Hello, I need you please to read a monologue I wrote and revise it, make it bett

by | Dec 11, 2022 | Theater

Hello, I need you please to read a monologue I wrote and revise it, make it better, add more details. I really don’t have any more inspiration. I will attach my first draft of the monologue I wrote, I will also attach the character and conflict context so you understand it better. When I read it it didn’t make sense at all, mainly the examples I gave, please change them to better ones.
My professor instructions are below:
Step #1: PLAY!!!!!
Once you know who your character is,who they are talking to, and what their conflict and obstacles are, I encourage you to improvise!!! Close your door and talk to yourself! Keep thinking about the 3 questions every actor asks themselves:
What do I want?
What is in my way?
What do I do to get what I want?
Pretend you are the character you created and imagine you are talking to Character #2. Say it out loud!!!
IMPORTANT!!!! Character #2 does NOT speak. They only listen. This is a monologue. This is not a dialogue.
Step #2: Write your monologue
Now that you have improvised and played around with getting what you want as your character, write the first draft of your monologue! Below is a video that might help you get started writing. Below that is an example of a monologue .

Discuss questions one and two.

by | Nov 18, 2022 | Theater

Hi! Please write an essay minimum of 1500 words. Research the play called “Green Bird by Carlo Gozzi” and write the essay using the following guidelines. Make sure to mention the actors name and their role. I will provide it here. Make sure to back up statements of opinion or observations with two or three descriptive examples drawn from the show to illustrate what lead you to your conclusions. This is a reaction paper!
The three main questions to consider are:
1. What was the playwright trying to say about life?
a.What universal questions or themes are raised? (i.e. Who am I? Why are we
here?)
b. What universal human needs drive the behavior of the characters and cause
conflict and rising action?
c. What is the central conflict?
d. What is the main action? (What is the main character trying to do?)
2. What impact does the play have on you and your life?
a. How does the play affect you emotionally? Intellectually? Philosophically?
b. What does it make you experience that you might not have experienced?
c. Did it reinforce the way you already think? Feel? Act? Behave? Believe? Conduct
your life?
d. Did it change the way you think? Feel? Act? Behave? Believe? Conduct your life?
ACTORS AND NAMES:
Camon-Zachary Meskauskas
Tartaglia=Alex Perez
Ninetta= Elizabeth Chavez
Pantalonia=Chiara Jacobus
Director=Melvin Huffnagle
Two thirds of the paper should be devoted this final question: Did the playwright’s
collaborative artists and craftspeople help you understand and enjoy the play or
prevent you from doing so?
a. Choose at least four actors. Include their full names and the names of the
characters they played. Evaluate their work using the following questions based
on your observations and opinions:
i. Were the actors believable as the characters they were playing?
ii. Did they speak loud enough and intelligibly enough to be understood?
iii. Did you identify/empathize with one (or more) of the characters?
iv. Did they draw you into the play or were you aware they were “acting?”
b. Evaluate the director’s work: Was the production unified in its vision? Did it flow
seamlessly from one point to the next? Was the casting on point?
c. How did the design elements (Lights, sound, costumes, scenery) affect the
production?
i. Provide your opinions/observations about the success or failure of each
design element listed above.
ii. Back each of those opinions and observations up with at least two
detailed descriptive examples from the production.
Remember these are not “yes/no” questions, but “why or why not” questions. Don’t
waste space/words detailing the plot or the story. About one third of the paper should
discuss questions one and two. Two thirds of the paper should contain detailed,
descriptive examples from the elements of the production that either helped you
understand and enjoy the play or got in the way of your understanding and enjoyment
and why or why not

The first is a presentation, and the second is a costume plot.

by | Nov 10, 2022 | Theater

You have two assignments to complete. The first is a presentation, and the second is a costume plot. Open the files I have attached and check to see if you can complete the work on time and if you understand what needs to be done.
https://drive.google.com/drive/folders/121gPgwplq4…

Which of the following situations is an example of an actor correctly using the method acting technique of substitution?

by | Nov 2, 2022 | Theater

following techniques would best help the playwright solve this problem?
A. rewriting the other portions of the play until they lead to a natural ending
B. adding a framing device to the play so that it ends in the same place it begins
C. embracing the idea that not all stories have tidy endings and leaving the play as written
D. gathering a group of actors to read the completed portion of the play and brainstorm endings
for the play
9. A playwright has begun writing a series of loosely connected scenes that explore the theme of
greed. This play would best be served by which of the following types of dramatic structure?
A. episodic
B. climactic
C. serial
D. circularIn contrast to Method-based acting training, classical acting training is more likely to focus on:
A. understanding the psychology of a character.
B. sharpening an actor’s technical mastery of the voice and body.
C. working with the language of everyday speech.
D. removing the separation between actor and character.
13. Which of the following types of actor training would best help an ensemble learn to work together
spontaneously and intuitively?
A. Alexander Technique
B. Viewpoints
C. Method
D. Laban Movement Analysis
14. Which of the following situations is an example of an actor correctly using the Method acting
technique of substitution?
A. To fully embody a character with a rich emotional life, an actor spends several weeks
approaching everyday life situations as if he or she were the character.
B. When playing a character suffering from personal embarrassment, an actor thinks of an
embarrassing situation from his or her own life and mentally superimposes it onto the
character.
C. During each performance, an actor finds ways to incorporate the naturally occurring
characteristics of stage fright (e.g., sweaty hands, racing pulse, dry mouth) into his or her
portrayal of the character.
D. When researching the character of a corrupt politician for a play set in the 1920s, an act