For Grand Illusion, we asked you to look at aspects of the film that involved camera movement and composition in depth, but for Apocalypse Now, wed like you to identify some parts of the film that use any/and/or all of the film techniques we have been studying for the past few weeks. How does the film use editing, sound, lighting, set design, and composition in depth?

This time Id like you to look at the whole ball of wax and look for mise en scene, framing, use of sound, production design, lighting, editing, all the tools of the filmmaker, and how they are being used in the film to help tell the story and make meaning.

As the first film mixed in Dolby 5.1 Surround, the films use of sound is well known the contrast of loud and quiet sequences, the use of music, and overlapping sound cues, such as mixing the helicopter sounds with the ceiling fan spinning in the opening.

The editing similarly has numerous sequences that the film is known for, from the opening hotel room flashback, not in the script but built wholly in the editing room, to the ending, where a murder is intercut with the slaughter of a cow for symbolism. (This is actually stolen from Sergei Eisensteins first film STRIKE, where the slaughter of striking workers by Cossacks is intercut with the slaughter of cattle.)

Vittorio Storaros cinematography in the film is also well known Kurtz at end of the film is seen primarily in shadow, often only lit by candlelight, showing how that character is on the dark side and the use of camera in the film varies from hand-held footage in some of the combat scenes to give the film to tracking shots that create meaning through composition in depth. Dean Tavoulariss production design and sets similarly create their own meaning, from the Americanesque trailer the generals hole up in at the start of the film to the surreal abandoned temple at the films end. What examples of film technique can you find being used in the film?

The textbook advises (p.307) to Look and listen carefully, and also to Think like a filmmaker why is the director making the choices he/she is making? This is also a good “dry run” for your paper, as you will be doing much the same thing for that. At least 150 words, please, and again, I dont need more than one page.

American Conservatory Theatre of San Franciscos (ACT)

The Taming of the Shrew

Production Response Guidelines

Task — You are to consider yourself a theatre critic (not a reviewer) and set about to understand (describe) and appraise (evaluate) a theatre production. It is important that you develop a thesis to answer the following topic question: Does the ACT production of The Taming of the Shrew have Artistic Value?

As you reflect on the argument of your thesis, you should be prepared to consider:

1. The aesthetics of theatre production: how the elements of theatre including the text, actors, audience, director, space, costumes, scenery, sound and/or lighting elementsare blended into a form that is expressive of the human condition.

2. Support your thesis with research of theatre history (to provide context for choices made in the production). Specifically, use information found in the text pp. 69 (pp 71 10th Ed.; pp 73 11th Ed.) (Stock Characters), 83-86 (pp 87-91 10th ed.; pp pp 89-93 11th ed) (Forms of Comedy), 141-146 (pp 170-175 10th ed.; 172-177 11thed.) (History and Characteristics of the Thrust Stage), 274-281 (pp 326-331 10th ed.; pp 327-337 11th ed.)(Elizabethan Theatre), 223-225 (pp 270-273 10th ed.; pp 275-278 11th ed.) (Roman Comedy), 266-268 (pp 312-315 10th ed.; pp 318-321 11th ed.) (Commedia dellarte). Also, use Chapters 3-9, (Chapters 3-10 10th and 11th ed.)as appropriate.

You may also find it useful to consider the three questions the critic should ask as articulated on pp. 41-42 (pp 43-44 10th ed.; pp 45-46 11th ed.) of your text:

1. What are the playwright and the production attempting to do? (What is being attempted? – 10th-11th ed)

2. How well has it been done? (Have the intentions been achieved? – 10th-11th ed)

3. Is it worth doing? (Was the attempt worthwhile? – 10th-11th ed.)

Format for paper:

1. MLA guidelines for name, date, professor, name of class and title.

2. Papers typed and double spaced. Font size of 12 Times New Roman.

3. Use What is an Essay? handout to write a persuasive essay that is designed to help the reader to understand your appraisal of the production. This includes:

a. 5 paragraph minimum, including introduction, development of at least three paragraphs, and conclusion. Paper should be a minimum of three pages, which is approximately 1,000 words.

b. Place your thesis statement prominently near the end of your introduction.

c. Use topic sentences at the top of each paragraph of the development.

d. DO NOT USE FIRST OR THIRD PERSON VOICE (I, WE,

YOU, IN MY OPINION. State your arguments authoritatively, as if they are FACT.

e. AI Writing tools are not permitted for any stage or phase of work in this class. If you use these tools, your actions would be considered academically dishonest and a violation of Hansens Academic Honesty Policy.

f. Use examples of the three types of evidence:

1. Authority: 3 examples minimum from textbook research and classroom instruction. Cite sources in body of paragraph. Works cited page is not necessary, UNLESS you use an online or other source.

2. Example: 3 examples minimum from the ACT performance and use your Shrew text to identify the specific part of the play to which you are referring.

3. Logic: Logic involves the organization of your ideas within the paper.

The following is a list of possible topics for your development include:

1. The play: (See chapter 3 and 4 for more information): brief synopsis of the story, genre, point of view, or intent of the playwright.

2. The actor (see chapter 5 for more information: how they project character and action through acting style)

3. The director (see chapter 6 for information on unifying vision/concept, casting, staging and blocking)

4. Design elements (see chapter 8 for information on set and costumes (Chapter 9 10th-11th ed), and see chapter 10 for information on lighting and sound).

NOTE: THE LIST ABOVE IS NOT PRESCRIPTIVE. IN OTHER WORDS, YOU MAY USE THIS LIST TO GATHER IDEAS FOR YOUR PAPER. BY NO MEANS SHOULD YOU ATTEMPT TO ADDRESS THESE TOPICS SEQUENTIALLY, LIKE SO MANY ITEMS ON A LAUNDRY LIST. I EXPECT YOU TO GAIN KNOWLEDGE ABOUT THE ELEMENTS OF THEATRE THROUGH CHAPTER READING AND CLASSROOM INSTRUCTION, THEN APPLY YOUR KNOWLEDGE TO YOUR RESPONSE TO THE PRODUCTION. THIS REQUIRES THAT YOU MUST CITE THE TEXTBOOK AND/OR CONTENT FROM VIDEOS AS SUPPORTING EVIDENCE FOR YOUR ARGUMENTS. AI USE IS PROHIBITED.

IMPORTANT DATES for this assignment:

1. DATE ASSIGNMENT GIVEN: Thursday, January 22.

2. DATE CLASS CONTENT FOR THIS PAPER COMPLETED: February 8.

3. Final revision submitted to Canvas by Sunday, March 8.

Grading Criterion A rubric for grading is available on Canvas.

This essay of at least 1,250 words must discuss symbols and metaphors used in Ibsen’s “A Doll’s House” and should include the following components:

1) Discuss the title of the play and the metaphor of Nora as a doll.

2) Discuss the symbolism of the Christmas tree.

3) Discuss the symbolism of Nora’s costume and the tarantella that she dances at the party.

4) Expand your discussion to include other symbols and metaphors throughout the play

Make SURE you have carefully read chapters 19 & 20 AND that you know how to cite quotes from a play — it is NOT the same as citing quotes from a short story or novel!

Play Analysis 1: Blood Wedding, by Federico Garcia Lorca

Description: Read or watch Blood Wedding.

Once that is complete, please create a 2 (full) page paper in which you discuss the play. You may discuss anything you please, whatever you find of importance, however if you are having a difficult time getting started I have provided a prompt which you may feel free to use as a starting point.

Blood is used as a very powerful symbol in this play. It was deemed to be so important that Lorca decided to use it as the title of the play. It was called Blood Wedding. It could have been Bloody Wedding or Murderous Wedding…but instead he chose to keep it at Blood. Why? What is the importance of Blood in this play as a whole?

I am asking you to cover the following in your response paper:

1) Nuts & Bolts who are the authors, designers, characters, and overall plot and design aesthetic.

1. Dont spend too much time on this section.

2) Connect the relationship between artistic elements (music, lyrics, choreography, sets, costumes, lights) and the dramatic ones (plot, story, character arcs).

1. How do these different areas affect your experience? Do they help to tell the story? How so?
2. What areas of production work well together? What areas do not, if any?

This level of decoding asks you to deconstruct the elements above and their relationships to each another as well as their position within the larger context of the shows narrative, historical timeline, etc. Some of the older shows might feel outdated in 2025. Think back to the culture in the decade they premiered. What was going on in American history at that time? You may find some of them were more groundbreaking than you thought!

Preparation:

• Do your background research on the who, what, when, where (this should be straightforward).
• Also include the historical reference what was happening in the world when this came out?
• Is there any connection here?
• Plan to watch the film twice.
• Try to focus on individual elements each time, it will help you take better notes.
• This takes more time, but I know you will find new information the second time you watch.
• Write notes as you watch, both detailed and summary, one-word or phrased thoughts. Pause the movie as needed to do this. Think free association. Dont censor your note-taking or get caught in writing a novel.
• Once you finish the film, spend some time going through your notes while everything is fresh in your mind.
• DO NOT WAIT TO DO THIS.
• Begin to unpack what you wrote down and connect them to your other notes/research.

Make a plan to watch the film again and repeat the above steps, looking for new clues you didnt catch the first time.

Response papers should not exceed one page in length. On Canvas, this translates to approximately 500 words. You may find it easier to write in another software (Google Doc, Microsoft Word) and then transfer your assignment to Canvas.

Papers should follow the same style guidelines as your Discussion Board postings, meaning spelling, language, cogency, and development all count here. Citations should be used when appropriate. Submit directly through Canvas.

WORKSHEET

1) Identify the elements of the show.

1. Title, authors, designers, composers/lyricists, choreographer, year premiered, etc.
2. Characters and plot line(s)
3. Themes = time/place/environment
4. Major incidents or events that the plot revolves around
5. Style/Genre = musical style, sets, costumes, etc.
6. Instrumentation (vocal and orchestral)
7. Use of melody/harmony in solos/duets & ensemble singing.
8. Motif (these are melodies and rhythms that reappear throughout as thematic material)
9. Song Structure and Form (dance breaks, dream ballets, patter songs, I Want songs, etc.)

2) Identify the WHY in #1.

1. WHY do these characters speak/look/act the way they do?
2. How do the music and lyrics reflect the dramatic action in particular scenes and as a whole throughout the movie? Are they specific to a character or a larger theme or idea about the plot?
3. Is the text/music aggressive or sweet to evoke a sensibility? Does the music indicate to you when something is about to happen or just happened?
4. In what ways do specific songs help to construct the arc of a characters story as well as the musical as a whole?
5. How do the different design elements work together (sets, costumes, lighting, etc.) to create a convincing aesthetic? What doesnt work?
6. Describe the way that the story is told and portrayed given the year in which it premiered. What was happening in history during the time and how do the two connect or reject one another?

You will not answer EVERY question on the worksheet above, but use these as a starting point to understand why certain choices were made to enhance the story being told in music & lyrics or other design areas.

I’ve provided the detailed assignment instructions and the grading rubric as PDFs, please review them when writing the film review.

I am asking you to cover the following in your response paper:

1) Nuts & Bolts who are the authors, designers, characters, and overall plot and design aesthetic.

1. Dont spend too much time on this section.

2) Connect the relationship between artistic elements (music, lyrics, choreography, sets, costumes, lights) and the dramatic ones (plot, story, character arcs).

1. How do these different areas affect your experience? Do they help to tell the story? How so?
2. What areas of production work well together? What areas do not, if any?

This level of decoding asks you to deconstruct the elements above and their relationships to each another as well as their position within the larger context of the shows narrative, historical timeline, etc. Some of the older shows might feel outdated in 2025. Think back to the culture in the decade they premiered. What was going on in American history at that time? You may find some of them were more groundbreaking than you thought!

Preparation:

• Do your background research on the who, what, when, where (this should be straightforward).
• Also include the historical reference what was happening in the world when this came out?
• Is there any connection here?
• Plan to watch the film twice.
• Try to focus on individual elements each time, it will help you take better notes.
• This takes more time, but I know you will find new information the second time you watch.
• Write notes as you watch, both detailed and summary, one-word or phrased thoughts. Pause the movie as needed to do this. Think free association. Dont censor your note-taking or get caught in writing a novel.
• Once you finish the film, spend some time going through your notes while everything is fresh in your mind.
• DO NOT WAIT TO DO THIS.
• Begin to unpack what you wrote down and connect them to your other notes/research.

Make a plan to watch the film again and repeat the above steps, looking for new clues you didnt catch the first time.

Response papers should not exceed one page in length. On Canvas, this translates to approximately 500 words. You may find it easier to write in another software (Google Doc, Microsoft Word) and then transfer your assignment to Canvas.

Papers should follow the same style guidelines as your Discussion Board postings, meaning spelling, language, cogency, and development all count here. Citations should be used when appropriate. Submit directly through Canvas.

WORKSHEET

1) Identify the elements of the show.

1. Title, authors, designers, composers/lyricists, choreographer, year premiered, etc.
2. Characters and plot line(s)
3. Themes = time/place/environment
4. Major incidents or events that the plot revolves around
5. Style/Genre = musical style, sets, costumes, etc.
6. Instrumentation (vocal and orchestral)
7. Use of melody/harmony in solos/duets & ensemble singing.
8. Motif (these are melodies and rhythms that reappear throughout as thematic material)
9. Song Structure and Form (dance breaks, dream ballets, patter songs, I Want songs, etc.)

2) Identify the WHY in #1.

1. WHY do these characters speak/look/act the way they do?
2. How do the music and lyrics reflect the dramatic action in particular scenes and as a whole throughout the movie? Are they specific to a character or a larger theme or idea about the plot?
3. Is the text/music aggressive or sweet to evoke a sensibility? Does the music indicate to you when something is about to happen or just happened?
4. In what ways do specific songs help to construct the arc of a characters story as well as the musical as a whole?
5. How do the different design elements work together (sets, costumes, lighting, etc.) to create a convincing aesthetic? What doesnt work?
6. Describe the way that the story is told and portrayed given the year in which it premiered. What was happening in history during the time and how do the two connect or reject one another?

You will not answer EVERY question on the worksheet above, but use these as a starting point to understand why certain choices were made to enhance the story being told in music & lyrics or other design areas.

I’ve also provided the detailed assignment instructions and the grading rubric as PDFs, please review them when writing the film review.

ngage with at least two scholarly articles or two substantial chapters/sections from a longer academic work. Include at least six block quotations (58 sentences each) drawn from these sources. Each block quotation must be accompanied by: o A clear explanation of the critics argument and relevant context o At least 2-3 paragraphs of detailed analysis and interpretation Each group member must submit at least 750 words of original interpretation and analysis that brings the relevant secondary material into conversation with the play. These quotations and analyses should be integrated into both your presentation and the written materials you submit.

Movie musicals have been around since the early days of film production, blending two art forms, the stage musical and the motion picture. Many of these musicals are revived for contemporary audiences, but are a great way to watch musical theatre without the high ticket prices! In 2025, we also see stage musicals being recorded with a live audience straight from the theatre for at-home viewing (Hamilton, etc). These film reviews are designed to get you thinking about how the different aspects of musical storytelling come together to make a cohesive (or not in some cases) show for the viewer. Some are truly classics, while others can feel flat or outdated, even though they premiered in a contemporary society.

I am asking you to choose one from the list below and to cover the following in your response paper:

• Nuts & Bolts who are the authors, designers, characters, and overall plot and design aesthetic.
• Dont spend too much time on this section.
• Connect the relationship between artistic elements (music, lyrics, choreography, sets, costumes, lights) and the dramatic ones (plot, story, character arcs).
• How do these different areas affect your experience? Do they help to tell the story? How so?
• What areas of production work well together? What areas do not, if any?

This level of decoding asks you to deconstruct the elements above and their relationships to each another as well as their position within the larger context of the shows narrative, historical timeline, etc. Some of the older shows might feel outdated in 2025. Think back to the culture in the decade they premiered. What was going on in American history at that time? You may find some of them were more groundbreaking than you thought!

Preparation:

• Do your background research on the who, what, when, where (this should be straightforward).
• Also include the historical reference what was happening in the world when this came out?
• Is there any connection here?
• Plan to watch the film twice.
• Try to focus on individual elements each time, it will help you take better notes.
• This takes more time, but I know you will find new information the second time you watch.
• Write notes as you watch, both detailed and summary, one-word or phrased thoughts. Pause the movie as needed to do this. Think free association. Dont censor your note-taking or get caught in writing a novel.
• Once you finish the film, spend some time going through your notes while everything is fresh in your mind.
• DO NOT WAIT TO DO THIS.
• Begin to unpack what you wrote down and connect them to your other notes/research.

Make a plan to watch the film again and repeat the above steps, looking for new clues you didnt catch the first time.

Response papers should NOT exceed one page in length.

WORKSHEET

1.Identify the elements of the show.

• Title, authors, designers, composers/lyricists, choreographer, year premiered, etc.
• Characters and plot line(s)
• Themes = time/place/environment
• Major incidents or events that the plot revolves around
• Style/Genre = musical style, sets, costumes, etc.
• Instrumentation (vocal and orchestral)
• Use of melody/harmony in solos/duets & ensemble singing.
• Motif (these are melodies and rhythms that reappear throughout as thematic material)
• Song Structure and Form (dance breaks, dream ballets, patter songs, I Want songs, etc.)

2.Identify the WHY in #1.

• WHY do these characters speak/look/act the way they do?
• How do the music and lyrics reflect the dramatic action in particular scenes and as a whole throughout the movie? Are they specific to a character or a larger theme or idea about the plot?
• Is the text/music aggressive or sweet to evoke a sensibility? Does the music indicate to you when something is about to happen or just happened?
• In what ways do specific songs help to construct the arc of a characters story as well as the musical as a whole?
• How do the different design elements work together (sets, costumes, lighting, etc.) to create a convincing aesthetic? What doesnt work?
• Describe the way that the story is told and portrayed given the year in which it premiered. What was happening in history during the time and how do the two connect or reject one another?

You will not answer EVERY question on the worksheet above, but use these as a starting point to understand why certain choices were made to enhance the story being told in music & lyrics or other design areas.

THE LIST

42nd St

A Funny Thing Happened On The Way To The Forum

Allegiance

Bandstand

BKLYN – The Musical

Cats

Chicago

Company

Falsettos

In the Heights

Jesus Christ Superstar

Kinky Boots

Legally Blonde

Les Misrables

Sweeney Todd

In this assignment, you will write a reflective critique of one devised theatre performance you have experienced from our class syllabus. You may choose between: Its True, Its True, Its True by Breach Theatre, Othello by Frantic Assembly or TOUCH by Frantic Assembly.

First, consider what elements of devised theatre were present in the work, how the performance made you feel, and what you believe the artists intentions were.

Finally, reflect on how this performance influences your own artistic practicewhat elements you would like to use, adapt, or inspire your own devised theatre work. This critique should focus on thoughtful reflection and synthesis rather than summary. You are welcome and encouraged to cite any additional articles and readings to solidify your own viewpoints, but this is not a research paper. If you do cite any additional sources, please attach them as a works cited in MLA format.

Word Count: 1000 words (+/- 200)

for my monologue I need you to follow the directions and I want you to write about a girl who just turned 18 the day of the Lahaina fires and how she lost everything, is an only child and fighting to survive with her family during during this hardship with her town and loss within her family. Her parents are still together, she lost a pet, has to move from her home, lost completely everything, and doesnt know what to do and how shes sad on her birthday. She lost friends too and expand on it. I need the monologue to be 250 words and to separate that with a 350 word explanation of the character and an outline of everything about the character make her sad and fleshed out. The monologue should be 250 words long with a 350 word explanation (+/- 10%) of your process = 10% of final grade. Assignment guidelines: Referring back to the playwriting lecture and writing exercises, as well as the selected text from Elements of Playwriting and monologue writing workshop lecture (all in week 3), and the acting lecture from week 4, in this assignment you will create a character, drawing inspiration from yourself, people you know, television, etc. This character should be fully fleshed out, with a clear backstory, goals, obstacles, and relationships to other characters in the universe of the monologue you are drafting. Knowing who your character is before the play starts makes it easier to understand why a character pursues the goals and objectives they pursue (both internal and external). Examining a character’s physical, social, psychological, and moral qualities (background) helps us understand relationships, tensions, and crises in the play and why they matter. – Particularly, this assignment asks you to (re) build your character’s background, answering the basic questions: Who is this character, who are they talking to in this scene, and what do they, want from them? – Brainstorm the character’s background: an exploration of her/his/their physical, social, psychological, and moral qualities which might help us see your character’s life prior to the play’s start. This involves also the character’s environment: Where and when they raised, for example, and under what conditions? Hobbies, talents, skills, flaws… economic class,. sexuality, gender, spirituality, family, major life events, dreams, fears, secrets… all shape character. It will be easiest for you to write if you write the familiar! Selectively choose what information is revealed in this scene and what isn’t. What exposition can be delivered that helps your character achieve their goal? What information might be under the surface but not immediately apparent? how is exposition and revealing information delivered? Is it through what the character says, or what the character the person is talking to says? Is your character responding to the other character’s accusations, seductions, deflections, etc.?: It helps if you think of the other character and how they might be responding non verbally during the monologue. People are always reacting, even when we don’t hear them speak! Think of actions!: What is your character doing during the monologue? Knitting, going through the trash, trying to seduce the other character, feeding a baby, etc. Grading criteria: The monologue focuses on one unique character reveals information about the character and the world they live in explores a character’s physical, social, psychological and moral qualities and formative environment/s; Has a clear person the character is speaking to (onstage (for example, character’s brother, coworker, etc.) or the audience) Is properly named and . in the correct file format, and is not written like a novel, screenplay, or another form that is not a theatre/stage monologue is written by YOU The process Talks about how you generated these ideas, narrowed down, exercises that helped you write/brainstorm, what you tried to capture with this monologue: the scene, the characters) (goals, obstacles, background) talks about your challenges or successes- a reflection of your process meets the length requirement (see above); is submitted on time (see above). Is written by you cites any sources you used for brainstorming or research in MLA format. If one of these sources is Al, a full chat log is required in addition to the appropriate MLA citation Feedback is constructive and respectful is submitted on time (see above). Everything Is relatively free of spelling, typographical, and grammatical errors. If spelling is intentional for a character’s speech, it should be noted in the process. Add