Juno Design Mise-En-Scene Essay - 1378 Words

Topic 1 – Design Mise-en-scene A movie is not just a motion picture, it is an art form. An art form that is put together by many shots and with that several shots it makes a scene. Editing shots and scenes can setup the mise-en-scene, also known as staging, and the visual design of a film. In the film, Juno (2007) Directed by Jason Reitman, it starts off showing a pregnant teen walking down a pathway with a sunny d drink, this shows the audience that the director is trying to tell us that Ellen Page is the main character of this film. The directorial decisions made in this film can be analyzed only if the audience catches what the director is trying to say or make us see. From the lighting to the composition of the film it can set up†¦show more content†¦The director wants the audience to have a depth of perception in the film; from using that style of composition it can show a surprise or suspense within the film. Music can play a big role in a director’s vision of making this film. Using sound an d light can make the audience expect what is going to happen next or maybe can trick the audience of what is expected. Just by using the tempo of sound which beats like someone’s heart can show a sense of suspense, which then you can find the rising action. In the beginning of the film Juno walks to the store and buys a pregnancy test and finds out that she is pregnant is one event that the film demonstrates rising action. When Juno has the struggle to telling her father and step mother that she is pregnant and when Juno meets the parents in the penny saver for the first time are more key events demonstrating rising action that the director shows in the film. The Climax of the film is when Juno finally gives birth to her child and Pualie Beeker already knows where she is when she doesn’t show up for his track competition which is a typical Hollywood-style of storytelling when he runs to

Analysis Of The Id, Ego, And Superego In Medea - 801 Words

Edgar Allen Poe had once said, I was never really insane except upon occasions when my heart was touched†. Some might say the same, including the infamous Medea. Medea was a married woman and a mother of two who was left alone, heartbroken, and seeking revenge after her husband left her for a woman of higher status. Acting impulsively and irrationally, she executes a murderous plan, leaving her old lover with the funeral plans of both his new princess and their children. At first glance, one might say that she is heartless, evil, and spiteful; however, once analyzed using the psychoanalytic theory, one can quickly change their perspective to understand her better. Sigmund Freud developed the concept that one’s personality is classified†¦show more content†¦The individuals who actually behave through the superego point of view are the nurse, messenger, chorus, and the chorus leader. The chorus leader explains to Medea, â€Å"Since you’ve shared your plans with me, I urge you not to do this. I want to help you, holding to the standards of human law† (I.962-964). They are describing to her the repercussions of her potential actions hoping that they can stop her. At the beginning of the play, there are scenes where one can see the superego winning however, he quickly loses the battle as Medea sends off the poisonous dress to the Princess. Not only should one examine the internal conflicts within Medea that drive her to execute her plan, but they should also look into how she is able to mentally function while killing her offspring. A defense mechanism is an unconscious function that reduces anxiety within an individual. While deconstructing Medea, one can find many mechanisms that were used. One of the main defense mechanisms that Medea used was displacement. Displacement is diverting sexual and aggressive impulses towards an object that is more acceptable. In this case, that â€Å"object† is the princess. Insert proof of displacement Medea also used rationalization to help ease her thoughts with self-justification and sacrificing her children to the cause. Insert

Musical Theater Essay Example For Students

Musical Theater Essay The Click Musical Theater Research: Ancient History Musicals have had many different names throughout time: comic operas, operettas, opera buffo, burlesque, Bartlett, extravaganza, musical comedy, etc. Musical Theater is a form of performance that combines songs, dancing and spoken word to tell a story. Musical theater has grown and developed from simple songs used for entertainment on the streets. However, the real purpose of a musicals is to aim or transport the audience into a different world and to help people escape the reality of the world and take a break. The term musical theater originated from the ancient Greeks. A lot of the ancient Greeks songs were fun and up beat. The ancient Greeks have included music and dance in their stage comedies and tragedies as early as the 5th Century B. C. They would perform on stage in huge amphitheaters! The musicals that took place featured mainly sexual humor, political, and social satire. Masses and masses of people came from all over to see these musical performances. The songs are a huge part of the plot and often meant for the chorus to comment on the actions taking place. We will write a custom essay on Musical Theater specifically for you for only $16.38 $13.9/page Order now Back then Musical solos were not even heard of! Even though the Musicals had no direct change on the way modern musical theater is expressed and presented, it at least demonstrated that show tunes have been around for hundreds almost thousands of years. After a while, the Romans began to copy and strengthen the traditions of Greek Theater. The 3rd Century B. C. Comedies of Plateaus included song and dance routines performed with orchestral accompaniment. Since they performed a lot, the Roman actors attached metal chips called Isabella to make the dance steps more audible. The Romans were the first to create tap shoes. The Romans performed in wooden trustees, much more smaller than the Greeks theaters. Today, we keep the trend of special effects in our own time. In the 12th and 13th centuries, The Play of Hero and The Play of Daniel taught a form of public worship (These are Religion Dramas). These plays developed into its own form of musical theatre, with many poetic forms. The poetry was provided with modified or completely new melodies. By the time of the Renaissance, the poetic forms had turned into comedic delegate. Comedic delegate is an Italian tradition where many performers improvised their way through familiar stories. A man named, Moldier turned several of his comedies into musical entertainments with songs. By the sass, two forms of musical theater were popular in Britain, France and Germany: ballad operas, like John Gays The Beggars Opera (1728), and Michael Bales The Bohemian Girl (1845). Broadways first long-run musical record was a 50 performance hit called The Elves (1857). Laura Keeners musical Bartlett Seven Sisters (1860) shattered this record with an unpredictable run of 253 performances. The very first theater piece that Joins to the modern idea of a musical is considered to Musical Theater By Clothe premiered at Nibbles Gardens in New York on September 12, 1866. The production was amazingly five-and-a-half hours long, but yet it still ran for 474 performances. Musicals were also influenced by light opera and operetta. Most likely, the best known composers of the operetta were Jacques Offenbach, Johann Strauss II, and Franz Leer. In the 20th century, the operettas of Franz Leer and Oscar Straus became popular in Europe and America.. They became a legacy as an inspiration for the likes of Victor Herbert, Sigmund Remember, George Gershwin, Noel Coward and there composers of musical theater after the turn of the 20th century, Later on in the century, this influenced the musicals of Rodgers, Condense and many, many others. In the twenties, Musicals The musicals of the Roaring Twenties, tended to ignore plot to keep the star actors happy with what they do. .u92effc4dcab721db3346522b3fda9333 , .u92effc4dcab721db3346522b3fda9333 .postImageUrl , .u92effc4dcab721db3346522b3fda9333 .centered-text-area { min-height: 80px; position: relative; } .u92effc4dcab721db3346522b3fda9333 , .u92effc4dcab721db3346522b3fda9333:hover , .u92effc4dcab721db3346522b3fda9333:visited , .u92effc4dcab721db3346522b3fda9333:active { border:0!important; } .u92effc4dcab721db3346522b3fda9333 .clearfix:after { content: ""; display: table; clear: both; } .u92effc4dcab721db3346522b3fda9333 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u92effc4dcab721db3346522b3fda9333:active , .u92effc4dcab721db3346522b3fda9333:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u92effc4dcab721db3346522b3fda9333 .centered-text-area { width: 100%; position: relative ; } .u92effc4dcab721db3346522b3fda9333 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u92effc4dcab721db3346522b3fda9333 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u92effc4dcab721db3346522b3fda9333 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u92effc4dcab721db3346522b3fda9333:hover .ctaButton { background-color: #34495E!important; } .u92effc4dcab721db3346522b3fda9333 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u92effc4dcab721db3346522b3fda9333 .u92effc4dcab721db3346522b3fda9333-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u92effc4dcab721db3346522b3fda9333:after { content: ""; display: block; clear: both; } READ: How music effects excercise EssayMany shows had little plots. During this time there were lighthearted productions like Lady Be Good, Sunny, Tip Toes, No, No, Nanette, Oh, Kay, and Funny Face. There were unforgettable books based off of these plots. Leaving these lighthearted productions behind, and taking an order from Herbert ND operetta, Show Boat, which premiered on December 27, 1927 at the Ziegfeld Theater in New York was a complete hit with all the dramatic themes. Show Boat, with a book and lyrics presented a new concept that was embraced by audiences immediately. Despite some of its startling themes, the original production ran a total of 572 performances. Encouraged by the success of Show Boat, creative teams began following the format of that popular hit. Of Thee I Sing (1931), a political satire with music by George Gershwin and lyrics by Aria Gershwin and Morris Risking, was the iris musical to be awarded the Pulitzer Prize. It was a little hard to perform or write something around this time that would be a popular hit. Surprisingly, 1976 brought one of the great contemporary musicals to the stage. A Chorus Line emerged from recorded group therapy-style sessions Michael Bennett conducted with Gypsies. Gypsies are those who sing and dance in support if the leading players from the Broadway community. This is one of the songs that my group The Click are dancing to. It took a while for James Kirkwood, Jar. And Nick Dante to create a book about an audition for a musical, incorporating many of the real-life stories of those who had sat in on the sessions with the Gypsies. With music by Marvin Heimlich and lyrics by Edward Clean, A Chorus Line first opened at Joseph Paps Public Theater in lower Manhattan. Becoming popular by spreading the word they knew this would be something extraordinary! After Chorus Line was performed for the very first time it boosted box office sales, and it mad critics run out of superlatives to describe what they witnessed on opening night, which was done on purpose. Eventually The large group had to be Ovid to the Schubert Theater uptown for a run that seemed to last forever. The show swept the Tony Awards and won the Pulitzer Prize, and its hit song, What I Did for Love, became an instant standard and obsession for many. To conclude, Musical Theater is full of surprising things you wouldnt even think of. Comprehend that from what I have researched and read the best musicals have three essential qualities: Brains- intelligence and style, Courage- genuine and believable emotion, and Courage-the guts to do something creative and exciting. References ( 3 sources): www. Musicals . Com www. Scruff. Com www. Theoretically. Com

Ruth St. Denis

Background Ruth St. Denis was born in 1879 in New Jersey to Ruth Emma Denis who was a physician by training. Saint Denis was very strong willed and highly educated. She died in 1968.Advertising We will write a custom essay sample on Ruth St. Denis specifically for you for only $16.05 $11/page Learn More Training St. Denis was encouraged to study dancing at the formative stages of her life. She learnt Delsarte technique in the early stages of her life. Her bullet lessons were conducted by an Italian ballerina Maria Bonfante. She also received training in social dance forms and skirt dancing. Her professional career began in New York in 1892. She worked as a skirt dancer in New York where she performed in dime museums and vaudeville houses. Dime museums traditionally hosted leg dancers who did brief dancing routines. In a day, Ruth did more than eleven brief dance routines. David Belasco spotted Ruth in 1898. By then David was a Broadway producer and a dir ector of repute. David then hired Ruth to perform as a featured dancer in his large company. In fact while working with David, Ruth earned her stage name St. Denis which stark with her forever. She was later to be known as Ruth St. Denis. After the tour where ‘Zaza’ was being produced Ruth got to know many important European artists like Sado Tacco and Sarah Benhardt an English actress great of her time. These people positively impacted her life as evidenced by her desire for dance and drama of Eastern cultures. Her interaction with Bernhardt made her like her melodramatic acting style. This later influenced her acting career especially the tragic fate of her character (Sherman, 1983). The technique Ruth St. Denis brought to the fore At the onset of the 20th Century St. Denis began formulating her own theory of dance and drama. These were greatly influenced by the drama techniques she had a brush with early in her dancing training. The theory of dancing was also influen ced with her readings on scientology, philosophy , and the history of ancient cultures. The works of Benhardt and Yacco also played a role in defining her theories. In 1904 when she was touring with David Belasco, she came a cross a poster of the goddess of Issis that advertised a cigarette for the Egyptian Deities. This poster overwhelmed her imagination and she later resorted to reading a lot about Egypt and India. St. Denis later quit David Belasco’s company to start her path to the career of a solo artist. It is during this time that she designed her exotic costume and created a story of a â€Å"mortal maid who was loved by the god of Krishna, Radha†. This dance style was premiered in New York’s Vaudeville House. She intended to translate her understanding of the â€Å"Indian culture and mythology to the American dance stage through Radha†.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More When plying her trade a solo artist Mrs. Orlando Rouland quickly discovered Ruth St. Denis. Ruth St. Denis began performing Radha in Broadway theatres when her wealthy patron started sponsoring her. Ruth had a conviction that Europe had more to offer than any other place would do. That is why in 1906, together with her mother she went to London. She managed to travel in many European cities where she performed a series of translations until 1909. She later returned to New York to give a series of well received concerts in New City when she was touring United States. Up to 1914 she still toured United States dong exotic dance. She was labeled as a classic dancer in the same category with Isadora Duncan despite the fact that they were two different dancers in the perspective of their approach to solo dance. In fact St. Denis sought the universe in the self whereas Isadora Duncan sought the self in the Universe. St. Denis interpreted exotic world through  "the vantage point of her body† (Shelton, 1981). After 1911, solo dance on the professional stage faced a eventual death. St. Denis therefore gave lessons to such women like Gertrude Whitney. Her problems were later compounded by the death of her major patron Henry Harris who died on the titanic. Her financial woes forced her back to the studios where she initiated new exotic dance. The difference however was that the new exotic dance had Japanese theme. One of these exotic dance was O-MIKA which â€Å"was more culturally authentic than her other translations†. It was not successful though. This prompted St. Denis to include some other performers in her productions. Ted Shawn came on board in 1914. Ted was a stage dancer who had strong Dalsartean leanings. Hilda Beyer had ballroom preferences. St. Denis continued with her solo translations where as Shawn brought popular dance forms like ragtime and tango. Shawn and Denis later became lovers and dance partners. This part nership marked the end of her career as a career solo artist (Shelton, 1981). Are they first or second generation pioneers? Ruth St. Denis, Isadora Duncan, and Loie Fuller are considered some of the pioneers of the modern dance. They were against formalism and â€Å"superficiality of classical academic bullet†. These dancers wanted to introduce their audiences to both inner and outer realities.Advertising We will write a custom essay sample on Ruth St. Denis specifically for you for only $16.05 $11/page Learn More Ruth in particular employed pictorial effects that featured in her ritualistic dance of Asian religion. She specifically used elaborate costumes and improvised movements that characterized Egyptian and Indian descent. In fact because of her versatility, she integrated Native American dances and dances from other ethnic groups (Shelton, 1981). Background on their company After her marriage to Shawn in 1914, they together formed Denishawn Company. The company was started in 1915 Los Angelus California. Through this company they managed to popularize modern dance throughout the United States and abroad. Through this company talents were nurtured and a second generation of modern dancers was conceived. The second generation dancers that passed through this company were Martha Graham, Doris Humphrey, and Charles Weidman. The Denishawn School of dancing prioritized bullet and experimental bullet dance. The school was first housed in a Spanish style mansion in Los Angelus with spaces for technique classes and Denishawn technique. Technique classes were taken in bare feet and students had to put on one piece black wool bathing piece. The classes ran for three hours each morning. Shawn took the students â€Å"through stretches, limbering and ballet barre†. Floor progressions and free form center combinations were also done by Shawn. St. Denis was in-charge of â€Å"oriental and yoga techniques†. Shawn’ s classes were in fact laden with ballet terminology. The classes finally closed with the learning of another part of dance. Denishawn trainings were characterized by a theory that one learns to perform by performing and this made a part of concert repertory (Shelton, 1981). Reference List Shelton, S. (1981). Divine Dancer: A Biography of Ruth St. Denis. New York: Doubleday. Sherman, J. (1983). Denishawn: The Enduring Influence. 1. Boston, MA: Twayne Publishers. This essay on Ruth St. Denis was written and submitted by user Emiliano Gould to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.