...THE VISION & MISSION: The vision is to establish a “world class-nucleating centre of achievement.” UITS offers undergraduate and graduate degrees in liberal arts, law, business and ICT with the aim of meeting the national and international market demands. The Mission of the university is to achieve the redefined goals of higher education and sustainable economic growth of the country through a tripartite relationship between itself, industries and reputed universities and institutions at home and abroad. PROGRAM OBJECTIVES: ❑ To reinforce the skills of listening, speaking, reading and writing; ❑ To develop the skills of students in the use of idiomatic English and the capability of expressing ideas and thoughts in English; ❑ To develop and reinforce communicative interaction; ❑ To introduce the understanding of western philosophy and ideas and their influence on literature; ❑ To introduce classical literature, the Greek myths, the Bible and other writings which have influenced English literary works; ❑ To introduce and refine the understanding of American literature with emphasis on some selected literary works; ❑ To increase the appreciation of Bangla literature and culture among students and to develop their ability to relate experiences from English and American literature to Bangla literary works; ❑ To deepen students’ awareness of the universal concerns that are the basis of literary works; ❑ To stimulate a greater appreciation of language as...
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...Arellano University College of Arts and Sciences 2600 Legarda st. Sampaloc Manila Library Research Submitted to: Mrs. Acibo Submitted by: Dalia B. Sabucor I. Introduction II. Presentation of Data III. Conclusion IV. Insights Gained V. References I. Introduction Drama Throughout the middle ages, drama and theater only dealt with sacred subjects, such as biblical stories. Profane drama was either unheard of or only performed in burlesque. Classical dramatists were virtually unheard of in the middle ages. All the great dramatists of antiquity, such as the Greek playwrights Sophocles, Aeschylus, and Euripides, and the Roman comedy writers such as Plautus and Terence, were only discovered by humanists in the Renaissance. Although classical drama is more read and studied in the modern period than other classical literature, in the Renaissance it was a distinct last place to epic poetry, lyric poetry, and philosophy. So drama isn't well represented in Renaissance literature. The first dramatist to imitate classical models in Italy was Giangiorgio Trissino, who was a wealthy humanist with an encyclopedic knowledge. Among other things, he was famous as a Neoplatonic philosopher and poet. He, like many others, attempted to write an epic poem, L'Italia liberata dai Goti (Italy Liberated from the Goths) which, though it's a poem about Justinian's reconquest of Italy, is mainly an encyclopedia of...
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...What is drama therapy? The central idea of drama therapy is the deliberate use of drama or the therapy process to help achieve therapeutic goals. This approach allows the child to tell their stories freely, it helps those set goals and solve problems and not forgetting, express their feelings in a creative manner. Theorist such as Peter Slade and Brian Way has laid the ground work of drama therapy. They helped shift the idea that creative drama is only meant for the classroom and moved it into other settings. These imaginative people began their works way before therapy of any sort was known. They ideas and theories have come a long way in the 21st century. Dealing with children is a very delicate task. The manner in which they are handled can either repair them or scar them forever. Although children seem to have similar face valued common trait, each child are not the same and they have to be handled differently. Being children, they have not yet experienced life therefore all of these emotions and feelings that they are going through are new to them and in most cases it becomes overwhelming that they do not know how to handle it all. Years ago, children who have suffered from things like child abuse or even neglect had only one option available to them and that was a direction interaction with a counselor or psychologist. This direct approach where though to help ‘heal’ the child by talking and explaining to them what, why and how to feel differently. However, times have...
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...theater season: the National Theater of Greece’s Medea, Joanne Akalaitis’ The Iphigeneia Cycle (a double bill that combines Euripides’ two Iphigeneia plays), a revival of Andrei Serban’s famous Fragments of a Greek Trilogy, and a four-and-a-half-hour adaptation of the Oedipus Rex were announced at the start of the season. Off-off Broadway versions will inevitably follow. The Brooklyn Academy of Music even hosted a dance/theatre piece based on the Eleusinian Mysteries. 1 The Classic Stage Company, an off-Broadway theater group devoted to performance and adaptation of Western classics, currently receives more scripts that re-work Greek tragedy than any other category of drama. 2 From a global perspective, New York is simply reflecting a trend set by important modern playwrights and directors worldwide. Greek drama now occupies a regular place in the London theater season. In the past twenty years, acclaimed productions have been mounted not only in Europe but also in Japan, India, and Africa. Translations are even beginning to proliferate in China, occasionally with unexpected results. A recent Chinese translator of Sophocles’ Oedipus Rex referred to all the Greek gods generically as Apollo, since he could count on his audience’s ability to recognize this name from the United States space program. 3 The Greek theater festival at Delphi has played host to many of these performances, with the result that, for example, the Greek National...
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...spirit!” (The Help, 2011). Audiences know what to expect from movies from their Genres,” they tell their audience up front what to expect from the product they are buying. If they like a particular kind of story, chances are they will like this particular film, especially if the writer and director give the expectations a little twist” (Truby, 2010). Genre theory is used in the examination of films in order to enable the classification of films. Genres are dependent on many influences, such as story line, what the audience expects and who the director is. Genre theory is how we describe films; it is the method of shortening literary works. Plot and Story The feature-length film I chose was The Help (2013), which is an American Drama film depicting the lives of black maids and their white employers exposing the racism that the black maids faced on a daily basis. The time is 1963 set in Jackson, Mississippi during the civil rights movement. The film that follows the lives of two black maids and a southern society girl (Emma Stone), who returns home from college, eager to launch her dreams of being a writer. Skeeter wants to write a book to explain that racism doesn’t just mean withholding of education and voting rights. It is told from the perspective of the black maids so it is narrated through the movie as the voice of black maids that suffered the racism from their employers. The interviewing of the black maids, who spent their lives taking care...
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...Drama 2 - Semester 1 Study Guide and Review FORMAT OF TEST Section 1: Fundamentals & Acting (50 points) 20 questions (30 points) 3 short response (20 points) Section 2: Tragedy & Comedy (50 points) 20 questions (30 points) 3 short response (20 points) Section 3: Shakespeare (50 points) 20 questions (30 points) 3 short response (20 points) Section 4: Performance (50 points) Students will perform a monologue separately for Mr. Finley and be scored via the rubric below. 200 Points Total 90 points from 60 multiple choice / 60 points from 9 short response / 50 points from performance For each short response section, there are four questions offered, and you will choose three to answer, leaving one unanswered. You may choose to answer one additional question on the test for extra credit. FUNDAMENTALS & ACTING VIDEOS Personal Aesthetic Voice and Articulation Viewpoints for Movement Acting – Three Things NOTES Basic Voice Terminology Voice Terms Audible – able to be heard Articulate – to shape the sound in the mouth for clarity Inflection – variety of vocal pitch Pitch – the relative highness or lowness of the voice Project – to send the voice out to the audience Rate – speed at which one speaks Resonance – a rich, warm speaking quality Volume – the relative loudness of your voice Parts of the Instrument Articulators – the parts of the mouth which shape and define sound Diaphragm – the muscle below the...
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...Social Justice through Drama in Schools Rhonda Rosenberg, Executive Director Saskatchewan Association for Multicultural Education Project #58 July 2001 This research was partially funded through a grant from the McDowell Foundation. However, the points of view and opinions expressed in project documents are those of the authors and do not necessarily reflect the views of the Foundation. The purpose of the Dr. Stirling McDowell Foundation for Research into Teaching is to fund research, inquiry and dissemination of information focusing on instruction (both teaching and learning) in the context of the public elementary and secondary education system. Specifically, it will: 1) contribute to knowledge about teaching and learning; 2) encourage educational inquiry through a wide range of methodologies; 3) support the involvement of practising teachers in active research projects; 4) encourage organizations as well as individuals to determine and act in areas of research and inquiry; and 5) encourage experimentation with innovative ideas and methodologies related to teaching and learning. The Foundation is an independent charitable organization formed by the Saskatchewan Teachers’ Federation in 1991. It is governed by a Board of Directors with the assistance of an Advisory Committee of representatives from the educational and business communities. The selection and evaluation of projects funded by the Foundation is carried out by a teacher-led Project Review Committee. Inquiries...
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...Drama Film Project Self Assessment There were different steps during the making of the painting that involucrate everyone and made me very happy about the functioning of the team. At the beginning I was not very convinced about the idea of the film, but as the time passed I saw how my teammates liked the idea and I decided to go on with it. We were very slow to start to record, but the first day we recorded I felt the good team spirit everyone had. With that there were certain things everyone started to develop as the recording of the film came through; the acting skills, leadership and teamwork. This was some of the features you could see during one of our recordings. For my personal development I could see some very positive things during the recording. At the start I had the idea of doing a comedy, but I missed one lesson and my teammates changed the whole idea of the subject. I needed to give up for my idea, this is something I really don’t like to do, but I did it for my team. After the first recording I realised that it was a really easy paper to play and a good story. Throughout the recordings I felt that my drama skills got better in some ways. For example there was a scene were there were a lot f small children passing by and we needed to speak really loudly for the camera to hear us. It was an opportunity to project my level of voice; this was something I never had a chance to do before. I think that a good teamwork is something very difficult to gain, especially...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...Basics of Acting * Reflect - to bring about a special appearance or characterization. * Characterize – to know which character accords with your qualities * Practice – for close resemblance to a character to a character. ACTING FOR THE COMEDY GENRE COMEDY IS HARD WORK Acting in a comedy is harder than it may seem. One of the key elements of comedic acting is not to "milk the audience" for a laugh. You may have a brilliantly funny script to work from, but if you play the scenes as though a laugh is going to come at any moment, you will certainly kill the spontaneity of the world you have created. In order to avoid giving the joke away too soon, actors need to stay focused on each moment as it unfolds. ACTING FOR THE DRAMA GENRE ACTING IN SOAP OPERAS In the old days, soap opera acting was synonymous with cheesy acting. Crying women, brooding men... Some soap operas do still hold that honor, but most have begin to hire actors who can bring a bit of reality to their roles. Think of a soap opera as real life with the intensity knob turned up a few notches. In a moment of conflict, don't go overboard with your emotion, but simply intensify it. Audiences thrill at living through...
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...Ariel Johnson Art of Theatre Play review Almost Maine I will be writing my play review on Almost Maine, A story about many different love stories and characters that go through many obstacles and challenges when trying to find love. I will get into my analysis of the actors in da play and how they grabbed my attention. In the beginning of the segment there were two characters, male and female who were sitting on the floor during a cold snowy Friday night; in the middle of winter. Due to the effects that there was white powder that surrounded the area and the actors were shivering and wearing heavy clothing. Throughout the segment, they both wore scarfs, hats and jackets. The actors used the empty spaces as the lines were spoken. Later on in other segments the use of props were of special value. For example in one scene characters used clay making of a shaped cartoon heart to indicate a broken heart. A Glass bottle was used as a beer bottle full of beer although it contained no liquid at all. The use of unseen spaces were very active throughout the play the knocks behind the stage were of somebody knocking on the door and the curtains displayed as a door in almost every scene. One scene in particular changed the way the curtains this time they weren’t used as a door they were used as sets of people in a party in which a hostess could be called just by the sound of a holler. The play itself used a lot of space on the stage. Each scene involved a new space that included some...
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...Ben Mammel Mrs. S Mann English 1501.1 30 September 2013 Compare/Contrast: Dillard and Rodriguez In Annie Dillard’s “American Childhood” and in Luis Rodriquez’s “Always Running” both share similarities. Both are autobiographies that involve children running from an adult, both stories paint vivid descriptions of their communities and childhood memories. The authors also dramatize their stories to make them more exciting Although Dillard and Rodriquez share many similarities the two stories differ. The most significant contrast about the stories is the environment the children grew up in. In an “American Childhood” Dillard grew up in a middle class neighborhood with nothing to be afraid of, on the other spectrum Rodriquez spent his childhood running from “gangs” “junkies” “police” and even “teachers. The titles itself contrast drastically, “An American Childhood” sounds pleasant, enjoyable, and cliché whereas “Always Running” sounds hopeless, tiring, and dangerous. Descriptions in the stories show how the environments differ, in “Always Running” Rodriquez describes constant abuse that Luis and Tito go through in paragraph 26 “We were constant prey” “sometimes the teachers who jumped on us Mexicans as if we were born with a hideous stain”. In an “American Childhood” it can be inferred that it is a more privileged environment because the man that chased Dillard left his car with his keys in the ignition to chase after kids...
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...Through the ages, there have been many different views on what makes a tragic hero. The archetype for a tragic hero has been set by Aristotle, from his rendition we learn that a tragic hero must “be better than we are”, born of nobility. Someone who is superior to the average person in some way, but at the same time, must evoke pity in the eyes of the audience. Arthur Miller, however, opposes Aristotle’s views saying that the common man can indeed be a tragic hero. The character must be willing to lay down his life to secure his sense of personal dignity. Furthermore, in act 2 of the play, the author reveals to the audience the reason behind Willy’s failure and guilt. It is also this section of the play that Willy is fired from his job, after this incident it is shown that Willy’s flaw as a tragic hero is his excessive pride because after being fired his longtime friend, Charley, who runs his own sales company, extended to him a job offer. But Willy refuses to take it saying that his sons are working on a big business deal and that he didn’t need the job offer. “I offered you a job. You can make fifty dollars a week…” but Willy replies “what’s the matter with you? I’ve got a job.” This shows that even under the direst of circumstances that Willy is too stubborn to take a job offer from one of the only friends he has got in life. At the end of the play, as a way to reassure himself that he wants to commit suicide he manifests his older brother Ben to act as conscience for what...
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...The Woman in Black is a 1987 stage play, adapted by Stephen Mallatratt. The play is based on the book of the same name, which was written in 1983 by Susan Hill. The venue for the woman in black was the fortune theatre in London and we went there on the 1st of November 2011. The Theatre from outside appears small old and slightly neglected, inside there was no attempt to prepare one for or indeed set the atmosphere for the nature of the play. The Fortune is small and the intimacy between actor and audience was brought out well by the fact that the furthest seats can only have been 15m away. The theatre is of Victorian style with ornate decorations and red carpets and seating, this instantly transport me to the era in which the play is set in the 19th century. The stage is open for the audience to see before the play starts and is set out as the stage in a small theatre, a basket for props, two chairs, a rack of costumes and buckets catching water from a leaky roof. The most important part of the set though was the gauze at the back of the stage separating a separate scene behind and revealing it hen needed using lighting. This combination of props and structure conveys the location strongly to the audience without being so defined that it is not possible to change the scene. While we waited there was no background music which gave a slightly eerie edge to the wait. The play started in the theatre depicted on the stage and almost immediately the humour as Mr Kipps’s is reading...
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...Perceiving Tragedy A tragedy is considered to be an event causing great suffering, destruction, and distress. Arthur Miller's essay, 'Tragedy and the Common Man', contributes many different ideas on how he perceived tragedy. Trying to fulfil one's lives and personalities is usually how a tragic story happens. Hamlet tries to get revenge on Claudius when he find out what really happened to his father, starting his tragic story. He feels betrayed and is working hard to get his rightful position back. There is always the possibility that Hamlet is going to succeed in his mission. Tragedy is something that happens to everyone that is trying to fulfill themselves as a person, someone that is on a mission to get what they want. Hamlet starts with the plan of trying to get revenge on Claudius when he find out what the complete truth of what happened to his father. This is explained when he says, "As meditation or the thoughts of love, may sweep to my revenge." (Act 1, Scene 5, lines 30-31). He is a tragic hero, in which he goes on this mission of trying to get revenge for himself and his father, and ultimately succeeds, but then dies. He had a plan throughout the play, had many chances to fulfil the plan, but never went through with it. In Arthur Miller's essay, this is explained when he says "The tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing--his sense of personal dignity." (Miller, pg...
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