Vintage Forum Index Vintage
Clan Forum
 
 FAQFAQ   SearchSearch   MemberlistMemberlist   UsergroupsUsergroups   GalleriesGalleries   RegisterRegister 
 ProfileProfile   Log in to check your private messagesLog in to check your private messages   Log inLog in 

nike air jordan pas cher Lessons From Tom Stoppard

 
Post new topic   Reply to topic    Vintage Forum Index -> Equipment
View previous topic :: View next topic  
Author Message
olgj72ex




Joined: 03 Sep 2013
Posts: 1823
Read: 0 topics

Location: England

PostPosted: Wed 10:49, 30 Oct 2013    Post subject: nike air jordan pas cher Lessons From Tom Stoppard

Ralph Lopez
Submitted 2012-10-16 11:25:10 The theatrical works of Tom Stoppard show that there is more [url=http://www.rtnagel.com/airjordan.php]nike air jordan pas cher[/url] to writing a play than crafting dialogue and envisioning a bare bones setting. Playwrights can take advantage of the Spartan nature of writing for the stage to develop their characters more fully and provide those involved in the production with a more specific blueprint for bringing the script to life on the stage.
One way to maximize impact is to have the play's setting [url=http://www.rtnagel.com/airjordan.php]jordan pas cher[/url] (or settings) multitask. Stoppard worked around the obstacles of time and diverse budgets by creating settings and props that carry over consecutive scenes. Arcadia is an example of this. All of the action takes place at Sidley Park (even though it crosses over two centuries). Stoppard retains the furniture set-up [url=http://www.davidhabchy.com]barbour outlet[/url] and smaller props from the opening scene (occurring in 1803) to the first scene set in 1989 (present day at the time of production). This saves the production company money and helps the play progress at a natural pace.
Such an economical use of setting also allows for the playwright to experiment with subplots. He accomplished this by making the settings constants [url=http://www.fibmilano.it]woolrich[/url] in his works. With the settings staying almost the same, he could [url=http://www.marrakech-hotel.fr]hollister france[/url] swap out characters and create new chains of events for them. This use of setting meant the plot lines needed to be simple but intriguing. All of the action was confined to one area, but the area allowed fir different types of actions to take place. Settings served as [url=http://www2u.biglobe.ne.jp/~majima/joyfulBBS/joyful.cgi]peuterey sito ufficiale 5 Rul[/url] locations for trysts for one set of characters and as a research center for another. An added bonus to this arrangement was that using the same setting allowed Stoppard the chance to tell parallel stories, which can be as much fun as a main plot with a subplot.
When dealing with multiple sets of action, it is important to choose the characters' words wisely. One might assume from his education and time spent writing plays he uses diction geared toward a more educated [url=http://www.teatrodeoro.com/hollisterde.php]hollister[/url] audience. In truth, his strength lies in making seeming everyday language convey many different things at once. He takes advantage of the English language, using innuendoes to flesh out the characters' personalities and highlight cultural conflicts. In Indian Ink, Nirad Das asks Flora Crewe, "May I ask you a personal question?" Her reply ("That is a personal question.") shows Stoppard's ability [url=http://www.sidegemeinde.com/peutereyoutlet.php]peuterey sito ufficiale[/url] to take commonly used words and make them mean very different things when spoken by two different characters. Though a skill that takes times and some studying to develop, twisting words in this way can enrich every aspect of the play and save paper. After all, smaller words require less ink to print, and it can save on paper as well.
These diction choices work best [url=http://www.par5club.com/louboutin.php]louboutin[/url] with complex characters. A stereotypical, [url=http://www.kansaikai.jp/bbs/light.cgi?res=88154]hollister VIDEO. Sauvé par un[/url] simple or [url=http://www.tagverts.com/barbour.php]barbour online shop[/url] other type of character that has little thought invest in his or her development will make such language twists sound contrived. Since dialogue is so crucial to a play, the characters involved should be intelligent in one way or another. That doesn't mean they all have to be more articulate than the average person. A mentally intelligent person may not be able to put words together in a poetic manner but can still express him or herself in an understandable manner. The trick is understanding what kinds of words these characters would use. A physically intelligent character could highlight body language that contradicts what another character says. With emotionally intelligent characters, they can be blunt in diagnosing a situation that no one else can or wants to vocalize. Another thing to consider is that intelligence can exist in many forms. A person with Down's Syndrome can be more emotionally intelligent than a genius. A loner can be more adept at deciphering physical clues than an athlete. In order for complex characters to come to life in a believable manner, they should be intelligent in some form so that the words they utter make sense to and for them.
That said, don't be afraid to have characters that are ahead of their time in regards to setting and culture. This is a common concept found in many of Stoppard's plays, and it gives modern audiences a character with which they can empathize. Such characters also highlight the flaws of the setting(s) in which the action takes place. Men and women alike fill this role in his plays, although it is somewhat easier to make this type of a character a woman. Stoppard tends to do this when the plotlines take place in two different eras, as the female characters are more wont to explore the problems [url=http://www.riad-marrakesh.fr]abercrombie pas cher[/url] faced in a particular time period. With male characters, he tends to confine the action to one particular [url=http://www.jeremyparendt.com/Barbour-Paris.php]barbour pas cher soldes[/url] era in time and keep the exploration of social woes at a more personal level. When they are discussed with other characters, the woes are woven in with discussion of other aspects of society. These discussions tend to have an undercurrent of suppression, which is conveyed in the topics they choose to discuss, using words that can mean many different things and ultimately leaving [url=http://www.shewyne.com/woolrichoutlet.html]woolrich sito ufficiale[/url] a lot of things left unsaid. Though not always the easiest to get to know, characters that are ahead of their time can do a lot of the heavy lifting in a stage production.
Stoppard's literary and commercial success stems from these factors. While his material will not be studied at levels lower than collegiate courses, writers of all levels can learn from his plays. To fully appreciate wheat he has to offer involves extra learning on a writer's part. In the end, the work can only enrich the [url=http://gyqixing.haotui.com/home.php?mod=spacecp&ac=blog&blogid=]hollister sale three or more Measures in order to[/url] writer's experience no matter his or her medium and style.
Back to top
View user's profile
Display posts from previous:   
Post new topic   Reply to topic    Vintage Forum Index -> Equipment All times are GMT + 2 Hours
Page 1 of 1

 
Jump to:  
You can post new topics in this forum
You can reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum

fora.pl - załóż własne forum dyskusyjne za darmo
Powered by phpBB © 2001, 2005 phpBB Group
Regulamin