use a classic movie that was made before 2000

I need 2 different pdf. one for doll house. and one for fences.

You read and answer 10 questions for The Doll’s House.

You read and answer 28 questions for fences.

NO AI. NO PLAGARISM.

SIMPLE ANSWERS NO ADVANCED VOCABULARY

Research Essay Final Draft

Write a research paper that presents a position or analysis of a current issue. Your goal is to do more than inform your readers; you should persuade and/or analyze.

In an inquiry-based research essay, you will start by coming up with a central research question (or up to 3 research questions) that will guide your research. As you research, you will (hopefully!) discover something new about your topic. Focus on investigating various aspects of your topic rather than just coming up with one definitive answer. Ideally you will synthesize the information you gained from your research, analyze that information, and situate your voice within the larger conversation happening around this topic. Please consider all you have explored about rhetorical choices and what you find persuasive in the arguments of others as you construct your own argument.

This paper is an opportunity for you to synthesize all of the ideas we have been studying throughout the term; I hope you find it challenging. Include a narrowed thesis, sound evidence, analysis, and APA citations (and please proofread). Imagine that you will present your paper at an undergraduate conference to peers who may be skeptical of your ideas. Visualize your readers as intelligent, but not totally up to date on your topic.

Length: At least 6 full pages of text. This will be 1,800 words. Since your cover page and References page are numbered, you will have at least 8 pages. If you are having trouble expanding your paper, let me know. I am happy to give you suggestions. You are more than welcome to write more than the minimum requirement.

Due Dates:

Week 7: Research Progress Document. This should include your research questions. This should also include 3-5 sources and some notes about the usefulness of each source.

Week 8 or 9: Rough Draft. I would like you to send me at least 3 pages and to incorporate some quotes from outside sources. This draft is ungraded, so its very low stakes (feel free to write a Shitty First Draft or send a detailed outline, or write a more complete draft.)

Week 10 : Friday by 11:59 pm: Final Draft Due.

Heres the list of features that Ill be looking for in your final paper:

Argument and Organization:

• Structure: You might write a traditional argumentative style essay, an issue analysis, a cause/effect analysis, a problem solution essay, or an essay that explores 2 sides of the issue and analyzes both sides (or a blend of these).
• Thesis statement is clear, arguable or analytical and drives the analysis of your evidence
• The paper is organized in a logical/reader-friendly manner
• Introduction includes the context of the issue, addresses who cares? about the issue, and captures the readers interest
• You may choose to include a counter-argument, if you feel that it would strengthen your paper. If you include a counter-argument, present them respectfully (and include a refutation).

Sources and Evidence:

• Incorporates at least 6 outside sources:
• At least 5 sources are credible (these can be news websites and government websites). You can use a few less credible sources as evidence of the current debate around the issue, or as sources to critique and write against
• Quotes are introduced and commented on (the reader does not have to guess how they relate to your argument)
• Quotes are not too long
• Both direct citations (word-for-word, verbatim) and indirect citations (paraphrased) are included

APA Style

• Be as specific when you are referring to groups of people and keep in mind APA guidelines on avoiding bias.
• Hedge your claims.
• Avoid writing you. Replace you with the specific group you have in mind. We and our may be appropriate.
• Avoid using Iexcept in your introduction & conclusion and only when you are using personal experience (Please avoid using I to signal your beliefs).
• Informal or conversational language isnt a preferred convention in APA style. Make your writing sound academic. That said, I do want to hear your voice, so feel free to be creative and descriptive.

APA citations and formatting:

• Standard APA citation practices
• References page
• Researchers/authors first name(s) is not listed in the body of the paper
• The title of the book, journal, or article is not listed in the body of the paper
• The year in which the research was published is emphasized in the body of the paper

Standard APA formatting conventions

• cover page (you dont need an abstract for this paper)
• Pages are numbered
• 1 inch margins
• Double spaced
• 12-point Times New Roman font (or another accepted font and size)

1. We think of comedy as progressing toward a happy ending with a lot of laughter along the way, but that is a simplistic definition. Many playwrights have called their plays comedy, though they may have meant satire (social criticism via humorcorrect human vices) as distinguished from comedy (affirmation, optimism, celebrationas well as to expose human folly). Then there are subgenres of comedy that have particular characteristics, such as farce and comedy of manners. Analyze one of the plays eligible for this essay as COMEDY or FARCE or SATIRE or COMEDY OF MANNERS. Support your classification by applying specific criteria from definitions of comedy and the other generic classifications in lecture, on Canvas, and/or theatre and drama handbooks, and/or theories of comedy that can be found in such books as Corrigans Comedy: Meaning and Form to specific elements in the play. For comedy, what is the nature of the initial chaos? How does the resolution of the plot return to order? Are the characters a representation of humanity as less than we are, as Aristotle said, or in the image of the ape, as Eric Bentley said in his essay on Farce? Is the humor based on the release of the repressed, as Freud argued? Is there an inversion of social roles or something else, as in the Roman holiday of Saturnalia? Is anything about life, love, society, etc. affirmed? Show the comedic vision (optimistic, affirmative) in the play. For satire: what is/are the target/s of attack? What vice(s) is the playwright trying to correct? Be sure to show how some of the points are made humorously (mocking, ridiculing), even identifying some of the high and low comic techniques we have studied. Is the satire Horatian (the needle) or Juvenalian (the club)? Is there one or more raisonneur character who represents the values from which the playwright criticizes the behavior or social order or . . .? (In other words, does any character serve as a spokesperson for the playwright?) What are those values? Does the play imply that people and society can change what is wrong with themselves or society if they so choose? How is the satiric vision suggested in the play: that the universe is neutral and it is up to individuals to make things better. For farce, rely on lecture notes and the summary of Bentley in Canvas.

Essays should be typed on a wordprocessor for uploading to Canvas. In MLA style you set all 4 margins to 1 inch; do NOT justify the right margin. Set font to 12 pt.; use Times New Roman font. (All of this is so I do not have to spend time determining whether you have met the minimum length.) In the upper left-hand corner of the first page, put your name, date, ect. Center your title above the first line (NO title page) and leave one return (double space) between the title and first line of your text. The rest of the essay should be double-spaced. Number subsequent pages in the upper right-hand corner. (In MS Word, you click on INSERT and then click on page numbers. If you cannot figure it out, type page #s manually.) Even after having the wordprocessor check the spelling for you, I recommend you proofread by reading your essay aloud; you will hear mistakes you might have missed otherwise

Text: A Midsummer nights dream by William Shakespear (

IBDP Theatre extended essay editing and slight improvements to my argument. I had wrote my entire essay but believe it needs to be more aligned with the IBDP theatre guidelines.

question in files

Objectives:

This assignment asks you to articulate your design for a unit plan, workshop plan OR study guide, and to propose a small, specific element of it to try out in a teaching experiment. While the topic, level and context for your design and experiment are wide open, the experiment must use a drama-based practice or convention.

The scope of your unit plan, workshop plan or study guide is modest — it is not expected you will design a whole course or program of study — this would be beyond the scope of this assignment. Think of planning something more brief in timescale, say something that would happen over a few relatively brief classes or sessions at most. The purpose of the assignment is to learn by refining clarity of intention, informed use of practice, ethical awareness, and experimentation in practice, and reflection. In short, you learn a little preparation, presence and practice. Doing an effective job of this design brief means I can give you helpful feedback heading into our final classes, putting you on stronger footing for a good finish in the course.

Choose your group and topic:

Decide whether you are working solo or in a group of 2 or 3.

Next, think about what format you will use for your teaching experiment project:

1. Unit Plan – A structured plan for a learning experience in a public school classroom setting connecting directly to the Ontario curriculum
2. Workshop Plan – A structured plan for a learning experience outside the public school classroom setting without a connection to the Ontario curriculum
3. Study Guide – A learning guide for an educator guiding learning around a specific chosen play or performance

I’ve provided further detail, models and resources for these formats on a separate page .

You should also work out some specific theme, issue, topic, or play/performance.

Remember, while you must use drama-based approaches to teach your theme/topic, it can be anything (especially for the ‘workshop plan’, which does not need to even have a curricular connection). Please, choose something that you’re passionate about! In the previous run of this course, students chose to teach all sorts of things: creativity to elementary students, emotional intelligence, safety in sports, second-language learning, coping with grief, better practices for university student services–you get the idea. Students who worked on study guides chose some popular plays or some lesser known ones (anyone want to do Lady in the Red Dress!?). Think about something you’d really like to teach, something you’d be good at and care about, and use the project to work out how you could bring drama-based appraoches to bring that learning to life for an imagined group of learners. Teaching will always be more effective and compelling when the teacher is personally invested in the topic.

Next, think about which “pro social capacity” your project will support:

1. Active listening
2. Empathy and perspective-taking
3. Collaborative problem-solving
4. Conflict navigation
5. Community-building
6. Care-oriented relational practice
7. Ethical attentiveness to power and context

I have identified these to be common “learning outcomes” for drama-based learning activities. You can choose more than one. You want your teaching designs, ideally, to support the pro-social capacity you’ve chosen. For instance, if you choose “conflict navigation”, it should be clear in your idea how the project is about conflict, and will provide an opportunity for learning how to deal with conflict.

Instructions for the Design Brief Assignment:

Now that you have some ideas, you can complete your assignment by answer the following prompts clearly and in order. You are welcome to either a) prepare this in a written document, or b) record a presentation using powerpoint or similar software that permits you to show slides and provides audio or video. Regardless of the format, you will be evaluated on the same rubric as below–so please be sure to address all the details.

1. Project Overview (approx. 100 words)

Begin with a concise overview of your proposed design. Clearly describe the learning context or audience you are imagining, the pro-social capacities you are seeking to cultivate, and the overall goal of your project. Identify the level of learners you imagine (elementary, junior/intermediate, secondary, post-secondary or other context outside of school). What are you trying to help participants practice, understand, or experience? What broad approach are you taking? This section should allow a reader to understand, in a few short statements, what your project is and why it matters.

2. Practices and Influences (approx. 250 words)

Explain which drama- or theatre-based practices or conventions will be used your project and why. Identify where these practices come from and what they were originally designed to address. Demonstrate that you have engaged with relevant professional examples or our teaching design resources , and explain how they informed your thinking. If you are drawing on an existing model unit plan, study guide, or workshop outline for inspiration, be explicit about what you are borrowing and what you are changing. The goal is not to duplicate an exiting model but to learn from them.

3. Description of the Project and Experiment (approx. 500 words)

This assignment asks for greater detail about your project. If you imagine a unit or workshop plan, what will be its general nature or approach? If a study guide, what play/performance will you focus on, why, and what theme(s) or angle(s) will be your focus from the many that are possible? What is the ideal scope (amount of time, number of sessions, number of participants, etc). What context will you need to provide (what preparation do you need to do) and what presence would a teacher/facilitator need to have (what presence will you need to have). What resources, preparation, materials, or conditions are required? Responses here should help me see the different basic components you see as necessary.

Next, identify a single, small part of the unit plan / workshop plan / study guide that you will attempt to experimentally try out. The idea here is to have you learn something from a contained, brief experiment — to try out a convention on someone and see what you can learn from its efficacy or its shortcomings. It isn’t practical to try out all your learning activities, nor a multi-sessional unit plan–instead, you want to try something you can execute simply and without a lot of organizing to see what you can learn about presence and practice. Since we don’t have a handy group of experimental students, here we will have to be creative, recruiting peers from the course as experimental ‘students’ to your learning activity, or otherwise finding someone outside the class to help you. What do you propose?

4. Best Practices in Equity, Diversity and Access (approx. 250 words)

Your designs should be mindful of how teaching practices can be made more inclusive, accessible and culturally-responsive. You should have a think about the potential tensions, exclusions, or risks that might arise in your design and facilitation. Consider issues of consent, comfort, power dynamics, cultural context, and accessibility. Explain how you will address these thoughtfully. Strong Design Briefs anticipate difficulty rather than ignoring it. I’ve provided a lot of resources that support inclusive design, safety, university design for learning, culturally responsive teaching, ability and neurodiverse learning design .

5. What You Need Help With (approx. 150 words)

Here, help me help you by telling me what you feel you still need help with. Be clear about what you don’t yet know and what guidance you would benefit from. Do you need better sources? A more practical idea for your teaching experiment? Drama practices that are more effective in achieving the goals you’ve identified? (Please note that I always encourage and reward humility. Being honest and aware of the limitations of your knowledge — the clearer you are in what you don’t know, the more effectively I can guide you).

6. Process Reflection (approx. 250 words, written)

At the end of your Design Brief, include a brief reflection on your groups research and design process. You might address some of the following:

• How did your group approach researching and shaping this project? What resources did you consult (Teaching Practice Resources, scholarly texts, professional models)? How did your thinking evolve through discussion?
• How did you use LLMs, AI, or translation tools, if at all? Please describe any use of these tools, whether for searching, brainstorming, drafting, or editing. Transparency is expected. If you did not use these tools, say so.

This reflection should use a searching voice and demonstrate honesty about process.

General note 1: Research Expectations

Although this course has relatively few prescribed readings, you are expected to engage meaningfully with relevant professional or scholarly resources when developing your design. Work which is grounded in the literature will be well-informed and solid of design; work that is not will be weaker and assessed as such. Your brief should reflect informed decision-making rather than invention out of thin air. You must draw at least partially from the resources I’ve provided to support this assignment, , , and . If you bypass these higher quality resources and only use poor, unverified sources from Google/LLMs this will affect your assessment. All sources must be cited in a consistent formal academic format both in text and in a works cited list. I suggest MLA format which you can find guidance on here (I attached it). If you have not learned how to do in-text citations there are some resources supporting this .

General note 2: LLM use

Please refer to the document in our Quercus modules for the policy on LLM use in this course.

To summarize here, you may use Large Language Models, Generative Artificial Intelligence, or translation tools to explore sources or brainstorm ideas. These tools can be useful if used strategically and judiciously; however, an over-reliance on them will produce vague and conventional writing that drowns out your unique ideas and voice, the very things you are here to develop. Your sources should not come purely from LLMs–these are generally partial and poor and lacking practitioner perspectives and expertise. You are asked above to detail your LLM use in your submission. Misrepresenting LLM-generated material as your own will be considered academically dishonest and may constitute an academic offence.

THEA 1030 PLAY REPORT ASSIGNMENT

Write a 500-750-word p

aper that assesses the value of a live or video performance. Alternately, you can

prepare a 5-minute video presentation. Either option must be well thought out, clearly stated, and well

structured.

Your thesis should give a clear indication of how you felt

about the production and how well the themes were

communicated.

When composing your paper think about

which elements had an impact on your enjoyment or

understanding of the production.

Structure

Your play report should be primarily focused on the production rather than the plays content, form, or

historical background. This paper should not be a plot synopsis, but a reaction to the production, as a

whole. The report should explain how all of the production elements (directing, design, acting) were

successful in presenting the directors conceptthe central creative idea or interpretation of the play

that unifies all aspects of the production. Below is an example of some the things that you may want to

include in your play report. These elements can be organized in different fashions, but the structure

below is one of the most common. To get an A, you must explore theme/idea and how well it was

communicated:

1.

General Information: This includes the title of the play / musical / performance piece; writer /

composer; director; location of the performance / name of the theatre company; and the date.

2.

Introduction: This provides a brief synopsis of the plays main idea or themes.

3.

Directorial approach/Concept: Here you offer a general description of how the director has

decided to communicate or emphasize the works main themes.

a.

Where the choices that the director made successful helping you to understand the

ideas and themes expressed by the playwright?

b.

Did the production seem relevant to yourself or the greater community?

4.

Space/Venue: Consider the venue.

a.

How was the stage space organized? Did it suit the production? Was there a particular

and varied use of it?

b.

Was the production visually engaging? Were the stage pictures created somewhat

related to the production concept?

5.

Acting: Consider the performances. Was the acting of a particular kind (realistic, stylized, relying

more on physical movements, on words, etc.)? Was the chosen style consistent and appropriate

for this production?

a.

Was there a particular performers performance that stood out to you? Why?

b.

What did the performers do to help make their performance believable or to help you

connect with the characters.

6.

Design: Describe the sets, costumes, lights and sound. How did the design elements contribute

to the audiences understanding or enjoyment of the production?

a.

How do the set, lights, sound, and costumes help tell the story?

b.

How do they help to set the mood?

c.

Are all of the elements unified? (e.g., Do the costumes feel like they belong in the world

that the set designer has created.)

7.

Conclusions: Offer final considerations on the production and its meanings.

a.

How did it contribute to a better understanding of life?

b.

How are the themes relevant to the world we live in today?

*See Rubric in eLearn for scoring requirements. You will choose one of these plays to watch for your 2nd Play Report. If the link does not work, you will need to sign into Digital Theatre Plus through the Chattanooga State Library Website. Click on the link below for a quick tutorial.

As always, you can choose to attend a live production rather than view one of the options below.

• Link
• Link
• Video
• Link
• Link
• Link
• Link
• Link
• Video
• Video
• Link
• Link
• Link
• Video
• Link
• Link
• Link

This assignment is a mid-term. You will write a 5-6 page (1000-1200 words) essay. The essay will focus on any two of the plays that we have read in class until week 7. You will be responding to the following leads:

Compare and contrast the ways in which your chosen playwrights address the issue of Asian American representation in American popular culture (APC).

Introduce each playwright and present a throughline of their career trajectory. Comment on how Asian American representation in APC has shifted during the career of these artists. What has the contribution of these artists been in the shift over the course of their careers?

Comment on whether and to what extent were you familiar with the work of either or both of your chosen playwrights. Where did you encounter their work? And if you did not, what does that tell you about American theatre education. Please remember, the purpose here is not simply to castigate any culture or educational/cultural institution but rather to introspect into socio-cultural practices that leave create and perpetuate these lacunaes.

I need an evaluation paper on a play . Only 5 paragraphs, 1 margins, Times new roman , double spaced – due Friday 20th I attached pictures of the assignment below.