Celestins Theatre, Lyon, France
Saturday, March 31, 2007
Eml Series100 Instruction Manual
Elements of the representation of the play
When mounting a play is necessary to consider certain elements essential for a good show (See Cuadra, Fernando. "dramatic theatrical structure" Noguera, Hector. "The theatrical experience: from the formation of the group to release"). These are:
1. SPACE THEATER: for the general area where it will to develop the theater, may be beyond the scene or scenario. For example, the street theater involving public spaces. (Eg: Grand Circus Theatre Company, Company Royal Deluxe ). Always consider the location and characteristics of the public attending the function qe.
2. SCENIC AREA: for the specific area where the project's work (dramatic action). For example, a circular stage (Eg: Shakespeare Globe Theatre ). To give life to the scenic area should be considered some resources that make up the lenjuage representational that will enrich the show:
Lighting: which should provoke emotions. Its functions are to: visibility (the scriptwriter), composition (reveal objects at an angle), motivation (giving a "scenic truth"), atmosphere (causing magic).
Sets: which should be a suitable device to illuminate the text. Must interact between space and text.
isolated elements: isolated construction material, such as the effect of the light.
Main actors: viewed as a whole, their example in the work conjunto.Por Fuenteovejuna this resource is used fairly.
scenic device: for the frame requiring obra.Por material such as a boat, a house, etc.
Projections: use of audiovisual resources that project images in the play. For example in the work Uttopia Cinema using this resource.
3. STAGE DIRECTION: "the play can not be conceived without intelligent management, because from the moment that comes the first reply, the first draft of dialogue, it comes with the need for a force that balances, the need of a power moderator (See Díaz-Plaja, Guillermo, 1909 "Theatre: Encyclopedia of the performing arts)
4. ACTOR: requires mastery, refinement and handling of basic tools (body and voice) to set the proper delivery of what the playwright intended to communicate.
5. "The third element" "The theater is not complete with the contributions of the author and performer. We need a third power for harmonizing the actions of both climate and surrounds need the right atmosphere. The applied arts in the service of theater (scenery, lighting, costumes, etc.) must be subject to a will that channels them into the best service in the work. The play is a whole a closed unit. It is necessary that a person, oblivious to all those involved in the theatrical, arrange their isolated efforts for the benefit of this unit is the work dramática.Un scenery can not crush, his exuberance, the simplicity of a scene that the playwright imagined intimate collection. An actor can not, with their voices excessive, take the interest to be focused precisely on that momemnto, in the words of his interlocutor. An author can not destroy, and hyperbole, a dramatic situation that it has created. An invisible hand must govern the whole " (See Díaz-Plaja, Guillermo, 1909" Theatre: Encyclopedia of the performing arts)
Bibliography consulted
When mounting a play is necessary to consider certain elements essential for a good show (See Cuadra, Fernando. "dramatic theatrical structure" Noguera, Hector. "The theatrical experience: from the formation of the group to release"). These are:
1. SPACE THEATER: for the general area where it will to develop the theater, may be beyond the scene or scenario. For example, the street theater involving public spaces. (Eg: Grand Circus Theatre Company, Company Royal Deluxe ). Always consider the location and characteristics of the public attending the function qe.
2. SCENIC AREA: for the specific area where the project's work (dramatic action). For example, a circular stage (Eg: Shakespeare Globe Theatre ). To give life to the scenic area should be considered some resources that make up the lenjuage representational that will enrich the show:
Lighting: which should provoke emotions. Its functions are to: visibility (the scriptwriter), composition (reveal objects at an angle), motivation (giving a "scenic truth"), atmosphere (causing magic).
Sets: which should be a suitable device to illuminate the text. Must interact between space and text.
isolated elements: isolated construction material, such as the effect of the light.
Main actors: viewed as a whole, their example in the work conjunto.Por Fuenteovejuna this resource is used fairly.
scenic device: for the frame requiring obra.Por material such as a boat, a house, etc.
Projections: use of audiovisual resources that project images in the play. For example in the work Uttopia Cinema using this resource.
Through dramatic text representational language gets its completion, supported by solid, some mentioned above. (See: Noguera, Hector. "The theatrical experience from the formation of the group to release")
3. STAGE DIRECTION: "the play can not be conceived without intelligent management, because from the moment that comes the first reply, the first draft of dialogue, it comes with the need for a force that balances, the need of a power moderator (See Díaz-Plaja, Guillermo, 1909 "Theatre: Encyclopedia of the performing arts)
4. ACTOR: requires mastery, refinement and handling of basic tools (body and voice) to set the proper delivery of what the playwright intended to communicate.
5. "The third element" "The theater is not complete with the contributions of the author and performer. We need a third power for harmonizing the actions of both climate and surrounds need the right atmosphere. The applied arts in the service of theater (scenery, lighting, costumes, etc.) must be subject to a will that channels them into the best service in the work. The play is a whole a closed unit. It is necessary that a person, oblivious to all those involved in the theatrical, arrange their isolated efforts for the benefit of this unit is the work dramática.Un scenery can not crush, his exuberance, the simplicity of a scene that the playwright imagined intimate collection. An actor can not, with their voices excessive, take the interest to be focused precisely on that momemnto, in the words of his interlocutor. An author can not destroy, and hyperbole, a dramatic situation that it has created. An invisible hand must govern the whole " (See Díaz-Plaja, Guillermo, 1909" Theatre: Encyclopedia of the performing arts)
Bibliography consulted
- PLja
- Diaz, Guillermo "Theatre: Encyclopedia of the performing arts"
- Noguera, Hector "The theatrical experience from the band's formation to its release"
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