Practical Play Analysis Essay

Theme/ heapGuan Hanqings gust in summer solstice centers on the idea of cordial injustice and human beings suffering deviateicularly the unfair treatment of poor people during the Chinese Golden Era. The forgather essential transcend a great whizz of oppression as intended by its getwrights to reflect the dark position of the society they were in, as the main component (Dou E) deviates a horrifying oath as her unjust death served as a living proofread of how under-class people bid her atomic number 18 interpreted for granted and atomic number 18 passing despite living a virtuous life while the nuisance ones prevailed.This issue clam up continues in the modern world so it is serious that the recital lives up to its purpose of making the auditory modality reflect on the existence of tyranny in the society and what should be done in order to put an end to it. E really main character references role should be swell emphasized in order to generate the nitty-gritt y of the story more understandable. The characters essential be very often times convincing to the extent that they argon almost taking the audience arse to yuan Dynasty.An article made by Huo Jianyi, kwai Dynasty Zaju, tells ab turn up how Guan Hanqing himself gave up his profession of being a doctor and chose to serve the public by writing wanton aways that exposed the dark side of the society, particularly the indulgence in wine and women as a way of life specially for the Yuan rulers. He and his fellow dramawrights usaged their talents and knowledge in exposing tyranny and with their theatrical creations, spoke on behalf of the suffering masses despite the Yuan rulers forbidding it. The success of this revivify will be achieved if the identical pyrogenous passion is justified by the characters. be Type and chastisetingsThe play is aesthetical thitherfore it would be ideal to use a proscenium or picture frame detail. It is non necessary to use a conventional pros cenium layer with its common features alike(p) a large archway near the stage front or a curtain in order to close it during act or slam breaks. It is enough that the stage is raised several feet enough for the audience to see the view of the play while directly facing it ( item Wikipedia).As the Snow in midsummer is a classic play base on a Han Dynasty folk tale (although popularized in the Yuan Dynasty), the prevailing theme should be based on the said catch. The background knowledge essential contain twain unique and workmanic images depicting a usual old Chinese scenario like that of a painting. Images of courtyard houses should be utilize. These residences would represent the different social status that coexisted in that period.Based on Spiro Kostofs A write up of Architecture, handed-down Chinese courtyard houses ( such as the siheyuan) is serene of several fount-by-case houses around a square, where each house is owned by a different member of the family. As ide from this, more houses butt in addition be constructed for additional family members that need to be accommodated.There moldiness(prenominal)(prenominal) be a strong ace of tranquility and privacy which should prevail and be maintain despite strong and loud scenes in the play. Garden and water is as well as a usual feature with these residences. The outermost part of these residences is where strangers are entertained while the innermost one is set apart for intimate friends and family members of the owner.Since the prenomen of the play contains the word snow, then winter is a nonher requirement for the play, in fact for almost the absolutety of the play. This should allow an atmosphere of gloominess to endure the stage, making the literal coldness of winter almost felt and intensify by the cold hearts of the villains in the play. The snow plays a unfavourable part in this and it should fall dramatically on stage with the fitting sad music background qualifying wit h it. Last provided non the least, there must be flowers included. They should either be illustrated in the backdrop as part of the stage props. Flowers have been a great part of Chinese art just like the dragon and bird illustrations they use in their antique porcelains. As a whole, the entire stage must exit a vast canvass of living Chinese art.Stage Directions The director is responsible for bringing out the good quality of the characters acting and the stage production. Therefore he must be focused and to the full aware of the background of the play so as to straight-lacedly tip it.Directions are made up of expand being heard and seen by the audience. These should be explained well in the script so as not to confuse the director, the shams or even the designers. The three smorgasbords of stage directions must be considered, namely (1) scene directions, (2) staging directions, and (3) character stage directions.In the script, scene directions are indented at a measure ment of 3.5 inches from the left side of the strand and 1 inch from the right. This indicates the fundamental place and time of the scene with details of the events on stage as the lights come up or bring forth dim (How to Format a Stage Play). Let us take scene one, act one of the play Snow in midsummer as indicated in the script SCENE ONE(The period was between 1279-1368 A.D. In a typical Chinese village lives whore CAI, a widow, who sees on stage with a sign of great forecast on her depend. She paces at the center of the stage in her long, loose apparel with wide sleeves and narrow cuffs. Then she faces the audience with the same facial expression.) arcminute is the staging directions. This contains the description of a indisputable scene such as the entrance, exit, and struggles of characters on stage, as well as the changes in lighting effect or musical background.MRS. CAIWhere?(The Doctor strangles the widow with the rope.Enter honest-to-goodness Zhang and his son d omestic ass. As they rushforward the Doctor takes to his heels. Old Zhangrevives tart Cai.)DONKEYIts an old woman, dad, nearly strangled to death.Last would be the character stage directions. These are short descriptive lines in incidental form whatsoevertimes rigid under the name of the character. This shows the appropriate remains language while delivering a certain line (How to Format a Stage Play). This particular direction puts more identity on acting. Here is another example.MRS. CAI (crying)Ah, poor child How am I going to break this to you?Make upThe characters writing for the Snow in Midsummer need not look like that from a Chinese opera although it whitethorn be elaborated to reflect its rich culture. It must lift their acting and facial expression. A kabuki effect is notifyed if the production police squad would like to add a lower- companying animation to it and lessening its tragic base.Dou E and prostitute Cais organization may use thick derriere with a r ose-cheeked base to show femininity. However the application must be heavier on Mistress Cai to distinguish her age along with well-nigh fake wrinkles. The center fieldbrows must be enhanced with a thick dispirited cloak while the lips are pouty and deep red.As for the elder staminate fakes (Doctor Lu, Dou Tianzhang, and Old Chang), a yellow base theme can be used contrasted with a thick pink gush on. The eyebrows may excessively be enhanced however for the priapic antagonist (Donkey Chang), eye brows should be enhanced with an upward effect at both ends. Once again the appearance of wrinkles should distinguish ages.Basic Pointers for applying stage makeupAccording to Kate Hillard on her article Application of Stage Makeup, makeup is often applied on thick layers. Unlike the movies where the camera can focus on the shammers face, audiences cannot afford to this kind of facility on stage plays. The makeup used for the Snow in Midsummer should be elaborate and keen parti cularly with characters representing the high-class society. There may as well as be procrastinating moderation of the makeup for the middle and lower class members nevertheless the artist must make sure that it is enough in maximizing the actors emotions on stage. Sometimes even the dark layers of makeup depart on the glaring lights.A thick, heavy cream asylum should be applied first which be a little bit darker than the fight beef up. The placing of foundation should be started on the forehead and blended well up to the hairline after which the remaining of the face is covered together with the ears, lids, and neck as if this is the actors true complexion. The neck application should also be blended well so as not to create a mask-like appearance. When it comes to male actors, foundation is applied on the entire neck and back sometimes but this can appear messy. future(a) the general foundation, a lighter color is fit(p) over the shadows under the nose and on the chin.W hen the foundation is done, the blush would follow. A rosy color is used for the female actresses but this should be applied on a lesser degree with male actors. It is propagate over the cheek wad and just about halfway down the cheek variety it with a down and up motion. A innate(p)ly rosy opinion is needed for male actors while it should be darker for the females enough to maintain its visibility on stage especially under the hot lights. Blush must also be placed over the nose and forehead where it is very slightly blended.The most difficult part would be the eye makeup. A very white highlighter is first placed along the brow bone (right underneath the eyebrow) and under the eye. The makeup artist should make sure to engender the surrounding eye areas a lightened appearance without expiration white smears. Following this, an eye makeup should be placed just above the eyelid, beneath the brow bone, and also beneath the eye which should be a little darker than skin tone. Thi s should be topped with an even darker color along the eyelid top through a downward blending which can also be used as an eye liner especially with male actors.For women, an even darker and rosier tone that gives the appearance of a natural eye shadow should be placed over. It should however be more recognizable on stage and should be placed a little above the eyebrow. A less rosy color is recommended for male actors though not required. Furthermore, a dark browned or similar-colored eye lining is placed. Black color is to be used for dramatic roles that need wild makeup. Lastly, mascara is placed on top of the lashes. In order to avoid or lessen the errors of putting mascaras, it is suggested to make the actor blink after putting the wand on his/her lashes.Following the eye makeup is the simpler part of putting on the lipstick. A color that is a little darker than the usual lip color is used for male actors and should be matched with a lip liner. Either can go first depending on the actors or makeup artists preference. The liner should be placed on the outside of the lips and not on the natural line differently this will obviously look fake. It can also be applied all over the lips to make it last cave in and longer. A dark lipstick should be applied enough to be seen from the stage even if it looks like a Halloween makeup up close. It goes otherwise with male actors who should slightly be more natural even on stage.Last but not the least would be the loose powder. in advance it is applied over the face, dip a large brush unto a powder container then shake it to get most of the powder mop up in order to avoid leaving white smears over the makeup and therefore ruining it. Loose powder is for holding the actors make up even when they are sweating. get ups bardes are very important. They military service audiences identify and understand the actors character and social rank as well as his traits and gender. The style and color would greatly suggest the oc casion happening on stage. Colorful clothes and elaborate makeup may bring more life to Snow in Midsummer as this pertains to rich Chinese culture.The main character, Dou E, may use the traditional Ruqun which is used by ordinary women during the Yuan Dynasty. This is made up of an stop number jacket and lower skirt. The jacket is made of a red marten cat or sheepskin garment with loose sleeves and gray collars and cuffs. This is tucked downstairs a maroon skirt with a gray sash phrase to maintain its simplicity.The same type of clothe dress may be used by the widow, Mistress Cai as they do not postulate belong with the Mongolian Aristocrats who wore cur coats and fur caps. Their costumes must reflect their lifestyle and their role enough to bring out the emotion from the audience, however they should not look like paupers but more like average Chinese people however obviously struggling to maintain their dignity. However, after her execution, Dou Es costume must change to l oose, ghostly white robe with its light fabric. The red smear of blood from the execution must appear on the cloth as well.The male actors may use the Yiseyi or Zhisunfu garments where upper and lower short garments were put together while adding folds to the waistline. Furthermore, big beads were hung on shoulders and the back. The garments can either be course or of fine quality depending on the social rank the actor is representing (Costume in the Yuan Dynasty). Donkey Chang and Old Chang may use costumes may use colors that shows a status that is more advantages compared to Dou E and Mistress Cai, however not as luxurious as an upper aristocrat. Donkey Changs costume must be provoking and reflective of his egocentric being.Of course the apparent hairdo must not be forgotten. For male actors, it should be the traditional snail-head, seated Buddha feature. As for females actors (Dou E and Mistress Cai), the hair must be long with the upper portion tied and placed with some simple white floral accents. Mrs. Cais hair must be all brushed up however with a coarse onion bulb appearance.LightingThis is perhaps the counterpart of camera trick. unrivaled of the things that make stage plays breath-taking is the lighting effect. In fact thanks to present- sidereal day(a) stage lighting, audiences now are able to afford richer visibility of the entire play, thus connecting more with the intense emotions of the actors.A careful outline of accounting Williams Stage Lighting Design shows four important objectives of stage lighting (1) Visibility, which eases the audience understand the play. It is influenced by contrast, size, color and movement. (2) Naturalism (and Motivation), where a sense of time and place is indicated. (3) Composition, the overall image of the stage. Lighting must reveal actors, objects and scenery depending on their importance. (4) Mood (and Atmosphere), which is the psychological reaction of the audience is influenced by lighting effects tha t gives the stage a sense of happiness, sadness or even boredom.Dou Es execution would be a perfect example where lighting is highlighted as this scene indicates a variation from a normal way of life to a cursed one. In this case, the lighting effects must create a great sense of grief , heaviness, and fear among the audience.Casting A play cannot be a play without the cast. As the front liners of the production, they are mainly responsible for leaving an impression for the play since they are the ones who have direct contact with the audiences. Casts are like the main course of a meal. Prof. Audrey Stanley from the University of California at Santa Cruz presents at least viii points to consider when casting a play (1) meter reading of character type and function (2) Type-casting (3) Casting against type (4) Cross-gender casting (5) Gender- or race-neutral casting. (6) Generational relationships and differences between characters (for instance, how old are Lears daughters?) (7) Physical and strain requirements of different roles (8) Audience associations and expectations of individual actors. Dou Es character must be portrayed by soul who can show her virtuosity but at the same time must have the ability to shift into a vengeful character. Her father, Dou Tianzhang, must be played as someone who is old of course but has enough strength to do some laborious works. Mistress Cai must reflect the same humility as Dou Es character but of course with a maternally touch. A trace of burden must be shown on her face from lifes realities as well as how youth has been taken from her. Donkey Chang need not be good- feeling however suitably dressed. But his dignified appearance must not conceal his disgustful character.RehearsalsBased on Simon Dunmores Advice on How to Approach Rehearsals for a Play, rehearsing is composed of thought, banter, and doing. It is an important part of the play where the whole team gets to figure out what will work or not. That is why it is important to discipline oneself especially when it comes to the script. Even before the rehearsals, the actor must read it several times so he/she will get to be familiar with the character that he is playing. He should carry it one hand somewhere at his side and put emotion to the delivery of the line while looking at the script at a side glance. He must be patient and must take his time in memorizing his line. In case of long speeches, they should be delivered with much care and thought as single or short lines for it is usually a case where a certain idea starts and is connected throughout the story of the play.Stage directions on the other hand, must be read as possible pointers merely. If they came from how the play was originally done, take into consideration that the present production might be different with the casts and circumstances being new. Pause and silence is a kind of stage direction that must also be given proper timing and must have appropriate place in th e play just like long and short lines. Also in case of abbreviations, the intention of the playwright must be observed so the nubble of the communication will not be lost.Writing down notes either from the director or from oneself will be helpful in retention how to delivery ones line properly. nones need not be long. Directors may not be right all the time with regards to the character role. His long experience in theater acting may not give him enough knowledge or understanding of a certain character the way an actor does. Therefore, a careful and rational discussion must always be made between the two. locate and costume designs are also very important. They affect the way an actor moves about the stage. These objects must work harmoniously with the people of the play and not become a hinder. Rehearsals do not stop within the rehearsal room. strait-laced focus can be achieved with proper practicing though it should not of necessity occupy ones private time.Rehearsal for Sno w in MidsummerBelow is a sample table for the Snow in Midsummers rehearsal schedule. It is usually done with six to eight weeks but the production team may change it depending on their needs ( prove Rehearsal Schedule).SundayMondayTuesdayWednesdayThursdayFridaySaturdayAuditionsAuditionsCall-BacksPostCastlistFirst Read-ThruOff structure man MeetsBlock sceneswith leadsBlock sceneswith dear CastBlock sceneswith leads pop stick wrenchBlock sceneswith across-the-board CastOff extend onSetConstruction transaction sceneswith just Cast make up sceneswith leads encounter sceneswith leadsWork onSetConstructionWork sceneswithFull CastWork onSetConstructionHang Lightsand SetConstructionWork throughAct Ioff diskWork throughAct IIoff bookWork ontrouble spotsleads onlyFinish Hangand unmown FocusAct IRun-thruWork onSetConstructionFull CastPaint andWork DayAct IIRun-thruAct IRun-thruAct IIRun-thruWork onSetConstructionFirst FullRun-thruComplete SetConstruction lowest SetupTechand LightsFirst Tech Rehearsalwith CastRun-thruFull TechRun-thruFull TechCostumecheckTech CrewTroubleShootingRun-thruFull TechFinishingTouchesOn SetWork onproblem areasFull fixRehearsalFull DressRehearsalFull DressRehearsalFull DressRehearsalNo MakeupPerformancePerformancePerformanceThe Visions Effects on the Audience The Snow in Midsummer is a play about tragedy and drama. However, the whole production team must keep in mind that as the story is based on real struggles of poor people in the past, it might leave a great sense of grievance to the audience. This is good but only to the extent that it will stimulate their sense of awareness since basically, though the storyline dates back to old times, it is very symbolic of the abuse and tyranny that still exist even in our time. Therefore, there must be a balance by creating a great sense of hope especially during the scenes where a retrial for Dou Es case was conducted up to the plays ending. The play must establish to the audience that life goes on a nd there is hope and justice even in the hardest of situations.Steve Campsall wrote in frame a roaring Play that plays must create a lasting entreaty to the audience. Every words delivered by a stage performer should bill out both meaning and feeling. That is why it is important to understand the writers intention behind the text he has created. Common methods such as vivid metaphor, powerful imagery, alliteration, use of rhyme or rhythm, etc, are said to be used often by writers (Write a Successful Play Effects on the Audience). Behind the scene interactions will help bring ones natural acting and transcend the same energy and passion. The audience must be convinced with everything, from the stage settings to the acting. Not doing so will be crucial and may create passiveness. determination Behind a plays success could be in anything that is a part of it. From the directors vision to the actors execution, everyone should make sure that everything works harmoniously so that the f low of the play will be well polished on the grand day itself. It is both inspiring and fun to see actors on stage behaving like they are not actors but rather they own the stage and they are the characters that they are playing. Lastly, behind the inspiring acts, elaborate costumes, and colorful props, the message of the story must be retained. This is one important part that can be shared with the audience. The lesson that they can learn from watching a play can help them personally. Once the audience is touched by a plays story or vision, he/she can use the message or apply it once he goes back to real life.Work CitedStage. Wikipedia The Free Encyclopedia. 5 February 2008. 9 February 2008.http//en.wikipedia.org/wiki/Stage_(theatre)Kostof, S. 1995. A History of Architecture. The Oxford Press. 8 February 2008. http//en.wikipedia.org/wiki/motor hotelJianyi, H. 2003. Yuan Dynasty Zaju. 8 February 2008. http//www.chinavoc.com/magicn/yzaj.aspHow to Format a Stage Play. Script ecstasy Young Writers Program. 2007. 9 February 2008.http//ywp.scriptfrenzy.org/howtoformatastageplayHillard, K. 2002. Application of Stage Make Up. 9 February 2008.http//www.essortment.com/applicationstag_rgyu.htmCostume in the Yuan Dynasty. ChinaCulture.org. 10 February 2008. 10 February 2008.http//www.chinaculture.org/gb/en_chinaway/2003-09/24/content_28414.htmWilliams, B. 1997-1999. Stage Lighting Design. Objectives of stage lighting. 11 February 2008http//www.mts.net/william5/sld/sld-100.htmStanley, A. 1995-1996. Shakespeare Examined through Performance. 11 February 2008http//www.tamut.edu/english/folgerhp/Recipes/7cstply.htmlDunmore, S. 25 August 1999. Simon Dunmores Advice on How to Approach Rehearsals for a Play. 11 February 2008http//www.btinternet.com/simon.dunmore/rehearse.htmCampsall, S. 2008. Write a Successful Play Effects on the Audience. 12 February 2008http//www.englishbiz.co.uk/mainguides/play.htmSample Rehearsal Schedule. Tupelo Community Theatre. 13 February 2008.http//w ww.tctwebstage.com/schedule.htm