...THE VISION & MISSION: The vision is to establish a “world class-nucleating centre of achievement.” UITS offers undergraduate and graduate degrees in liberal arts, law, business and ICT with the aim of meeting the national and international market demands. The Mission of the university is to achieve the redefined goals of higher education and sustainable economic growth of the country through a tripartite relationship between itself, industries and reputed universities and institutions at home and abroad. PROGRAM OBJECTIVES: ❑ To reinforce the skills of listening, speaking, reading and writing; ❑ To develop the skills of students in the use of idiomatic English and the capability of expressing ideas and thoughts in English; ❑ To develop and reinforce communicative interaction; ❑ To introduce the understanding of western philosophy and ideas and their influence on literature; ❑ To introduce classical literature, the Greek myths, the Bible and other writings which have influenced English literary works; ❑ To introduce and refine the understanding of American literature with emphasis on some selected literary works; ❑ To increase the appreciation of Bangla literature and culture among students and to develop their ability to relate experiences from English and American literature to Bangla literary works; ❑ To deepen students’ awareness of the universal concerns that are the basis of literary works; ❑ To stimulate a greater appreciation of language as...
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...Arellano University College of Arts and Sciences 2600 Legarda st. Sampaloc Manila Library Research Submitted to: Mrs. Acibo Submitted by: Dalia B. Sabucor I. Introduction II. Presentation of Data III. Conclusion IV. Insights Gained V. References I. Introduction Drama Throughout the middle ages, drama and theater only dealt with sacred subjects, such as biblical stories. Profane drama was either unheard of or only performed in burlesque. Classical dramatists were virtually unheard of in the middle ages. All the great dramatists of antiquity, such as the Greek playwrights Sophocles, Aeschylus, and Euripides, and the Roman comedy writers such as Plautus and Terence, were only discovered by humanists in the Renaissance. Although classical drama is more read and studied in the modern period than other classical literature, in the Renaissance it was a distinct last place to epic poetry, lyric poetry, and philosophy. So drama isn't well represented in Renaissance literature. The first dramatist to imitate classical models in Italy was Giangiorgio Trissino, who was a wealthy humanist with an encyclopedic knowledge. Among other things, he was famous as a Neoplatonic philosopher and poet. He, like many others, attempted to write an epic poem, L'Italia liberata dai Goti (Italy Liberated from the Goths) which, though it's a poem about Justinian's reconquest of Italy, is mainly an encyclopedia of...
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...theater season: the National Theater of Greece’s Medea, Joanne Akalaitis’ The Iphigeneia Cycle (a double bill that combines Euripides’ two Iphigeneia plays), a revival of Andrei Serban’s famous Fragments of a Greek Trilogy, and a four-and-a-half-hour adaptation of the Oedipus Rex were announced at the start of the season. Off-off Broadway versions will inevitably follow. The Brooklyn Academy of Music even hosted a dance/theatre piece based on the Eleusinian Mysteries. 1 The Classic Stage Company, an off-Broadway theater group devoted to performance and adaptation of Western classics, currently receives more scripts that re-work Greek tragedy than any other category of drama. 2 From a global perspective, New York is simply reflecting a trend set by important modern playwrights and directors worldwide. Greek drama now occupies a regular place in the London theater season. In the past twenty years, acclaimed productions have been mounted not only in Europe but also in Japan, India, and Africa. Translations are even beginning to proliferate in China, occasionally with unexpected results. A recent Chinese translator of Sophocles’ Oedipus Rex referred to all the Greek gods generically as Apollo, since he could count on his audience’s ability to recognize this name from the United States space program. 3 The Greek theater festival at Delphi has played host to many of these performances, with the result that, for example, the Greek National...
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...spirit!” (The Help, 2011). Audiences know what to expect from movies from their Genres,” they tell their audience up front what to expect from the product they are buying. If they like a particular kind of story, chances are they will like this particular film, especially if the writer and director give the expectations a little twist” (Truby, 2010). Genre theory is used in the examination of films in order to enable the classification of films. Genres are dependent on many influences, such as story line, what the audience expects and who the director is. Genre theory is how we describe films; it is the method of shortening literary works. Plot and Story The feature-length film I chose was The Help (2013), which is an American Drama film depicting the lives of black maids and their white employers exposing the racism that the black maids faced on a daily basis. The time is 1963 set in Jackson, Mississippi during the civil rights movement. The film that follows the lives of two black maids and a southern society girl (Emma Stone), who returns home from college, eager to launch her dreams of being a writer. Skeeter wants to write a book to explain that racism doesn’t just mean withholding of education and voting rights. It is told from the perspective of the black maids so it is narrated through the movie as the voice of black maids that suffered the racism from their employers. The interviewing of the black maids, who spent their lives taking care...
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...What is drama therapy? The central idea of drama therapy is the deliberate use of drama or the therapy process to help achieve therapeutic goals. This approach allows the child to tell their stories freely, it helps those set goals and solve problems and not forgetting, express their feelings in a creative manner. Theorist such as Peter Slade and Brian Way has laid the ground work of drama therapy. They helped shift the idea that creative drama is only meant for the classroom and moved it into other settings. These imaginative people began their works way before therapy of any sort was known. They ideas and theories have come a long way in the 21st century. Dealing with children is a very delicate task. The manner in which they are handled can either repair them or scar them forever. Although children seem to have similar face valued common trait, each child are not the same and they have to be handled differently. Being children, they have not yet experienced life therefore all of these emotions and feelings that they are going through are new to them and in most cases it becomes overwhelming that they do not know how to handle it all. Years ago, children who have suffered from things like child abuse or even neglect had only one option available to them and that was a direction interaction with a counselor or psychologist. This direct approach where though to help ‘heal’ the child by talking and explaining to them what, why and how to feel differently. However, times have...
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...Drama 2 - Semester 1 Study Guide and Review FORMAT OF TEST Section 1: Fundamentals & Acting (50 points) 20 questions (30 points) 3 short response (20 points) Section 2: Tragedy & Comedy (50 points) 20 questions (30 points) 3 short response (20 points) Section 3: Shakespeare (50 points) 20 questions (30 points) 3 short response (20 points) Section 4: Performance (50 points) Students will perform a monologue separately for Mr. Finley and be scored via the rubric below. 200 Points Total 90 points from 60 multiple choice / 60 points from 9 short response / 50 points from performance For each short response section, there are four questions offered, and you will choose three to answer, leaving one unanswered. You may choose to answer one additional question on the test for extra credit. FUNDAMENTALS & ACTING VIDEOS Personal Aesthetic Voice and Articulation Viewpoints for Movement Acting – Three Things NOTES Basic Voice Terminology Voice Terms Audible – able to be heard Articulate – to shape the sound in the mouth for clarity Inflection – variety of vocal pitch Pitch – the relative highness or lowness of the voice Project – to send the voice out to the audience Rate – speed at which one speaks Resonance – a rich, warm speaking quality Volume – the relative loudness of your voice Parts of the Instrument Articulators – the parts of the mouth which shape and define sound Diaphragm – the muscle below the...
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...Social Justice through Drama in Schools Rhonda Rosenberg, Executive Director Saskatchewan Association for Multicultural Education Project #58 July 2001 This research was partially funded through a grant from the McDowell Foundation. However, the points of view and opinions expressed in project documents are those of the authors and do not necessarily reflect the views of the Foundation. The purpose of the Dr. Stirling McDowell Foundation for Research into Teaching is to fund research, inquiry and dissemination of information focusing on instruction (both teaching and learning) in the context of the public elementary and secondary education system. Specifically, it will: 1) contribute to knowledge about teaching and learning; 2) encourage educational inquiry through a wide range of methodologies; 3) support the involvement of practising teachers in active research projects; 4) encourage organizations as well as individuals to determine and act in areas of research and inquiry; and 5) encourage experimentation with innovative ideas and methodologies related to teaching and learning. The Foundation is an independent charitable organization formed by the Saskatchewan Teachers’ Federation in 1991. It is governed by a Board of Directors with the assistance of an Advisory Committee of representatives from the educational and business communities. The selection and evaluation of projects funded by the Foundation is carried out by a teacher-led Project Review Committee. Inquiries...
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...Drama Film Project Self Assessment There were different steps during the making of the painting that involucrate everyone and made me very happy about the functioning of the team. At the beginning I was not very convinced about the idea of the film, but as the time passed I saw how my teammates liked the idea and I decided to go on with it. We were very slow to start to record, but the first day we recorded I felt the good team spirit everyone had. With that there were certain things everyone started to develop as the recording of the film came through; the acting skills, leadership and teamwork. This was some of the features you could see during one of our recordings. For my personal development I could see some very positive things during the recording. At the start I had the idea of doing a comedy, but I missed one lesson and my teammates changed the whole idea of the subject. I needed to give up for my idea, this is something I really don’t like to do, but I did it for my team. After the first recording I realised that it was a really easy paper to play and a good story. Throughout the recordings I felt that my drama skills got better in some ways. For example there was a scene were there were a lot f small children passing by and we needed to speak really loudly for the camera to hear us. It was an opportunity to project my level of voice; this was something I never had a chance to do before. I think that a good teamwork is something very difficult to gain, especially...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...Basics of Acting * Reflect - to bring about a special appearance or characterization. * Characterize – to know which character accords with your qualities * Practice – for close resemblance to a character to a character. ACTING FOR THE COMEDY GENRE COMEDY IS HARD WORK Acting in a comedy is harder than it may seem. One of the key elements of comedic acting is not to "milk the audience" for a laugh. You may have a brilliantly funny script to work from, but if you play the scenes as though a laugh is going to come at any moment, you will certainly kill the spontaneity of the world you have created. In order to avoid giving the joke away too soon, actors need to stay focused on each moment as it unfolds. ACTING FOR THE DRAMA GENRE ACTING IN SOAP OPERAS In the old days, soap opera acting was synonymous with cheesy acting. Crying women, brooding men... Some soap operas do still hold that honor, but most have begin to hire actors who can bring a bit of reality to their roles. Think of a soap opera as real life with the intensity knob turned up a few notches. In a moment of conflict, don't go overboard with your emotion, but simply intensify it. Audiences thrill at living through...
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...A6-A Sabotaging Encounter Commentary Our group began the production, Dry Heave, by organizing each member’s role and identifying their involvement in each stage of the film. I chose director, in which my role was to oversee the film's artistic and dramatic aspects, while guiding the rest of the crew and actors. We did not have a scriptwriter, so I worked with the cinematographer and editor to create a realistic story, in terms of our equipment and cast. Being that our genre topic was Drama, we had a vision of it involving “high school drama.” We came up with the idea of two boys fighting over one girl, but we struggled in giving the film a meaningful ending. This is where the script supervisor and I came up with idea that the girl would be intentionally killed by one of the boys in revenge of her acting interested in both boys. I knew that we had to emphasis drama through facial expressions and body language, so I made sure to communicate with the cinematographer that in conversational shots we had to go CU or even ECU. Additionally, I collaborated with the set designer and cinematographer to construct a realistic high school environment. We agreed that we should utilize our schools locker area, workout facility, and parking lot to portray high school in a true sense. Once we moved into the production stage of the film, we found that construction noises were inhibiting the quality and consistency in the sound of the film. However, I suggested that we turn off the...
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...to really analyze and dig deeper into this story. People seem to take reading this story into a whole different perspective. Even though the story may show different negative sides to humans you have to really understand the story to say this. Shakespeare is a very influential poet he persuades and explains to the readers a lot of different things in his poems and short stories. Shakespeare is basically in this story telling humans to be aware of their surroundings because you never know when something my go bad. While on the other hand Macbeth’s themes and other literary elements usually talks about the disaster of something or just tragedy. In my opinion, his whole story would be considered as a tragedy. In this play it shows a lot of drama and gives off a fiery but attractive tome that draws the reader into the theme in the play. Shakespeare’s is known as the encyclopedia of humanities as they examine the most realistic and controversial issues of human nature. Shakespeare’s describes Macbeth’s inhumanity and human nature, which continually struggles against the evils in his soul. “To be or not to be” is about the choices we make in our everyday lives. I think Macbeth sometimes shows the negative side of the human nature. This play shows the character of people. A poet once said, “Macbeth is an example of how power destroys personality and ruins one’s life, where the pursuit of absolute power of King Macbeth ends with establishment of justice and his death.” In this play...
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...Comparing Oedipus and Othello When comparing and contrasting the character's Oedipus and Othello by means Of the different theatrical practices, one must take in account that there have been Many interpretations, and productions of each of their respected plays. The differing Presentations of each may lead someone to think differently about the play than Another would. In comparing and contrasting the dramatic representation of the Protagonists Oedipus and Othello, theatrical presentation, costume design, and Character will lead the reader, and viewer, to have a greater insight into the theatrical Practices of their times and their approaches to the issue of verisimilitude. The theatrical presentation of both plays are very similar. The two plays would Both be presented on a thrust stage, which is a platform surrounded on three sides by The audience. Except for the backdrop which would have some element of scenery, The stage itself would be bare apart from a few scenic elements and props. Othello, Like most of Shakespeare's plays, had what is called an abstract setting. That is a Setting in which the locale may change rapidly, it may not be indicated by the script That it has changed, and was most likely suggested by a few props. Abstract settings Place more emphasis on the language and the performer, which causes the spectator To use their imagination. It also places more emphasis on costuming. This type of 6 6 Setting helped set up the style of representational...
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...D. and the beginning of the Renaissance in approximately the 15th century A.D. Medieval theatre covers all drama produced in Europe over that thousand year period and refers to a variety of genres, including liturgical drama, mystery plays, morality plays, farces and masques. A theatrical performance in the Middle Ages was much more than just an example of a literary genre; it was often a social, religious, and commercial event affecting a whole community and involving not only the spoken word, but also spectacle, music, and even dance. 2. HIGH AND LATE MEDIEVAL THEATRE As the Viking invasions ceased in the middle of the 11th century A.D., liturgical drama had spread from Russia to Scandinavia to Italy. Only in Muslim-occupied Spain were liturgical dramas not presented at all. Despite the large number of liturgical dramas that have survived from the period, many churches would have only performed one or two per year and a larger number never performed any at all. The Feast of Fools was especially important in the development of comedy. The festival inverted the status of the lesser clergy and allowed them to ridicule their superiors and the routine of church life. Sometimes plays were staged as part of the occasion and a certain amount of burlesque and comedy crept into these performances. Although comic episodes had to truly wait until the separation of drama from the liturgy, the Feast of Fools undoubtedly had a profound effect on the development of comedy in both...
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...To All Who Have Ears, Look! To All Who Have Ears, Look! Many couples want to show their love to the other. By ways by which the other might not understand, love is shown. The challenge to having a successful relationship is being able to interpret one’s love and how they show it. In a short play called I’m Going! A Comedy in One Act Tristan Bernard enlightens the audience on the struggle between couples who have not yet mastered the art of communication. He sets the stage in a couple’s apartment where a discussion regarding going to the races ensues. Bernard masterfully pits the two against each other. Why do these two people who are in love with each other seem to be making the other miserable? This very argument has taken place in my home between my husband and me. The appeal was the familiarity of the situation. This literary work is a typical farce or “a short play, in which both subtle humor and hilarity are developed through improbable situations, exaggeration and (often) ridiculous antics” (Clugston, 2010). Bernard exaggerates the argument beyond what might be probable in reality. As Jeanne and Henri seem to argue in a circular way, coming back to the same argument after it seems they have moved on to a conclusion, the humor is evident. The tone is one of frustration as felt by the reader. Anyone who has ever been in a relationship understands how frustrating it is to try to get your partner to see your side of the argument. As any...
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