Middle Ages, an actor's every gesture and intonation was carefully designated for performance in church, and, as with the later pageants under the auspices of the trade guilds, the actors were amateurs. Modern professional acting began in the 16th cent. with the Italian commedia dell'arte, whose actors improvised convincing and entertaining situations from general outlines. During the Restoration period in England, Thomas Betterton and his wife Mary were famous for their naturalness of delivery, as was Edward Kynaston. Their contemporaries, Charles Hart, Barton Booth, and James Quin, however, were well known for their lofty, heroic acting, a style that became dominant in...
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...STEP The Performance and After LEARNING OBJECTIVES • • • • • Experience how the pressure of performance demands adjustments in the way you approach your work. Consider the place of emotion and the necessity of spontaneity in your performance. Examine the impact of your own fear of failure and desire for success. Experience how the presence of the audience ushers in a whole new phase of growth. Reflect on your own sense of purpose as an actor and your capacity for transformation. At last you are ready to put your work before an audience. This is an exciting and, for most of us, an anxious time. As public performance approaches, it helps reduce anxiety to remember that performance is merely one step in the process of creating a show, not an end unto itself. As thorough as your work may have been so far, it is incomplete until you have received and assimilated the contri bution of the audience. Go forward to the performance with a spirit of curiosity and eagerness; you don't really know what is in the play or the role until you have shared it with an audience, for it was written to live in the communal mo ment, and we can never fully anticipate or substitute in rehearsal for the audi ence's presence. In fact, you will very likely experience your work anew when it is performed, and you may be surprised at how different it may seem. Emotion in Performance Young actors sometimes think they must re-create the character's emotion in order...
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...Analysis of Act I in Chekhov's The Seagull: Theme of Suffering Have you ever wished for something and didn't get it? This kind of wishfulness is prevalent throughout Act I of Anton Chekhov's play The Seagull. Through his use of dialogue, relationships between characters, and setting, Chekhov creates a theme of suffering and self-imprisonment within many of his characters as they long for the unattainable. The way Chekhov chooses his speech between characters is an important method in relaying the message of internal suffering. Many of the characters give up trying to convince another of an idea, therefore showing no end or resolvement to their torment. For example, Masha begins to explain to Medvedenko why she feels the ways she does saying "All you ever do is philosophize or talk about money. The way you think, there's nothing worse than being poor, but I think it's a thousand times easier to wear rags and beg in the streets than...." when she abruptly stops her explanation by saying "Oh well, you wouldn't understand" (Chekhov 137). Telling Medvedenko he wouldn't understand is in fact ironic since he actually has the same problem of unrequited love that she does, but her willingness to give up the explanation further shows their internal struggle. Similar to Masha's and Medvedenko's unresolved problem, Act I is full of many other unresolved problems and avoided private conversations. Sorin eventually gives up trying to convince Treplyov that his mother does not hate him by suddenly...
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...Vera Chytilova’s 1966 film, Daisies, follows two young girls who believe that everything in the world they’re living in is going bad. The entirety of the film chronicles the pairs’ surreal misadventures, following their decision to go bad as well. In a direct quote from Chytilova herself, she attempts to explain the nature of her film: “Daisies was a morality play showing how evil does not necessarily manifest itself in an orgy of destruction caused by war, that its roots may lie concealed in the malicious pranks of everyday life.” It is through the film’s unstructured plotline combined with the use of surreal imagery, that Chytilova attempts to make her statement on the consequence of human action, and the repressive nature of society. Throughout...
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...He tried to put everyday feelings and emotions into his performance because it came across as realistic. Stanislavski spoke to a French psychologist and he said that when his patients were ill they would think happy/sad thoughts and that would help them to get better over time. So he incorporated this piece of information into his work and created naturalism. Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries. It refers to theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies. Method acting is a technique used to show naturalism and realism in theatre, it’s often created by using emotional identification. Quotes by Constantin Stanislavski: 1. “The theatre is air and wine, which we must breathe in frequently and be intoxicated by.” 2. “The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation.” 3. “The language of the body is the key that can unlock the soul.” I really like quote 3 because we can tell that Stanislavski is trying to point out that when you finally get the character right, the audience...
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...Born Konstantin Alexeyev in 1863, Stanislavski was a stage name used to keep his activities hidden from his family 1. Growing up in an extremely wealthy merchant family in pre-revolution Russia, acting was seen as something beneath his social class. To keep his theatrical activities hidden from his parents, Alexeyev took the stage name Stanislavski (Insert Citation). While Initially taking over the family mill business at young age(citation), Stanislavski initially began devoting a good deal of his time and money to acting. Eventually his love for the theatre won over him, and begun acting and directing full time. By 1888 he joined the Society of Art and Literature, and through a series of generous donations, quickly became one of the leading...
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...HOW ACTORS CONTRIBUTE TO A FILM Actors are a vital contribution to a film, for without the actors there would be no film. To become an actor, one must possess a great deal of talent. This person must be able to portray the character as described by the director, and make the audience believe the reality of this character, not only by the words they speak in his or her respective roles, but by their emotions, facial expressions, and physical movements. This person must also be able to grab and hold the attention of the audience, and keep them entertained. What is the goal of acting? The ultimate goal of any actor should be to make the audience completely believe in the reality of the character. (Boggs & Petrie, 2008) There many ways, also known as “methods” actors may adopt to achieve their goal. One way is called the GOTE method. GOTE is a very easy to remember acronym that stands for Goal, Obstacle, Tactics and Expectation. This is a very basic approach to breaking down a character. (Russell) Goal is what the character is going after, the whole purpose for the script. The Obstacle is what stands in the way of the goal and is a direct opposition to the goal. Tactics are what the character uses to overcome the obstacles and reach the goal. The Tactics is what makes the character real, and shows the audience what type of person they are. Tactics can be funny, honorable, deceitful, etc. The Expectation gives the tone and excitement to the Tactics...
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...HAAS SCHOOL OF BUSINESS, EWMBA CLASS OF 2017 A leader prepares Leadership Communication Sachin Sundar 3/8/2015 Adaption of lessons learned from the classical acting text, An Actor Prepares, written by Constantine Stanislavski, towards leadership. Some people claim that great leaders are born and not made. I believe that even though there are certain traits that can be attributed to genetics which can, let’s say, gives a person the propensity to be a leader, I think through hard work and training anyone can master the “Art of great leadership”. In this paper, I am exploring some of the ways a person can train to be a great leader by drawing parallel from training techniques used by an actor. The primary source from which an actor can draw to create the emotional world of their character is their own life. In an analogous way, an authentic leader must draw from the experiences in their own life. This involves ‘connecting with themselves’ and drawing from the emotional memories and from key events of one’s life. To be a great leader, the quality to recall past experiences from the personal life that trigger certain emotions can evoke the feeling of authenticity in your audience. A growing number of studies point to the importance of leaders expressing their vulnerabilities in order to fully engage with and establish trust from followers. By revealing vulnerability followers can more readily identify with leaders, resulting in more positive and influential...
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...Theatrical Realism Theatrical Realism is the attempt of playwrights to mirror reality on the stage. That is to say, these playwrights intend for the audience to see themselves on the stage without fanfare – a stripped-down form of theatrical arts. Realistic theatre does not possess the magical elements of theatre that preceded it, but this is the strength of realism. Anton Chekhov echoes this point, “I wanted to tell people honestly: ‘Look at yourselves. See how badly you live and how tiresome you are.’ The main thing is that people should understand this. When they do, they will surely create a new and better life for themselves”. Realistic playwrights stood on the shoulders of the giants of theatre who preceded them by continuing to look at their times and people, but shattered new earth by asking audiences to look in to themselves. Realism is theatre in which people move and talk in a similar manner to that of our everyday behavior. The style has been dominant for the last 120 years. It holds the idea of the stage as an environment, and not just an acting platform. Some of the ideas flourishing in realism’s formative years were Charles Darwin’s Origin of Species and Karl Marx’s Communist Manifesto. Both of these works profoundly impacted the intelligentsia. They called into question the foundations on which the people of the world had built their truths. Marx, especially, can be seen as an important figure of the realistic movement as he sought to awaken the working...
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... “The Actors Modern Bible” Konstantin Stanislavski created a form of acting that has shaped the way in which acting is taught and learned today. Stanislavski was a pioneer of this new type of acting style that involved more then just focusing on physical vocal training. His new and innovative style was focused on developing an actors ability to use his or her emotional or internal state and applying it to their performance. Stanislavski calls this method the “art of experiencing”. This allows an actor to activate his or her subconscious behavior and apply it to their performance. He talks about how the motive of the actor will justify an action in a scene. Through this method Stanislovski has helped the development of truly “experiencing a character” and without him, theatre would not be what it is today. To truly learn and master the technique that Stanislovski has developed you must follow the layers he has set out in his book “Building a Character”, which focuses on the individual working on his or her self (through relaxation and mind training), to the working on the role they will be playing (character work and research). According to Satnislavski, relaxation and concentration are vital for an actors success. Relaxation’s purpose is to free an actor up from any stress or tension they may have. In order to truly transform oneself into a character, an individual needs to be relaxed both mentally and physically. Stanislavski has multiple suggestions on how to relax, but...
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...Annals of the „Constantin Brâncuşi” University of Târgu Jiu, Economy Series, Issue 2/2013 IMPROVING MANAGEMENT ACCOUNTING AND COST CALCULATION IN DAIRY INDUSTRY USING STANDARD COST METHOD Bogdănoiu, Cristiana-Luminiţa Assistant, Ph.D. Student Spiru Haret University, Faculty of Financial Accounting Management Craiova and University of Craiova, Faculty of Economics and Business Administration, Craiova e-mail: cristiana.bogdanoiu@yahoo.com Abstract This paper aims to discuss issues related to the improvement of management accounting in the dairy industry by implementing standard cost method. The methods used today do not provide informational satisfaction to managers in order to conduct effectively production activities, which is why we attempted the standard cost method, it responding to the managers needs to obtain the efficiency of production, and all economic entities. The method allows an operative control of how they consume manpower and material resources by pursuing distinct, permanent and complete deviations during the activity and not at the end of the reporting period. Successful implementation of the standard method depends on the accuracy by which standards are developed and promotes consistently anticipated calculation of production costs as well as determination, tracking and controlling deviations from them, leads to increased practical value of accounting information and business improvement. Key words: standard cost method, calculation, deviations, effective costs...
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...Performing and Visual Arts ART/100 November 21, 2012 Larry Wayland Performing and Visual Arts There are many forms of art. The exercise of visual arts can be displayed in drawings, sculptures, photos, architecture designs, and anything that can be seen by the eye. Nature in its purist form is highly functional in design and deference. An artist does not have to be famous to create a beautiful piece of art, artiste are mostly misunderstood people who choose to show how they feel through his or her art piece (Fazenda,1997). The Romanian-born sculptor, Constantin Brancusi stated “Don't look for obscure formulas or mystery in my work. It is pure joy that I offer you. Look at my sculptures until you see them. Those closest to God have seen them (Brezianu, 1965).” The artistic castigations of the viewer bring life to the work and are often welcomed by the creator. The open flow of communications for or against is often used to promote the art piece or the artist. The performing arts are a form where the artists use his or her voice or body to share creative expression with the world. Often performing arts are not viewed as art forms because of the lack of a solid tangible product following the performance. Just as an artist paints on a canvas or a sculptor forms an object from a stone or wood, the dancer or singer places his or herself into the performance (Fazenda,1997). Another form of art is theatre, through the use of speeches, gesturing, sound, and music, the...
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...Annals of the University of Petroşani, Economics, 9(3), 2009, 103-106 103 USING COST-VOLUME-PROFIT ANALYSIS IN DECISION MAKING GABRIELA BUŞAN, IONELA-CLAUDIA DINA * ABSTRACT: The cost-volume-profit study the manner how evolve the total revenues, the total costs and operating profit, as changes occur in volume production, sale price, the unit variable cost and / or fixed costs of a product. Managers use this analysis to answer different questions like: How will incomes and costs be affected if we still sell 1.000 units? But if you expand or reduce selling prices? If we expand our business in foreign markets? KEY WORDS: cost-volume-profit, marginal contribution, break-even, the equation method, the marginal contribution method, graphical method The cost-volume-profit is a necessary tool for forecasting also for management control. The method includes a number of techniques and methods of solving problems based on understanding patterns of evolution characteristics of business costs. The techniques express the relationship between incomes, sales structure, costs, production volume and profits and include break-even analysis and profit forecasting processes. This relationship provides a general model of economic activity, which management can use to short-term forecasts for business performance evaluation and analysis of decision alternatives. The marginal contribution is the difference between total revenue and totals variable costs and explains how changes the operating...
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...L25, M10, M11, M16 1. INTRODUCTION Researches on production technologies, operations and performance reflect the increasing context of industrial competition in the global economic environment. A key objective is the creation of a systematic knowledge base by applying the systemic approach and quantitative analysis, which will lead to a better understanding of fundamental factors, determinants of growth and industrial decline. An example is the Lean method and the Lean manufacturing principles, concepts and principles outlined after the researches on the international automotive industry. * Assoc. Prof., Ph.D., University „Constantin Brâncuşi” of Târgu-Jiu, Romania, amalia_venera@yahoo.com Assoc. Prof., Ph.D., University „Constantin Brâncuşi” of Târgu-Jiu, Romania, cecilia.rabontu@gmail.com Assoc. Prof., ,Ph.D., University „Constantin Brâncuşi” of Târgu-Jiu, Romania, doru.cirnu@yahoo.com...
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