Physical Theatre Essays

Physical Theatre Essays Physical Theatre Essay Physical Theatre Essay Physical Theatre History: * Physical theatre is a catch-all term to describe any performance that pursues storytelling through primary physical means * The term â€Å"physical theatre† has been applied to performances consisting mainly of: 1. Mime 2. Contemporary dance 3. Theatrical clowning and other physical comedy 4. Some forms of puppetry 5. Theatrical acrobatics * Modern physical theatre has grown from a variety of origins.Mime and theatrical clowning schools such as L’Ecole Jacques Lecoq Paris, have had a big influence on many modern expressions of Physical Theatre. * Another tradition started with the very famous French master  Etienne Decroux  (father of  corporeal mime). Decrouxs aim was to create a theatre based on the physicality of the actor allowing the creation of a more  metaphorical theatre. This tradition has grown and corporeal mime is now taught in many major theatrical schools. Legacy: Physical theatre had become such a big phenomenon today, being shown in movie such as â€Å"Stomp the Yard† and â€Å"Step Up† as well as huge worldwide productions such as â€Å"Wicked†, â€Å"Cirque de Solei† and â€Å"Hairspray† * We are the building block of the movement of physical theatre.Techniques: * Important theatre directions such as Vsevolod Meyerhold,  Jerzy Grotowski,  Eugenio Barba,  Ariane Mnouchkine  and  Tadashi Suzuki  all explored and developed a variety of intense training techniques for their actors, that were intended to liberate actors and audiences from boring and unstimulating performances. They argued that a performing body should be an instrument of expression that has unique rhythms and patterns that must be amplified, developed and mastered before a performance can be viewed as effective. * They also advocated a variety of training regimes and exercises to develop what they believed were important connections between the communication of physical and emotional tr uth in actors and many of their suggestions have been taken up by acting schools in a number of countries.

IT IS THE DRUGS THAT MADE ME DO IT Essay Example | Topics and Well Written Essays - 3000 words

IT IS THE DRUGS THAT MADE ME DO IT - Essay Example In claiming that their addiction led someone into a life of crime is a fallacy, at best. Criminal behaviour, like drug abuse, alcohol abuse, truancy, spousal abuse, promiscuity, and other risky behaviours are all lifestyle choices. One does not cause another. The confusion and misconception that has surrounded this notion for years lies in the fact that often risky behaviour such as drug abuse and criminal behaviour are, along with other behaviours, found in the same groups of people – those who chose this type of life for themselves. In the following report, conclusive proof is respectfully presented to the court which conclusively proves that heroin abuse doe not cause a person to commit a crime. Criminal behavior is a deliberate lifestyle choice. The cost of drug abuse and known crime is huge; however, as will be shown shortly, much of the drug related crime either goes unreported, unsolved or not connected to drug abuse. The problem is pervasive both in the UK and within the United States. As early as 1998 it was estimated that in the UK alone the cost of drug offenders within the criminal justice system was conservatively set at  £1 billion per year, and that is just the beginning. Police in the UK estimate that approximately 50% of the drug related crime is hidden.1 This will be shown in detail shortly, but, in effect, either drug related crimes are not reported, are not solved, or the offender is convicted of the crime but it is not linked to drug abuse. The relationship between drug abuse and criminality has been noted empirically since the 1960s. However, it was not until the following decade that the extent and nature of this causal relationship began to be understood. As early as 1974 Greenberg and Adler’s study concluded that heroin use could not be linked to criminal behaviour as the vast majority of the subjects in their study possessed a long history of

Transition from Military to a Democracy Rule in South Korea Research Paper

Transition from Military to a Democracy Rule in South Korea - Research Paper Example This paper considers the process of successful transition from a military dictatorship regime to a democratic led nation in South Korea. It attempts to study that process and give an explanation to success of that transition, that brought economic prosperity to the country. The history of the path to democracy in South Korea began in the year 1945 when the country liberated itself from colonial rule by the Japanese. Economic development was envisaged to pick soon after. However, the postcolonial period saw a shift from Japanese led colonial leadership to an authoritarian rule, also referred to as a strong state. This shift was mostly fuelled by political divisions in the period after liberalization and the Korean War. The continued authoritarian rule elicited country wide protests, which continued to gain support and momentum as the strong state ideology also continued to widen and deepen. The protests were in favor of democratization, with the protestors demanding the adoption of democracy in governance, and consequently formed a resistance union, called the democratization movement’s resistance. Increased confrontations and resultant clashes between the pro democracy and the authoritarian rule parties led to the start of the journey to democracy which was characterized by a series of movements. These include the 1960 revolution which took place on April 19th, the uprising of 1980 popularly known as the Gwangju Popular Uprising, and lastly the 1987 June Democratic Uprising. The direct and democratic election of Kim Dae Jung as president of South Korea in 1997 propelled the country into a state of political and economic stability signifying the strong correlation that exists between democracy and economic development.

You choose a topic Case Study Example | Topics and Well Written Essays - 750 words - 1

You choose a topic - Case Study Example High cost of drug abuse in work place is also a justification for workplace drug testing. The propensity of drug abuse in work place increases randomly the operational cost in an organization. Drug abuse in workplace reduces employees’ productivity, it also increases the insurance premium, and it as well leads to the increase in the number of employees who are fired or die as a result of drug abuse. Drug abuse in workplace also increases the administrative cost; it leads to decline in employees’ morale, increased theft cases, damage of properties in workplace as well as tarnishing the company public image. All this negative effect affects unconstructively the organization performance. To maintain the required performance in an organization, frequent workplace drug test is extremely critical. Workplace drug testing is also justified by increased conspicuous accidents resulting from drug abuse. The 1982 accident on the USS Nimitz was as a result of workplace drug abuse. Other accidents that are related to workplace drug abuse also include the 1987 locomotive accident which caused death of sixteen people while other 176 were injured. In 1989 large oil tanker spilled million of crude oil into water bodies in Alaska. The split led to the loss of animal life as well as the destruction of social and economic structure in the area. All this accident was a result of drug abuse in workplace. These accidents led to the introduction of omnibus transportation employees Act of 1991. The Act required alcohol and drug testing to all transport employees (William, 2002) The workplace drug testing has been blamed vehemently for violating employees civil rights. Drug testing especially urine test is seriously condemned for violating individual privacy rights. To avoid false positive results, employees are requested to state all the over –the- counter drugs and other prescriptions used within the last thirty days. This requirement exposes

The Navy Offers Better Job Benefits Than Civilian Jobs Essay Example for Free

The Navy Offers Better Job Benefits Than Civilian Jobs Essay Basic Thesis The Navy job gives more benefits than any civilian job. The Navy cares of its sailors. On enrolling, sailors will get an impressive array of benefits design to keep them healthy, comfortable and safe. The most distinguished part is that all of these previliges are above and beyond   Navy pay and grant. Health Benefits11 Two words — complete exposure. One other fringe benefit for on job Naval presonnels a is the complete healthcare exposure they get at all armed forces hospitals and dental benefits. If any one type of precise assistance were not obtainable, you would get a recommendation to where you require to go. This would also be included by Navy’s healthcareplan. Anytime there is any emergency or medical problem, visit neighboring medical benefit. Once a command has been reported to, the serviceman will be alloted a basic care physician, who can be a Navy doctor or a civilian physician. (Conway and Susan, 1990) Salary Benefits If the serviceman are searching for a occupation that offers him with much more than a only a salary, then the Navy is the place. Additionally to base pay, the Navy provides: Living lodgings or housing grant Free of cost dining assistances or food grant A uniform grant Complete healthcare benefits Additionally, Sailors at few duty stations are eligible for additional Cost of Living Grant (COLAs). When the serviceman add it all up,   pay in the Navy will be accumulate to much more than the similar pay in a civilian job where   basic requires aren’t already included. Job Guarantee The Navy offers excellent job guarantee. When the serviceman sign   bond with the Navy, it also signs one with the serviceman. The Navy assures to give the serviceman the training the serviceman require and put the serviceman in positions where the serviceman will be dared and can excel. The Navy assures to let the serviceman develop   management skills. And the more the serviceman give to the Navy, the more is returned by the Navy to the serviceman. (Conway and Susan, 1990) Employers will have strong incentives to hire the serviceman since the serviceman will have both excellent training and hands-on experience under   belt. Whilst in the Navy, the serviceman will learn both how to direct and how to implement the orders from seniors, allowing the serviceman to move into a range of positions. The character, sincerity and individual qualities developed whilst in the Navy are appealing to most employers. Family Benefits By enrolling the Navy family, the serviceman provide benefits for   family too. If the serviceman are married, with or without children, the serviceman can count on the Navy to care for the serviceman care for   family. First is the guarantee of a Navy job. Then there is the closeness of the Navy society — even if the serviceman are away from home, the Navy provides a strong support system for   family. And the quality of life in armed forces housing is exceptional. The Navy also provides the serviceman and   family housing and medical care. The serviceman can live on base or get a housing grant to live in an off-base house or flat of choice. Living on base offers perks same as residing in a gated society: guarantee, safety, cleanliness and a friendly, open environment. They are also constructed with the ease of the residents in mind. Wherever in the world the serviceman are stationed, the serviceman will find all the comforts of home: theaters, libraries, schools, day care and places of worship to say some. In short, living on a Navy base is no different from living in any civil society in America. Travel The Navy is a great way to explore the world, though there is frequently additional to see than the serviceman can get to. In the Navy, the serviceman get a chance to travel even when the serviceman’re not aboard ship. The Navy’s fantastic travel benefits begin with time off. Sailors get 30 days of paid leave annually. That’s a complete month throughout which the serviceman can relax, visit family — or travel to new places. It is easier to go places than the serviceman might imagine. Sailors can travel on armed forces flights around the world for free of cost on a standby, space–obtainable basis. If there is space on a flight going   way, the serviceman can get aboard. Additionally, as an active-duty member of the armed forces, the serviceman will often be qualified to reside in base lodging anywhere in the world. This includes lodging at any armed forces benefit, not only at the Navy’s, usually at a cost much lower than the serviceman would find at a hotel off base. Retirement When the serviceman decide to leave the Navy, the serviceman will continue getting assistance as a Navy expert. This can include the assistances of the Experts Administration in terms of finding job or schooling, no-money-down and low interest loans for new homebuyers, special hiring for government jobs, and receiving of Montgomery G. I. Bill money for school if the serviceman decide to contribute throughout enlistment. If the serviceman make the Navy   profession,   retirement benefits will be far greater. The serviceman will get generous retirement pay, and the serviceman will continue to get medical perviliges and on-base shopping benefits similar to those the serviceman enjoyed whilst on duty. Education The Navy emphasis a lot of importance on education. The Navy supports all Sailors to carry their education. To care for the serviceman, the Navy offers fund for college, means to pay off student credit debts, and also offers college classes on ships and bases. References Conway, Terry L. and Woodruff, Susan I. (1990) Perceived Quality of Life and Health-Related Correlates among Men Aboard Navy Ships; Armed forces Psychology. Volume: 2. Issue: 2. Pg 79.

Bicycle Thieves (1948) and Umberto D (1952) Analysis

Bicycle Thieves (1948) and Umberto D (1952) Analysis Two films from the neorealism movement are Bicycle Thieves (1948) and Umberto D (1952) both directed by Vittorio De Sica. Both films in their own way show the real-life hardships that were faced during this time of poverty and more particularly show it from the point of view of normal everyday people. The most pronounced thing about neorealism that sets it apart from other cinematic movements is its birth from necessity. During a time when everything was scarce films were produced using whatever was at hand, filming out on the streets and using non-professional actors, a reason why these films are so genuine in their authenticity. They dont show the past or the future they show the struggles of the present.[1] Vittorio De Sica said his goal was to look for the dramatic in ordinary situations, the wonderful in the smallest, the tiniest news item, in the material everybody considers insignificant. It was with this goal in mind that he created Bicycle Thieves. This film is a key example of the neorealism movement and can be argued to be the most notable. It shows the journey of a man and son as they search for his stolen bicycle. A bicycle which is key in the father getting the job he needs to support his family during a time in which jobs were scarce. This bicycle represents their livelihood and stealing the bicycle also steals this familys hope of surviving.[2] Bicycle Thieves can be described as shockingly authentic in two main ways; the way in which the film has been shot and the message that the narrative expresses. Figure 1 Bicycle Thieves (1948) At the start of the film we see the husband and wife pawn their bedding to be able to get their bicycle back, here De Sica gives us a glimpse of not just our on-screen family, but others when he shows the shot of the high shelves completely full of bed sheets as shown in Figure 1, each representing a family which has done the same. It shows the amount of people that were in poverty after the war and that there is a harsh reality outside this world that De Sica shows us. A reason why his films were so impacting is that he released films based on the post-war era during the post-war era. A time when the audience themselves may have had to pawn something to support their family. Filming at this time meant everything was scarce, films in the post-war era were created using the bare necessities. We can see this through Bicycle Thieves as its it almost completely filmed out on location and any inside shots are cramped, De Sica was also known for his use of non-professional actors, another way of making use of what was available and at the same time making his characters more believable.[3] When looking at the Mise-en-Scà ¨ne of the film De Sica uses very little expressive camera techniques, tending just to show straight on, wide and mid shots; apart from this scene with the bed sheets which is taken from a low angle and pans up as if to express the largeness of the scale of the shelves. He just shows the scene for what is happening and communicates mostly through the narrative alone. There are few interesting camera movements to catch the audiences attention and no more than simple cuts between scenes. The scenes in Bicycle Thieves tend to be long takes as if De Sica is trying to keep cuts to a minimum, this could explain his fondness for wide shots as it allows more actions to happen in the frame, these long shots also allow for a lot of background movement to be in the frame in these real-life locations expressing De Sicas wish to show the outside world. He also relies on natural lighting while filming out on location. These techniques, or lack of, work together to show the films authenticity.   De Sica takes us on a journey of ups and downs in the search for the bicycle and the relationship between father and son, the addition of the son is very important in expressing this shock authenticity. A child adds sentiment with their innocence and makes an audience more emotionally invested in the film. We see throughout the film however, a strange relationship between them. Antonio ignores Bruno throughout the film, being so set on his search for his bicycle and young Bruno is there to witness his father at his lowest point. De Sica avoids the idea that Antonio should realise that his son is whats important, not the bicycle. This ignorance could be De Sica showing that this is not a luxury that the poor can afford.[4] Knowing his fate is directly proportional with his fathers and that of the bike shows a harsh reality of the time, that not even children were not safe from the hardships of the post-war era. De Sica gives us reprieve from the bleakness of the narrative by introduci ng short moments of happiness, such as our main character Taking his son out for lunch. It almost seems they can forget their troubles for a moment, however the table next to them with the multiple servings of food break them from the illusion. This parallels the unjust support the bike thief receives from his neighbours, whereas the innocent man from which it has been stolen is the one who truly needs it for survival, it shows the unfair world of the post-war era.[5] The end scene is the most defining for our main character. He looks around him at a sea of bicycles and he lowers himself to do what has been done to him throughout the entirety of the film. it gives us an idea that no one at this time is below the acts of others, this era has driven this man to do what he initially found immoral. During our ending scene, we see the owner of the bike let him go when he sees the young boy, showing his understanding of the hardships of others and that the end of the day everyone is in so me way in the same boat. Father and son inevitably walk home defeated, De Sicas brutal honesty lasts through to the end, he doesnt shy away from the harsh reality, he makes this film shockingly authentic by showing that happy endings arent inevitable in real life. De Sica continued to work in the neorealism movement and moved onto the film Umberto D. This film has recognisable similarities to Bicycle Thieves in the way both were filmed and the fact that they both show the struggles of the time. We see the main character Mr Umberto being thrown out of his home by his indifferent land lady. A man who comes into solitude apart from his dog. There is an idea through Umberto D of the wish of the main character to live his life by his own terms, with dignity, and being unable to. He is left with no home, no family and no health. Although the narrative of Umberto D is different it still portrays the same era as Bicycle Thieves and can also be described for its authenticity. When It comes to using the bare necessities, this is where we see the greatest similarities. Umberto D also uses real locations for filming as well as non-professional actors, they make use of everything around them with a budget that was most likely close to nothing, again portra ying an authenticity for the time.[6] Looking at Umberto Ds Mise-en-Scà ¨ne we see a little more expression through camera work but not a lot. An example would be the scene where Mr Umberto looks out of his window and we see the sudden zoom in on the street below with this hard hit of non-diegetic music to accompany it. This was De Sicas way of showing the thoughts of our main character, that he has this sudden idea of jumping to his death rather than live in this world he feels he has no control over. Again, De Sica tends towards wide shots and mid shots, showing the streets that hes filming in, showing the people and including the outside world. De Sica again uses simple cuts in between his scenes and opts for long takes which these wide shots manage to capture with the odd pan to include the surroundings more. In accordance with the neorealism movement Umberto D takes advantage of natural lighting whilst out on location, one of the bare necessities and making the most of what was available. Figure 2 Umberto D (1952) When It comes to the characters that De Sica portrays they arent loved for their perfection or their beauty. Mr Umberto is left with only his dog and a maid who has her own troubles. He is almost completely alone. This movement means a camera that shows things for exactly how they are, the character if Mr Umberto isnt romanticised yet he is loved by the camera and it sticks with him through an ordinary experience.[7] The actor himself is one which was chosen from a sea of thousands, like this opening scene in Figure 2, showing the men marching demanding fair pension, any one of them could have been De Sicas muse, all of them in a way are Mr Umberto. This would be the first and last film that this non-professional actor would play and yet this man manages to create such an emotion because he is authentic, and this is what the camera captures.[8] Like in Bicycle Thieves we see a character going on a journey, however, in bicycle thieves it is a journey looking for life whereas Umberto D focusses on a man searching for his death. This is however complicated by his dog Flike which he loves above anything else. He cant bear to abandon him. He finds himself at times having to beg on the street something which he cant stand to do himself, hence using Flike, but even when Flike is recognised by an acquaintance he claims he is only messing around in the hopes of saving his own dignity. Mr Umberto represents the middle class, one which is concerned with the protection of outward appearances. He is more afraid looking poor than actually being so.[9] Everything is taken from him so only Flike and his dignity remain, he represents a character which doesnt want to be defined a nuisance by a post-war society. A society which already sees a group of men marching down the street in protest as a pest. In the ending scene, we see Mr Umberto walking straight onto the rail tracks with Flike with the intention of ending both their lives, this is accompanied by dark music and an accompanying atmosphere. However, last minute Flike jumps out of his arms and Mr Umberto chases him, missing the train that would have ended his life. In chasing after Flike Mr Umberto chooses life. The music in changes from one of despair to one of buoyancy, for the first time in the film we see a happy and carefree Mr Umberto as he jogs off into the distance with Flike, escaping the manipulation of society and showing an understanding that his fate Is truly in his own hands. Even though the ending is ambiguous it leaves an audience with hope, a different yet preferable ending to that of Bicycle Thieves. One which shows that even though an individual may feel hopeless for a time they may find themselves again in the end, a true reflection of the damage yet survival of the war (Lu, 2010).[10] In conclusion both these films capture a true authenticity for the time that they were released. Since the neorealism movement meant filming using a scarcity of resources and a reliance on real world locations, and the fact that both narratives tell stories that were incredibly impacting and realistic for this time. So much so that they could be described as documentary like in their depiction of real places and real people. References Bradshaw, P. (2008). Film review: Bicycle Thieves. [online] the Guardian. Available at: https://www.theguardian.com/film/2008/dec/19/film-review-bicycle-theives [Accessed 3 Mar. 2017]. Eggert, B. (2009). Umberto D.. [online] Deep Focus Review. Available at: http://deepfocusreview.com/definitives/umberto-d/ [Accessed 4 Mar. 2017]. Haaland, T. (2009). Bicycle Thieves (Ladri di biciclette) (review). Project Muse, [online] 16, pp.463-465. Available at: http://muse.jhu.edu/article/263879 [Accessed 3 Mar. 2017]. Hamzaki, Z. (2010). The Bicycle Thief. [online] Twocentsworthafilm.blogspot.co.uk. Available at: http://twocentsworthafilm.blogspot.co.uk/2010/06/bicycle-thief.html [Accessed 3 Mar. 2017]. Kartal, E. (2013). Defining Italian Neorealism: A Compulsory Movement. Cinej Cinema Journal, [online] 2.2(2158-8724). Available at: http://cinej.pitt.edu [Accessed 4 Mar. 2017]. Lannone, P. (2016). Deep focus: The roots of neorealism | Sight Sound. [online] British Film Institute. Available at: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/roots-neorealism [Accessed 4 Mar. 2017]. Lu, J. (2010).  » Film Analysis on Umberto D. Media Studies. [online] Jennylu.qwriting.qc.cuny.edu. Available at: http://jennylu.qwriting.qc.cuny.edu/2010/10/21/film-analysis-of-umberto-d/ [Accessed 4 Mar. 2017]. Snyder, S. and Curle, H. (2000). Vittorio De Sica. 1st ed. Toronto: University of Toronto Press. [1] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [2] Pasquale Lannone, Deep Focus: The Roots Of Neorealism | Sight Sound, British Film Institute, 2016 [accessed 4 March 2017]. [3] Zulfiya Hamzaki, The Bicycle Thief, Twocentsworthafilm.Blogspot.Co.Uk, 2010 [accessed 3 March 2017]. [4] Peter Bradshaw, Film Review: Bicycle Thieves, The Guardian, 2008 [accessed 3 March 2017]. [5] Torunn Haaland, Bicycle Thieves (Ladri Di Biciclette) (Review), Project Muse, 16 (2009), 463-465 [accessed 3 March 2017]. [6] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [7] Stephen Snyder and Howard Curle, Vittorio De Sica, 1st edn (Toronto: University of Toronto Press, 2000). [8] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [9] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [10] Jenny Lu,  » Film Analysis On Umberto D. Media Studies, Jennylu.Qwriting.Qc.Cuny.Edu, 2010 [accessed 4 March 2017].

Kustom Kar Kommandos :: essays research papers

The movie Kustom Kar Kommandos is an intriguing look at the relationship between a man and his car. The film, being only about 3 minutes long, is filled with many points of thought involving the nature of this relationship. The short itself is about a man simply buffing and admiring his car, but with the use of music, fades, and slow pans this becomes an erotic event.   Ã‚  Ã‚  Ã‚  Ã‚  Playing â€Å"Dream Lover† from the start, Kenneth Anger has found the sensual side of communicating with an automobile, while still keeping the movie free of blatant symbolic imagery. The scene of the short is a very plain stage. A pink backdrop with no props other than the car, our attention is already focused to the action to be presented. The shots are very slow and very smooth, with fade’s and dissolves used abundantly for the transitions. The panning is done at a very slow pace, with the polishing being done at about the same speed. What could be only a few quick shots of a man have been dragged out into 3+ minutes of care and love to the car. The buffing rag itself is virginally white, having never seen any dirt on the car. Everything in the scene leads to a very innocent, sensual theme that Anger expresses so well in his cinematography.   Ã‚  Ã‚  Ã‚  Ã‚  The hints of sexuality appear as soon as the first shot comes onscreen. The fluffy white buffing rag caressing the body of the car ever so slowly, it then finds its way to two shiny circular (and very breast-like) objects that are part of the car’s engine. Moving from the body to these two â€Å"breasts†, the buffer never wavers, never slipping up in its quest to polish every inch of the car’s body and engine. Immediately afterwards, and in the same pan, the camera finds a hood ornament of a man sitting down (and apparently fishing) with a very phallic fishing rod projecting out in the silhouette. It is shots like this that give the short its erotic undertone.   Ã‚  Ã‚  Ã‚  Ã‚  Another interesting aspect of the film is the ambiguity of the man polishing the car. The shots are all done very carefully, so that the man’s face is never seen until the very end of the short. At one point it goes to a close up of the body being buffed, with a fairly revealing reflection of the man, but not his face.