I am going to analyse a scene from the first ever James bond film Dr No Essay Example

I am going to analyse a scene from the first ever James bond film Dr No Paper In this essay I am going to analyse a scene from the first ever James bond film Dr No. James Bonds real name is Sean Connery. The producers of the film are Harry Saltzman and Albert Broccoli. The director is Terence young. The film was first shown in 1962. It was a big hit. For the scene that I am analysing, I will talk about what happens in the scene, the music that accompanies the scene, and how it fits the action, how well Connery acts in the scene, the camera shots and the camera angles and how well they help to add tension to the scene, the lighting techniques and how ell these add tension, how the scene is staged and how the audience would react when it was first shown. The scene starts with Connery asleep. He is suddenly woken up by an object crawling up his body. He doesnt move to avoid getting hurt. He also starts to sweat because he is very nervous. This tells us that what ever is under his bed sheets is very dangerous enough to make him not move and also to make him sweat. The object slowly reaches near to the top of the bed sheets. This is a tense moment because know one knows what it is so everybody is waiting it to come out from the top of the sheets. When it finally comes out from the top of the sheets everybody is terrified firstly of the huge, hairy legged spider and secondly of the spider being on top of Connery. The spider slowly walks up towards Connerys head. The spider walking slowly on Connery makes the audience feel that they are in that position. As the spider slowly crawls up Connery he tries not to move but he tracks the spider with his eyes as carefully as he can. He does this to look out for a good chance for him to make a mov e. The spider crawls up to his shoulders at this point the audience think that it is going to go onto his face it might even put his hairy legs into his mouth. This makes the audience actually feel what Connery is feeling. The spider suddenly changes direction and crawls off his shoulders and onto the pillow. At this point the audience is relieved but it isnt over yet. Once Connery is safe, he jumps out off the bed onto the floor and kills the spider with an object; probably his shoe. He hits the spider 5 times. He slowly gets, up leans against the wall, runs his hand through his hair and exits the room slowly and shocked. The audience is relieved. We will write a custom essay sample on I am going to analyse a scene from the first ever James bond film Dr No specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on I am going to analyse a scene from the first ever James bond film Dr No specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on I am going to analyse a scene from the first ever James bond film Dr No specifically for you FOR ONLY $16.38 $13.9/page Hire Writer At the opening of the scene we hear natural sounds such as crickets. When the spider arrives on to the scene we hear the flute. This suggests that the spider is dangerous. When the spider starts to crawl up Connery arm the music goes up in steps, building tension for the audience. As the spider goes down Connerys arm the music goes down in steps. When the spider crawls off his arm the music goes very tense. When Connery runs around the bed the instruments start to play. When Connery hits the spider 5 times, the drums hit 5 times. In this scene that I am analysing there is no dialogue so all the tension has to be built by the music. Connery acts very nervous because of the poisonous spider that he is dealing with. Connery doesnt want to act very nervous because this wouldnt be following his theme. At the starting of the scene the camera moves down from the window, follows the light onto the bed where Connery is asleep. The camera then focuses on the object which is on Connery. The camera then focuses on Connerys face to show his reaction. The camera moves back to the spider which comes out of the bed sheets. The camera tracks the spider crawling up his arm. The camera keeps on switching between Connery and the spider. They do this to show how Connery reacts. This is also another way in which they create tension. When the spider eventually crawls onto the pillow the camera zooms out to show Connery running out of bed. When Connery has killed the spider the camera follows Connery slowly getting up and exiting the room. In this scene there is simple lighting. There is only one light source, this is the moon. In the room where Connery is asleep you see a mixture of light and dark. This emphasises how hot it is in the hotel room. The hotness of the room tells us that it is a tropical country and in tropical countries there is a lot of scorpions, spiders, snakes etc. The scene is a simple hotel in the room with no extra props such as a gun to take the audiences eyes off Connery and the spider. The door which Connery exits from is left open a bit so Connery can have a smooth exit and doesnt have to fiddle with the door lock. When this movie was first shown in 1960 you would expect the audience to react shocked because dangerous chemicals, explosives and poisonous spiders wont yet discovered. If the movie was shown today it would be very boring because all these things have been discovered and are old news. I think that the movie that I have watched is boring because it has no new discoveries in it. They also talk about things that have already been discovered. I liked some of the movie because it had lots of tension in it. You could also feel that you were in Connerys position.

Sculptors of the Italian Renaissance

Sculptors of the Italian Renaissance Abstract The historical perception of the distinction between Sculptors of the Italian Renaissance and others is traceable back to the great historical artists like Donatello and Michelangelo. Advertising We will write a custom research paper sample on Sculptors of the Italian Renaissance specifically for you for only $16.05 $11/page Learn More They are arguably big sculptors of the Italian Renaissance, who were both original and catalysts for revolution. Their works have realism through implementation of versatility, emotional and psychological effects. These aspects are evident among current sculptors. Thesis/Problem Statement â€Å"Significance of Sculptors of the Italian Renaissance† This is a research investigating and analyzing the different arguments on philosophical nature of Sculptors of the Italian Renaissance, from various art histories to the current state of affairs, with the aim of providing a personal point of view regarding the subject matter. Purpose/Significance of the Study The main purpose of this study is to evaluate the consequences and key concepts involved in the development of Sculptors of the Italian Renaissance and offer personal suggestions or opinions over the issue of relationship between various historical stages. Objectives of the Study This research paper lays down the need for finding the background of the understanding of various Sculptors of the Italian Renaissance over the relationship as presented by diverse great artists. The study is equally an assessment of differences of sculpture work at different times. Significance of the Study The key topics to be covered entail the focus over Sculptors of the Italian Renaissance. This is in the aim of finding the reasonable conclusion on this type of work. The Procedure of the Study/Research Methodology Advertising Looking for research paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More The paper highly utilizes the literature reviews to enable better understanding of the topic. Preparation of the research over the chosen topic will enhance and quantify the research as a study topic and prepare for respondents. Information collected will equally tabulate and assist in ranking the findings from various eras, and help to narrow the scope to the objectives of the research. The analysis of findings will then draw conclusions from generally analyzed data in the literature review. Literature Review Historical Overview The Sculptors of the Italian Renaissance is arguably one of the most reflective and productive period regarding the history of art. Some of the outstanding fields of Italian art include architecture, sculpture and painting. The early nineteenth century marked the revolution of art history. Good example of the sculptural work was by Donatello (Meyer Konody, 2010). The Italian renaissance saw a great combination between science and art. Today we cele brate heroic artists like Michelangelo and Titian who had genius personality that currently emphasize the need for enhanced creativity in artwork. According to Woods (2007), â€Å"Some men were both artists and scientists, notably Leonardo da Vinci and Piero Della Francesca. It is doubtful whether they would have understood our distinction between art and science.† Sculpture Sculptors of the Italian Renaissance have a close connection to architects. Like the cases of paintings, there is a great rebirth or revival of other forms such as sculptures and architectural designs. According to Detroit Institute of Arts (1995), traditionally, painting was a revival and the need for revert to appreciation of nature, reinforcement of architecture was in the course of the pressure for ancient histories or classical influences and renaissance of the sculptures was because of both the paintings and architecture. The revival of sculptures is traceable to the sixteenth century when art hist orians like Giorgio Vasari promulgated art. In line with Detroit Institute of Arts (1995), sculptors lack distinctive accuracy due to historical classical influences. Advertising We will write a custom research paper sample on Sculptors of the Italian Renaissance specifically for you for only $16.05 $11/page Learn More Arguably, Nicola Pisano and the son, Giovanni Pisano were Italian architects and sculptors who form the basis of renaissance sculptural work. The art presents great ancient monuments such as the Roman Sarcophagus that gives the historical tale concerning Phaedra and Hippolytus in Pisa (Detroit Institute of Arts, 1995). Nicola work gave a combination of classic with Gothic elements, while the son, Giovanni had some reactions against classical tendencies and the reaction is evident in current international Gothic styles (Detroit Institute of Arts, 1995). Although the themes in Giovanni’s work are highly medieval, he has good advancement toward faithfulness to nature (Detroit Institute of Arts, 1995). The successors included paint artists such as Giotto, thus the Italian Renaissance present him as a fighter from the classical approaches through his own renditions and personality. According to Cox (2009), â€Å"The inscriptions he left on his work, especially the pulpit in the cathedral of Pisa, show an extraordinary sense of his own worth.† Artists have the tendency to leave behind self-praising unique signature on their works but Giovanni had a unique style of exalting his personal style compared to other artists of his style and time. Italian Renaissance has outstanding designs of simplicity and clarity. The artists carry on the aspects of individuality and self-consciousness. They present individual concepts or traits as a signature and expression of showing importance. The sculptural work is a huge revolution from the simple and direct work to enhance the illusions of space, charm and elegance for insta nce the grouping of objects to achieve architectural effects. Italian Renaissance is a conceited in Today’s advancement of sculptural work such as Dale Chihuly’s glassware. His contribution to artwork extends to greater heights today. The sculptor is reputable for enhancing change of glass art gallery from their original premise of solemn studio environment to better establishments where the lifestyles of art world involve the collaborative endeavours and a dissection of work forces within creative environments. He embraces the strategy of pulling a team of artists together with exceptional practice of glass blowing skills that is the foundation for complex multipart sculptures. His artwork places him to the leadership position concerning advancement of the blown glass from the confines of small, precious objects to highly structured sculptures and environmental arts.Advertising Looking for research paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More According to Taragin (1995), Dale Chihuly was an art student at Florence who turned to be a prolific artist whose work balances content to properties of the glass material such as transparency or translucency. Today, sculptors of Italian Renaissance also use different material and style as a paramount strategy of enhancing creativity. Style emerges and gets it influences through the captivating processes that get over the boundaries, which separate all forms of arts. A good example of uniqueness is Dale’s room-sized installations of organic/plant like, freestanding sculptures that stylistically explore colour, contours and, assemblage fitting both indoor and outdoor. The artwork ranges from single and general structures to site specified or customized installations. Some of his unique but best and famous artworks include small designs or large sculptures placed on various surfaces to bring out the natural effects. The current styles incorporate the plastic polymers for the outdoor environments. Future trends Today, the sculptural Italian Renaissance has a wide vocabulary of exiting new elements depicting creativity. The blown forms have styles in terms of type of material, colour, texture and shapes. The artwork on paper reflects new interests due to incorporated prominent line element in majority of his styles. Some of the sculptural works such as blown glass depict optical moulds, thus producing surfaces with repeated ribbed designs. Another significant part of the style is the elongated sculptures with linear forms. We are able to enjoy a wide range of Italian Renaissance today especially in our lifestyles such as chandeliers, towers in our streets, and through art paperwork demonstrating similar linear qualities. Whether a sculptor communicates through pencil, painting or blown glass, the same style of attenuated lines still dominate the composition. Conclusion A person mesmerized by Italian Renaissance sculptural artwork cannot miss distinctiv e by unique styles as well as signatures. The artwork is formal, elegant, and extravagant. It also has a variety of dramatic emotional and visual effects due to incorporated colour themes, baroque, dazzling, and enormous appeals that traditionally lacked in majority of the art forms. Evidently, the imagery style of an artist is strongly evident even when there is some historical decorative aspiring in an art form. Initially, the aspect of harmonizing distinctive element to form decorative artwork was not evident in majority of the artworks. For a glass blower such as Dale Chihuly, the diversity of form in terms of colour, design complexity and interplay with glass transparency the outcome is a very different world of design. Italian renaissance has always had a strong engagement to nature and thus has brought out the engagement with nature in such a perfect and impressive way. References Cox, K. (2009). Old Masters and New. South Carolina, SC: BiblioBazaar LLC Publishers. Print De troit Institute of Arts. (1995). Italian renaissance sculpture in the time of Donatello: An exhibition to commemorate the 600th anniversary of Donatellos birth and the 100th anniversary of the Detroit Institute of Arts. Michigan, MI: Founders Society, Detroit Institute of Arts. Meyer, A. Konody, P. (2010). Donatello. South Carolina, SC: BiblioBazaar LLC Publishers. Print Sayre, H. (2007).A World of Art. Fifth Ed. New Jersey, NJ: Pearson, Taragin, D. (August 1995). Racine Art Museum: Curator. The  Detroit Institute of Arts, Toledo Museum of Art. Vol. 56, No. 8, p. 10-14. 4 Nov 2010. Woods, K. (2007). Making Renaissance art. London, UK: Yale University Press. Print

Analytical report of a case study-Operation Management Essay

Analytical report of a case study-Operation Management - Essay Example rt has successfully come up with suggestions as to how Grandiose must streamline its operations in order to minimise the requirement of disposable funds and at the time optimise the available space. Tenets of inventory management have been cited throughout the report in order to reinforce the recommendations. It has been suggested that Grandiose should undertake an extensive consumer research in order to envision the demands that it may face in the near future and hence plan its inventory accordingly. Simultaneously, it should also create long lasting associations with the automobile manufacturers and make use of the fact that manufacturers are enhancing their participation in supply chain relationships with dealers and customers. Grandiose Motors have turned a new leaf in its corporate history by becoming an auto supermarket wherein it will sell multiple brands of automobiles at the same location. The new dealership will be selling a line of Nissans, Toyotas and Volkswagens – premium cars that have been luring customers for years. However, it has been observed that the company is strained by woes pertaining mostly to operational constraints such as deployable funds, space and seasonality of purchase items. Based on a case study that describes the operations management at Grandiose, this report will aim at recommending to its CEO, Mr. Felix Fabulous the structural aspects that will help in bettering the purchasing as well as inventory functions in the context of the company’s dealership network. The report will also make attempts to outline the differences that may arise between policies and procedures pertaining to purchasing as well as inventory management. This area is found to be vital becau se automobile dealers characteristically purchase different types of materials and service parts. Finally, the report will try to throw light upon the areas of inventory management and supply chain management to evaluate how these may reduce the investment as well as

Economics (twin deficit) Essay Example | Topics and Well Written Essays - 500 words

Economics (twin deficit) - Essay Example The deficit has been covered through the borrowing from various agencies both foreign and domestic. The persistent current account deficit for last 20 years has given unprecedented amount of claims to foreign investors. It is always possible that at some time in future and specially if no corrective measures are urgently taken up, the situation may very well become challenging. The foreign claims are generally in the form of stock bonds, treasury issues, bank accounts and other types of financial securities. Foreign governments, their central banks and international agencies possess a sizable share of the claim. One way of looking at the present scenario is that America is becoming increasingly dependent on the imports while its export market is not showing substantial growth. Steady depreciation of the dollar in the international market is the indicator that decides the inflow of foreign investment in the country. When the dollar depreciates, there is more inflow of foreign goods and services. IMF in recent time has also cautioned US to take appropriate steps to curb its rising current account deficit. The report says that ‘the concern remains that at some time more adjustment will be needed to ensure that the global pattern of current account position remains consistent with the willingness of the international wealth holders to build up net claims on the United States’. The global economy has been advancing at a very fast rate and in the present circumstances when the global inter-dependence has become a norm, United States needs to moderate its consumption and spending and focus on issues that would help restrain the increasing growth of current account deficit. One must conclude that today statistics show that US needs to import $1 trillion of foreign capital every year. In the long run, it is highly unsustainable situation both in terms of

Stats1 Essay Example | Topics and Well Written Essays - 1250 words

Stats1 - Essay Example For example, one may talk about the population of all individuals in US whose IQ is over 120; or one may talk about the population of all electric light bulbs ever produced by Phillips. Every population is characterized by measurable quantities called parameters. If parameter of a population is known, the whole population is known completely. Sample is a part of the population. The quantities measured from the sample are known as sample statistics. Sample statistics are used to estimate population parameters. While in a given population the parameter is constant, the value of statistic varies from one sample to the other. The population mean is a population parameter while average computed from a sample of size 20, say, from the same population, is a sample statistic which may be used to estimate the unknown population parameter. A different sample of size 20 may provide a different value of the sample mean. 3. When a sample is observed instead of the whole population, sampling error is caused. A sample is observed to understand the whole population. The population parameter is not known, but is estimated using the corresponding sample statistic. The difference between the parameter and the statistic is a measure of the sampling error. 4. An experiment is conducted under the control of an experimenter. An experiment is opposite of an observational research, where the researcher observes the study units and records observations. In an experiment, the researcher sets up the experimental conditions and controls them as per his/her research hypotheses. 5. This is an experimental study. Correlational study finds correlation among different variables from the same group of observations. Here two equivalent groups are compared in terms of effects of breakfast on performance. Finding correlation is not the aim of the study. But testing whether there exists any difference between the two otherwise equivalent groups when treated with two types of breakfast is the main ob jective. There is one case and one control group. Hence this is an example of experiment. 6. Nominal scale is essentially a classification. Even though the classes may have numerical identifications, such as 1, 2 etc, their nomenclature is important but not the values. Suppose in a town there are two groups of hospitals: general and mental. If general hospitals are called Group 1 and mental hospitals are called Group 2, this will be an example of nominal variable. If we interchange the order, there will be no effect. For ordinal scale the ordering is important, but by how much one level is more than the other, cannot be measured. Suppose blood pressure is classified as normal, high-normal and high. In this classification there is a hierarchy but the difference between normal and high-normal and high-normal and high cannot be quantified. Interval scale can compare the lengths of intervals. For example, if a flight starts at 6:00 hrs and reaches its destination at 8:30 hrs and another flight starts from the same origin at 6:30 hrs and reaches the same destination at 10:00 hrs, the lengths of the flights are comparable and the difference measurable. For interval scale measurements, the beginning and the end are fixed. In mathematical term, in interval scale there is no concept os an absolute zero. But it contains more information than ordinal scale variables, since its lengths are quantifiable, which is not possible in case of ordinal variable.

The Influences Upon Steven Berkoff

The Influences Upon Steven Berkoff Upon studying Steven Berkoff as a practitioner I have always profoundly noted that his theories are very hard to define due to their ever changing and versatile nature. The lack of official documentation on Berkoffs theories makes it especially hard to fully comprehend what exactly the Berkovian performance style involves and dictates. Fortunately he has written a few journals which chronicle the rehearsal and creative process he has gone through for his various productions. Among these publications is Mediations on Metamorphosis (1995), a journal of Berkoffs time spent in Japan directing the tenth major production of Metamorphosis, and Coriolanus in Deutschland (1992) which chronicles the rehearsal process for his 1988 production of Coriolanus in Munich, Germany. However, these journals are primarily autobiographical and lack much theoretical context. In 1969, Steven Berkoff presented the debut of his adaptation of Frank Kafkas Metamorphosis at the Round House Theatre in London. Thi s production was significant because Berkoff serving for the first time as writer/adapter, director, and actor in a full-length project presented an aesthetic which would become identified as his artistic trademark. Metamorphosiscombined elements of Brechtian Epic Theatre by using actors to purposefully represent characters rather than become them; Antonin Artauds Theatre of Cruelty by breaking from traditional theatre texts and asking the actors to bare their inner thoughts as if they were human-sacrifices to create ritualistic theatre; Jean-Louis Barraults total-theatre by using all possible means to uncover the meaning conscious or otherwise of the play; and Jacques Le Coqs theories of mime, movement, masks, and ensemble, by using the performers to create the environment. Berkoff has also been seen to incorporate some of the visual techniques used in Kabuki, a highly stylized, highly rhythmic classicalJapanese form of theatre. Kabuki music rises about the body of the actor. I t does not impose itself upon the actor, but instead gives musical and rhythmic expression to his movement, and in doing so increases the flow of theatrical expressiveness toward the audience. (1974, p.113) Another aspect of Japanese Kabuki is evident in Berkoffs dealings with masks and face paint. Even though Berkoff appropriated production styles from others and adapted the spoken words from a novel, the end result was uniquely Berkovian. In Mediation of Metamorphosis (1995) Berkoff seems to somewhat challenge someone to define his style when he writes, More than ever I feel my work develop into a kind of school, not by rigid formula but by learning certain techniques which expand your ideology and communication skills. (1995, p.137) There are themes that have undeniably remained relatively constant throughout Berkoffs work, themes that can be seen as somewhat of a base to the Berkovian theoretical framework. These themes I speak of are routed mainly in the belief that the actors instincts should be trusted over all else and the job of theory is to help evoke these instincts. Berkoffs common themes of extensive physical expression, transformation, and over-exaggerated experimental emphasis upon the spoken word should therefore be used as a means to evoke and exaggerate the ac tor instincts when dealing with the character. The atmosphere is in the sound which should come from the throats of the actors. Therefore their sound can control and amplify their situation, since people make sounds as well as moving and speaking. This is total and human, and in this way you return to the actor his mimetic gifts and his oral expressiveness. At the same time one is seeing the situation in human terms, as a story told to us by players. (Gambit, 1978, p.17) Berkoff believes actors should create their own sounds and so breaks traditional mime conventions. Like many of Le Coqs students, Berkoff freely changes the pure form of mime to create his own individual style. Surprisingly Le Coq encourages this practice as it essential to his belief in allowing the actor to work as an individual, believing it is important to be open and not to copy the style of someone else because you will never be as good as he is. Each is better in his own style (Lust, p.106).In drawing from this extract it is clear that I believe Berkoff is often sometimes regarded too highly for originating his performance style when thinking in particular about his instruction of individual development. Most of his performance style is derived from Le Coq who has been proven to have firm roots in the practice of Commedia delle Arte. It seems that most of the Berkovian individuality stems from his Berkoffs own mannerisms. InModern and Post-Modern Mime, Thomas Leabhart summariz es the influences upon Le Coq: Lecoqsschool is one of those theatres that, rather than being a rsum of what has happened, has helped young performers find new directions and so revitalize the theatre. Lecoqs whole vision of the theatre is like Copeaus, remain on the fringes of the commercial theatre, not wanting to give themselves to it as it exists. They, like their teacher, work apart, preserve their artistic vision, nurture their strength, and steadily increase their power to influence the course of theatre history. (1989, p.101-102) Like Lusts definition of postmodern mime, Leabharts summary of Le Coqs influence is applicable to Berkoff. Previously in 1973, Berkoff and The London Group declared their own mission statement: To express drama in the most vital way imaginable; to perform at the height of ones powers with all the available means. That is, through the spoken word, gesture, mime and music. Sometimes the emphasis on one, sometimes on the other.(Theatre Quarterly, 1978, p.39) This philosophical statement is an ideal example of the constants that have remained throughout Berkoffs subsequent career; stylised movement, mime, exaggerated vocal work, direct address, asides, and improvisation are components of nearly every Berkovian performance. Berkoff expects actors to willingly sacrifice themselves physically and emotionally, ready to perform whatever tasks are necessary to illuminate the text. When dealing with texts, as a director, Berkoff does not seek to produce a literal reproduction of texts on stage. It rare to see Berkoff relying on the intent of the author, instead he uses the texts to relay his own ideas on stage. He hasnt denied this. He said himself said that his version of Hamlet (1979) was a dissection of the play (I am Hamlet, 1989), and his staging of Agamemnon was attempted as an analysis of the play rather than a realistic rendering. (2007, p.123) Berkoff predominantly always sees the set as his own responsibility as he believes that it is vital in accordance with his desired aesthetic and theoretical projection. Most of the time he is seen to use minimalist sets usually consisting of one stationary prop, a sofa or a table for example. He believes that any mental environment desired can be created using mime and so it is unnecessary for excessive use of props. Many of his works have been performed in tight close quarter environments with extensive use of glaring light and shadow which seek to emphasize the physical presence on stage. Forever on a quest for vitality Berkoff is very prone to break theatrical conventions, resulting in a style of heavily a contradictory nature. These contradictions are a spouse of his determination to see how I could bring mime together with the spoken word as its opposite partner, creating the form and structure of the piece (1995, p.53). Characteristics such as this can be easily traced to his training with Jacques Le Coq, whom Thomas Leabhart, author of And Post-Modern Mime (1989), as modern teaching mime to talk. (1989, p.101) To fuse these opposites, Berkoff relies on mime, a traditionally silent form, yet he cherishes the spoken word; his productions are very over-the-top energy wise yet depend on great subtlety; the actor should never show himself to be self-conscious yet his presented self is very much so; Berkoff carefully choreographs movement yet he encourages improvisation. Other sources of Berkovian theory is rooted in interviews and short articles (some of which Berkoff has written) which have been printed in various journals. One the most significant of these articles titled Three Theatre Manifestos. (1978) In an interview present in the Three Theatre Manisfestos (1978) Berkoff outlines his philosophy which, according to him, has changed little through the years; he summarizes his theories by stating: In the end there is only the actor, his body, mind and voiceThe actor exists without the playhe can improvise, be silent, mime, make sounds and be a witness. (1978, p.11) Another extract from Three Theatre Manifestos depicts Berkoff sounding remarkably similar to Antoni Artaud and his Threatre of Cruelty: Acting for me is the closest metaphor to human sacrifice on the stage; (1978, p.7) other echo the thoughts of Brecht By describing the accident, the witness becomes the accident; he is there reliving it. (1978, p.11) The visual elements of a Berkovian production are strikingly stark. Classical Greek theatre, Japanese Kabuki, and Vsevelod Meyerholds constructivism, are particularly influential on Berkoffs visual aesthetic.By mixing minimal sets with very theatrical costumes, masks, and lighting, the visual focus is on the actor. Though the costumes draw attention to themselves, they serve to emphasize the performer and help to create the environment and the characterization. To draw a conclusion on Berkoffs authenticity in theatre one must take at look at his work in a broader sense. Berkoffs contribution and influence upon theatre is clear, but his place as a name in history in questionable. Berkoffs performance aesthetic will undoubtedly always exist in various different forms but whether he will be credited with association is a question for future historians. However because his work is thoroughly grounded in the works of many famous theatre names his style will undoubtedly be incorporated into many future artists works knowingly or not. Bibliography: Berkoff, S (1995) Mediations on Metamorphosis, London: Faber and Faber Berkoff, S (1978) Three Theatre Manifestos.Gambit vol.32 p.7-21 Berkoff, S (1989) I am Hamlet. New York: Grove Weidenfeld, Interview with Anthony Claire.Anthony Claire Show. BBC Radio, London. N. dat. Berkoff, S (1996) Agamemnon and The Fall of the House of Usher. Oxford: Amber Lane Press Elder, B (1978) Doing the Inexpressible Uncommonly Well. Theatre Quarterly, p.37-43 Ernst, E (1974) The Kabuki Theatre, Hawaii, University of Hawaii Press Leabhart, T (1989) Modern and Post-Modern Mime. New York: St. Martins. Lust, A (2000) From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots, and Clowns: A Chronicle Of The Many Visages Of Mime In Theatre. Kent, Scarecrow. Keefe, J (2007) Physical theatres: A Critical Reader, London, Routledge

George Orwell’s Down and Out in Paris and London Essay -- Down and Out

George Orwell’s Down and Out in Paris and London Days without food, nights without shelter and clothes without buttons are reality for homeless people around the world. Many are incapable of escaping their poverty and can not seem to find a way out of their bleak oppression. The few that do escape often help each other find a way to make their lives better and do not forget how to maintain friendships. George Orwell’s novel, Down and Out in Paris and London, displays the ability of those in poverty to escape their horrific lot in life through friendships and connections. The common goal of shelter and freedom from oppression bonds many of the lower class. Many in poverty work together to find the best means to achieve their common goal through locating employment and safe places to sleep. Orwell tries to display the lower classes sense of friendship and commitment though his interactions with the people he meets while in poverty. The individuals he describes have the same dismal prospects and must try to find a way to overcome poverty. It is the common goal of freedom from oppression that bonds many of the lower class to work together to break free. Orwell’s experience in poverty helps him gain a strong understanding of class structure and the separation of the classes. The realization that many in poverty do not deserve to be oppressed causes Orwell to take political action and to search for a way to help those in oppression. With Orwell’s strong examples of the lower class working together, he tries to display his belief that a socialistic society can solve the separation of classes. Many of the lower class band together to survive in an inhospitable world. While in poverty, Orwell experiences first hand the b... ...truly progress. This realization helps Orwell develop many of his socialist views. Orwell wants to demonstrate that those in poverty are often forced to lead that lifestyle and can not better their societal position because of the government. The need to change the governmental system is critical to truly change society and to work towards a brighter and more equal future. Orwell’s experience in poverty opened his eyes to the disparities in classes, but more importantly, the ability of those in poverty to bond together to overcome oppression set an example that awakened an individual’s desire for governmental change. Works Cited - Beadle, Gordon B. â€Å"George Orwell’s Literary Studies of Poverty in England.† Twentieth Century Literature 24.2 (1978): 188-202. - Kazin, Alfred. â€Å"Not One of Us.† The New York Review of Books 21.10 (1984): 13-18.