Drama and Acting

Melodrama is dramatic work that is seen in plays, television, and film. that overemphasizes characters and plots. Locations in melodramas can vary depending on the storyline, but can include the hero's office, heroine's home, villain's hideout, railroad station, and cafe.

Cyrano keeps his love for Roxane a secret because he lacks confidence in his physical appearance due to his large nose. He believes that Roxane could never love someone like him, so he chooses to hide his feelings rather than risk rejection. Additionally, he prioritizes Roxane's happiness and well-being above his own desires.

Verona is a city in northern Italy famous for its architecture and connections to William Shakespeare's play "Romeo and Juliet." The name Verona is of uncertain origin, but it is believed to be of pre-Roman or Celtic origin.

YES! You get loads of lines and you usually can read them so no learning and you're in nearly every scene! If you are offered this part TAKE IT! YES! You get loads of lines and you usually can read them so no learning and you're in nearly every scene! If you are offered this part TAKE IT!

strategies for reading drama

Definition: Climax is the point of greatest tension in a work of literature and the turning point in the action. In a plot line, the climax occurs after the rising action and before the falling action. Definition: Conflict/Plot is the struggle found in fiction. Conflict/Plot may be internal or external and is best seen in (1) Man in conflict with another Man: (2) Man in conflict in Nature; (3) Man in conflict with self.

Melodrama came about because theaters were not permitted to perform serious drama after the English Restoration. However, they could perform plays with music. Theater companies started underscoring their dramatic performances with music in order to get around the prohibition.

offensively self-righteous

Like I'm better then you..

I read in Matthew 6:17 when Jesus said, "but thou, when thou fastest, anoint thine head and wash thy face.

A true definition of this saying (You think you're holier than thou) is (you think you're holier than you, because when ever the word thou was used it was translated from the word you. "But you, when you fast."

Atticus is different to the other fathers, as he does not believe in racism and also does not judge people. Also, he acts as a father to other people along side the father of his children.

e.g. when Jem invited Walter Cunningham to dinner at the Finch household, Atticus greeted him with respect and did not judge him on the wealth of Walter's family. x

The scripts for the first new series can be bought (http://www.play.com/Books/Books/4-/650734/Doctor-Who-The-Shooting-Scripts/Product.html) and the script for the pilot episode is on the "the begining" DVD.

Hairstyle, like costume, is a matter of choice for the director. In the time of Garrick, Macbeth was played as a contemporary 18th century gentleman with a periwig. He is often shown in contemporary settings as having a short military haircut because he is a soldier, and Lady Macbeth has a hairstyle appropriate to the socialite she aspires to be. In the nineteenth century, when many directors were obsessed with the historical setting, the hairstyles were what people expected eleventh cetury Scotsmen and women to look like: the men had long hair and shaggy beards and the women wore their hair in braids that went down to their knees.

Some early Greek tragedies include works by Aeschylus, such as "The Oresteia" trilogy and "Prometheus Bound"; Sophocles' plays like "Oedipus Rex" and "Antigone"; and Euripides' tragedies including "Medea" and "The Trojan Women." These plays often dealt with themes of fate, morality, and the consequences of human actions.

1. the main characters always consist of hero, heroin and villan.

2. it was performed on a mobile stage in the streets.

3. it is performed with music in the background.

4. the actors would not talk - they would mime.

5. the acting consists of exaggerated emotions, stereotypical characters and interpersonal conflicts.

The difference between a monologue and a soliloquy is that a monologue is when a character is talking to another character and they know that they are speaking to another character. Whereas a soliloquy is when a character is speaking their thoughts and feelings to themselves whenever are alone or when they think they are alone.

Wherefore means "Why".

So when Juliet says "Wherefore art thou Romeo"

She's saying "Why are you Romeo?"

1. Harry Potter from the "Harry Potter" series by J.K. Rowling, who undergoes significant growth and change throughout the series.
2. Elizabeth Bennet from "Pride and Prejudice" by Jane Austen, whose complexity and depth are revealed through her evolution in the story.
3. Jay Gatsby from "The Great Gatsby" by F. Scott Fitzgerald, whose inner conflict and contradictions make him a multi-dimensional character.

A dialect can help a character become more realistic by reflecting their unique background, culture, and experiences. It gives them a distinct voice and adds depth to their personality, making them more relatable and authentic to readers or viewers. Additionally, it can contribute to the character's development and help shape their identity within the story.

In William Shakespeare's play "Romeo and Juliet", the Montagues are often associated with the color blue. This is seen in their clothing and decorations, providing a visual contrast to the Capulets who are associated with the color red.

The story that inspired the movie "Rawhead Rex" was written by Clive Barker for his "Books of Blood" series. Barker also wrote the screenplay for the movie adaptation.

Jacobean tragedy is mainly a rebellious drama or in a common parlance it is revenge tragedy which was in vogue during Jacobean period.

There are ample materials on net regarding revenge plays. Kindly refer to the same. good luck

The quotation is actually: "The lady doth protest too much, methinks." It comes from William Shakespeare's play, Hamlet, in Act 3, scene 2.

It is often misquoted with the word "she."

The actor who portrays James Bond is Daniel Craig, however James Bond is still James Bond

Realism in literature, art, or film aims to represent things as they are in real life, focusing on accurate depiction of everyday life, characters, and situations. It helps to create a sense of authenticity and relatability for the audience, allowing them to connect with the work on a deeper level. Realism also serves as a tool for social critique and reflection by highlighting issues and experiences that are prevalent in society.

Faustus is the protagonist and tragic hero of Marlowe's play. He is a contradictory character, capable of tremendous eloquence and possessing awesome ambition, yet prone to a strange, almost willful blindness and a willingness to waste powers that he has gained at great cost. When we first meet Faustus, he is just preparing to embark on his career as a magician, and while we already anticipate that things will turn out badly (the Chorus's introduction, if nothing else, prepares us), there is nonetheless a grandeur to Faustus as he contemplates all the marvels that his magical powers will produce. He imagines piling up wealth from the four corners of the globe, reshaping the map of Europe (both politically and physically), and gaining access to every scrap of knowledge about the universe. He is an arrogant, self-aggrandizing man, but his ambitions are so grand that we cannot help being impressed, and we even feel sympathetic toward him. He represents the spirit of the Renaissance, with its rejection of the medieval, God-centered universe, and its embrace of human possibility. Faustus, at least early on in his acquisition of magic, is the personification of possibility.

But Faustus also possesses an obtuseness that becomes apparent during his bargaining sessions with Mephastophilis. Having decided that a pact with the devil is the only way to fulfill his ambitions, Faustus then blinds himself happily to what such a pact actually means. Sometimes he tells himself that hell is not so bad and that one needs only "fortitude"; at other times, even while conversing with Mephastophilis, he remarks to the disbelieving demon that he does not actually believe hell exists. Meanwhile, despite his lack of concern about the prospect of eternal damnation, -Faustus is also beset with doubts from the beginning, setting a pattern for the play in which he repeatedly approaches repentance only to pull back at the last moment. Why he fails to repent is unclear: -sometimes it seems a matter of pride and continuing ambition, sometimes a conviction that God will not hear his plea. Other times, it seems that Mephastophilis simply bullies him away from repenting.

Bullying Faustus is less difficult than it might seem, because Marlowe, after setting his protagonist up as a grandly tragic figure of sweeping visions and immense ambitions, spends the middle scenes revealing Faustus's true, petty nature. Once Faustus gains his long-desired powers, he does not know what to do with them. Marlowe suggests that this uncertainty stems, in part, from the fact that desire for knowledge leads inexorably toward God, whom Faustus has renounced. But, more generally, absolute power corrupts Faustus: once he can do everything, he no longer wants to do anything. Instead, he traipses around Europe, playing tricks on yokels and performing conjuring acts to impress various heads of state. He uses his incredible gifts for what is essentially trifling entertainment. The fields of possibility narrow gradually, as he visits ever more minor nobles and performs ever more unimportant magic tricks, until the Faustus of the first few scenes is entirely swallowed up in mediocrity. Only in the final scene is Faustus rescued from mediocrity, as the knowledge of his impending doom restores his earlier gift of powerful rhetoric, and he regains his sweeping sense of vision. Now, however, the vision that he sees is of hell looming up to swallow him. Marlowe uses much of his finest poetry to describe Faustus's final hours, during which Faustus's desire for repentance finally wins out, although too late. Still, Faustus is restored to his earlier grandeur in his closing speech, with its hurried rush from idea to idea and its despairing, Renaissance-renouncing last line, "I'll burn my books!" He becomes once again a tragic hero, a great man undone because his ambitions have butted up against the law of God.