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Arthur Miller, born 1915 was an American playwright best known for the crucible, the death of a salesman and a view from the bridge. Miller often wrote politically and socially charged plays which explored morality, integrity and responsibility. Arthur Miller is considered one of the most important dramatists of the 20th century and his work is widely studied in education.

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Arthur Miller, (born October 17, 1915, New York, New York, U.S.-died February 10, 2005, Roxbury, Connecticut), American playwright, who combined social awareness with a searching concern for his characters' inner lives. He is best known for Death of a Salesman (1949).

Miller was shaped by the Great Depression, which brought financial ruin onto his father, a small manufacturer, and demonstrated to the young Miller the insecurity of modern existence. After graduation from high school he worked in a warehouse. With the money he earned he attended the University of Michigan (B.A., 1938), where he began to write plays. His first public success was with Focus (1945; film 1962 [made-for-television]), a novel about anti-Semitism. (1947; film 1948), a drama about a manufacturer of faulty war materials that strongly reflects the influence of Henrik Ibsen, was his first important play. It won Miller a Tony Award, and it was his first major collaboration with the director Elia Kazan, who also won a Tony.

Miller's next play, Death of a Salesman, became one of the most famous American plays of its period. It is the tragedy of Willy Loman, a man destroyed by false values that are in large part the values of his society. For Miller, it was important to place "the common man" at the centre of a tragedy. As he wrote in 1949 :

The quality in such plays [i.e., tragedies] that does shake us...derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what and who we are in this world. Among us today this fear is as strong, and perhaps stronger, than it ever was. In fact, it is the common man who knows this fear best.

Miller had been exploring the ideas underlying Death of a Salesman since he was a teenager, when he wrote a story about a Jewish salesman; he also drew on memories of an uncle. He wrote the play in 1948, and it opened in New York City, directed by Kazan, in February 1949. The play won a Tony Award for best play and a Pulitzer Prize for drama, while Miller and Kazan again each won individual Tonys, as author and director respectively. The play was later adapted for the screen (1951 and several made-for-television versions) and was revived several times on Broadway.

Miller based The Crucible (1953) on the witchcraft trials in Salem, Massachusetts, in 1692-93, a series of persecutions that he considered an echo of the McCarthyism of his day, when investigations of alleged subversive activities were widespread. Though not as popular as Death of a Salesman, it won a Tony for best play. It was also adapted numerous times for film and television. In 1956, when Miller was himself called before the House Un-American Activities Committee, he refused to name people he had seen 10 years earlier at an alleged communist writers' meeting. He was convicted of contempt but appealed and won.

A Memory of Two Mondays and another short play, A View from the Bridge, about an Italian-American longshoreman whose passion for his niece destroys him, were staged on the same bill in 1955. (A year later A View from the Bridge was performed in a revised, longer form.) After the Fall is concerned with failure in human relationships and its consequences, large and small, by way of McCarthyism and the Holocaust; it opened in January 1964, and it was understood as largely autobiographical, despite Miller's denials. Incident at Vichy, which began a brief run at the end of 1964, is set in Vichy France and examines Jewish identity. The Price (1968) continued Miller's exploration of the theme of guilt and responsibility to oneself and to others by examining the strained relationship between two brothers. He directed the London production of the play in 1969.

The Archbishop's Ceiling, produced in Washington, D.C., in 1977, dealt with the Soviet treatment of dissident writers. The American Clock, a series of dramatic vignettes based on Studs Terkel's Hard Times (about the Great Depression), was produced at the 1980 American Spoleto Festival in Charleston, South Carolina. Miller's later plays included The Ride Down Mount Morgan (1991), Mr. Peters' Connections (1998), and Resurrection Blues (2002).

Miller also wrote a screenplay, The Misfits, for his second wife, the actress Marilyn Monroe; they were married from 1956 to 1961. The Misfits, released in 1961, was directed by John Huston and also starred Clark Gable; its filming served as the basis for Miller's final play, Finishing the Picture (2004). I Don't Need You Any More, a collection of his short stories, appeared in 1967 and a collection of theatre essays in 1977. His autobiography, Timebends, was published in 1987. In 2001 Miller received the Japan Art Association's Praemium Imperiale prize for theatre/film.

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Arthur Miller | Biography, Plays, Books, The Crucible, Marilyn Monroe, & Facts

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Arthur Miller, American playwright who combined social awareness with a searching concern for his characters' inner lives. He is best known for Death of a Salesman (1949). His other notable plays included The Crucible. Learn more about Miller's life and work.

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TYPES OF AUDITIONS

Open Call - where anyone can audition. no previous experience is needed

Panel Audition - where a panel of people sit and audition you, often the directors and casting directors

Cold Readings - where you are given or scene on the spot, usually read with another actor

Callbacks - after the first audition, your invited back to test chemistry and to finalise casting

Workshops/ R&D - where you would workshop a new script and the casting directors could watch you in action.

Group auditions - you would be called in with a group of people so the directors can see how you work with other people and understand you in a working environment.

WHAT MAKES A GOOD AUDITION?

know your material and your lines. if its a monologue, have it memorised with clear choices of emotions and intention.

do your homework. if the audition material is adapted from a book, read the book. and if you have time, read the play.

make strong choices. put yourself out there and show the panel a clear point of view of your character.

WHAT ARE CASTING DIRECTORS LOOKING FOR?

they normally aren’t just looking for the best in the room, while talent is a big deal, so is the way you present yourself as a person.

respect and kindness towards others, it costs nothing to be a good person. if you aren’t a nice person to be around then casting directors aren’t going to want to work with you.

strong choices and showing confidence in these choices. intent is everything.

positive attitude. if it comes across that you don’t want to be there then why would anyone cast you.

HOW SHOULD YOU PREPARE?

don’t just memorise the script, understand the story, the relationships and the context.

analysis the monologue to gain understanding on the character. who am i? where am i? what do i want? ect.

try different choices. play around with tone pace and emotion so your not restricted to performing it in one way only.

HOW CAN NERVES BE MANAGED?

prepare properly, the better you know your material the less likely you are to mess up.

visualise success, picture yourself walking in confidently, acing your monologue and leaving proud of yourself.

reframe nervous thinking. instead of thinking “I’m really scared” try thinking “I’m super excited”

don’t doubt yourself. the more you think about it going wrong, the more likely it will go wrong. manifest your own success.

WHAT SHOULD YOU AVOID?

don’t be late. shows your unreliable before you even start your audition.

don’t look unprepared. if you walk in looking unsure, the panel wont have much faith in you.

dress appropriately, not according to the character but an appropriate attire for an audition. not too much but enough to showcase some personality.

NEVER APOLOGISE! 90% of the time the panel wont be reading along with you so if you mess up, play it off and make it look intentional.

WHAT TO DO IF YOU MAKE A MISTAKE?

keep going, 90% of the time the panel wont be reading along with you so if you mess up, play it off and make it look intentional.

stay in character, make the mistake look like a character choice.

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WHO AM I?

Mickey Johnstone, around his late 30s, is a working class man with a twin brother called Eddie who was raised completely opposite from Mickey. Eddie is a middle class man with a stable income and in Mickeys eyes, zero struggles. Mickey had been in and out of jail and lost his job prior to this monologue. Mickey can be fiery and aggressive but his past allows the character to show more depth than just anger.

WHERE AM I?

this monologue is set outside, on the street near his home. Mickey is back in his rough estate, frustrated that he cant get work. While Eddie is living comfortably somewhere else. The location of this scene acts as a reminder to Mickey if where he has come from and the struggles he has had to face without Eddie.

WHEN IS THIS HAPPENING?

There arent scene numbers in blood brothers so its half way through act 2. Act 2 is set in the late 70s to 80s.

WHAT DO I WANT?

To make Eddie realise the privilege his life holds and that Mickey doesn’t ever get to experience that. The contrast of their lives aggravates Mickey.

WHY DO I WANT IT?

Mickey feels that life has dealt him a different hand of cards to Eddie, leaving Mickey feel somewhat humiliated. Mickey wants to understand why his life is so unfortunate compared to Eddie to almost feel closure .

WHAT DO I DO TO TRY TO GET IT?

Mickey confronts Eddie and expresses the way he feels and has been feeling for a long time.

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Konstantin Stanislavski was a Russian theatre practitioner born 17th of January 1863 and later died in 1938. Stanislavski was widely known as an outstanding character actor, and the many productions that he directed gave him a reputation as one of the many leading theatrical directors of his generation.

Stanislavski was known for creating the Stanislavski system or method. which is an acting technique that emphasises realism and authentic emotional expression to help actors “live” their role rather than just perform it. This system consists of exercises designed to bring out emotional expression and believable action.

Key components include The Magic “If”: answering the seven questions of “Who am I? Where am I? When is it? What do I want? Why do I want it? How will I get it? What do I need to overcome?” another key component is emotional recall. Which is using personal experience and memories to connect with and express the emotional state of your character.

The Stanislavski system is important because it lifted acting from a surface level style to more of a emotionally realism style. thus forming the foundation of modern acting training emphasising the importance of deep character analysis, genuine emotional expression and truthful interaction within the suitable context.

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Konstantin Stanislavski - Naturalism and Stanislavski - GCSE Drama Revision - WJEC - BBC Bitesize

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Learn about Stanislavski’s techniques, emotional memory and the Moscow State Theatre when discussing naturalism and Stanislavski for GCSE Drama.

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for me personally, learning lines comes quite naturally to me so i never feel its necessary to use any techniques to learn them. usually i just write up my monologue on paper and read it like i would in an audition. this works for me as it allows me to connect emotion and lines together. for example if i know what order the emotions are in, i know what lines are next. also while writing out my lines, i will annotate them to create an even better understanding of the scene.

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Blood Brothers is a musical by Willy Russell about twin brothers Mickey and Eddie who were separated at birth by their mother Mrs Johnstone who gave Eddie to her wealthy colleague Ms Lyons. Mickey is raised in poverty, while Edward grows up in wealth, but they form a powerful bond as best friends and "blood brothers" after meeting at age seven. Their friendship faces challenges due to their class differences, leading to a tragic climax where the difficulties and circumstances of their brotherhood results in their deaths.

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As you like it is a shakespearean comedy where young Rosalina disguised as a young man named Ganymede flees to the forest of arden after being banished by the court. In the forest she meets Orlando who is also fleeing from his brother who mistreats him. Rosalina tests Orlandos love leading to a playful relationship between the two ending up in an affectionate loving relationship. The play concluded in a mass wedding between Rosalina and Orlando and many other happy couples resolving the political problems displayed at the beginning.

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As I remember, Adam, my father left me only a small inheritance of a thousand crowns in his will. He also told my brother to take good care of me. That’s where my sadness starts. My brother Jaques goes to school and is reportedly doing well there, while I am stuck at home without any real opportunities. Being kept at home feels like being treated worse than an ox; Jaques's horses are raised better than I am—at least they get proper care and training with skilled riders. Meanwhile, all I get from him is physical growth but nothing else useful. Additionally, even though he gives me food abundantly, it seems to take away from what nature gave me in terms of dignity. He treats me like one of his servants instead of as a brother and undermines my upbringing as someone of noble birth. This bothers me deeply

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WHO AM I?

Orlando, the hero of As You Like It, a noble yet uneducated young man who is mistreated by his cruel brother, Oliver. He is characterised by his goodness shown by his care for the aging Adam and when he saves Oliver’s life from a lioness. Orlando feels anger towards his brother because he treats him like one of his slaves and not a brother.

WHERE AM I?

this monologue takes place on Oliver’s land in his estate. this scene is normally set under a tree, or on a bench or on the grass. Orlando is ranting to Adam about Oliver mistreating him.

WHEN IS THIS HAPPENING?

this monologue takes place at the very start of the play in act 1 scene 1

WHAT DO I WANT?

Orlando wants respect and recognition because he feels cheated by his brother. as the son of a noble man he expects to be treated as a gentleman but instead is treated like a farmhand. he also wants education. he sees his brother jaques at school and doing well and wants that opportunity for himself.

WHY DO I WANT IT?

he wants it because of his father’s legacy. his father was a well respected noble man and Orlando feels he has the same noble spirit inside him. to be denied education is not just unfair, its an insult to his father’s memory.

WHAT DO I DO TO TRY AND GET IT?

he vents to Adam and pours out his frustration to someone he trusts. its his first step of claiming his own voice. he also compares himself to his brothers. how Jaques goes to school and Oliver’s horses are treated better than him.

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this scene takes place outside, by mickeys house. the tiled concrete floor is cracking and eroding with weeds slipping through the cracks. the walls of this alley are lined with large overflowing garbage bins with piles of rubbish surrounding them. the smell of rotten food and cigarettes fill the air. this is home to Mickey and though that smell is ghastly, to some it may feel warm and comforting. the walls are falling apart with rubble scattered around the edges. the air is thick and heavy with the fumes of nearby factories. this area so clearly filled with poverty reminds Mickey of the life he has been forced to live while eddie got to live on a hill permanently above Mickey.

dear diary, i’m struggling if i’m being honest. i haven’t been out of prison long and the only thing that makes me feels something apart from anger is them stupid fucking pills me doctor prescribed me. and i know i shouldn’t enjoy taking them but i do, i can function if i don’t. and im so fucking sick of eddie acting all high and mighty just cus hes had a better life than me. telling me i need to seek help and that what im doing aint good for me like he’d have a fucking clue whats good for me. i just wan him to understand that we are completely different and we will never be the same. he cant understand my experiences in life cus his were so fucking different. and maybe if he wasnt such a bellend maybe he would be able to grasp that but hes just so oblivious to everyone around him apart from himself. and linda wont piss off either? its like their talking to eachother about me behind my back trying to “help” me but they dont understand that they just cant. its ironic ent it, theyd be perfect together. both nagging pricks. either way im sick of their shit an i ent putting up with it no more.

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behind olivers grand house is a vast and beautiful garden decorated with bright flowers and elegant willow trees creating sitting spots with the patches of shade. the grass is vibrant green and just beyond the grass is a meadow densely populated with flowers and long grass. orlando is sat with adam under the willow trees and this setting reminds him of his brothers successes and riches.

dear diary, i miss my father. so much so that it consumes my being. he was a nobleman, a respected one and his legacy lives on but only through my brother jaques and oliver. they get their good lives with their education and wealth and i get nothing but the crumbs off their plates and as much as my father left me in olivers care, im treated like a peasant. this isnt just insulting to me, its disrespectful to my fathers name. i should grow up to be just as respected as my father but i dont even get education. i cant take it any longer.

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Stella Adler was an American actress and a well respected acting teacher known for her emphasis on using imagination, analysis of texts and the actor’s responsibility to demonstrate the historical and emotional context to their character and scene. Adler was Stanisvlaskis last student before he died and her work was heavily influenced by studying directly under him.

Whereas Stanisvlaski believed in using personal memories and experiences to relate to a character or scene, Adler believed in using the actor’s imagination and thorough text analysis to create an authentic and believable performance.

Adler believed that relying on personal experience could limit an actors depth. instead she encouraged actors to use their imagination to create their characters past and emotional situation. Adler, alike with Stanisvlaski, believed that actors should thoroughly analysis text and create the given circumstances for their character.

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Stella Adler (born Feb. 10, 1901, New York, N.Y., U.S.-died Dec. 21, 1992, Los Angeles, Calif.) was an American actress, teacher, and founder of the Stella Adler Conservatory of Acting in New York City (1949), where she tutored performers in "the method" technique of acting ( see Stanislavsky method).

Adler was the daughter of classical Yiddish stage tragedians Jacob and Sara Adler, who formed the organization deemed largely responsible for promoting Yiddish theatre in the early 20th-century United States, the Independent Yiddish Art Company. She made her stage debut at age four in one of her father's productions. After that, she received little formal schooling and no formal acting training; instead she studied with her father by watching other actors and learning her craft by observation and performance. In 1919 Adler made her international debut in London, where she remained for a year. Returning to New York City, she played feature roles and performed in vaudeville, later touring Europe and South America as the head of a repertory company. Between 1927 and 1931 she performed more than 100 roles.

In 1931 Adler joined the innovative Group Theater, whose actors were trained in "method acting," a system propounded by Russian actor and theatre director Konstantin Stanislavsky and based on the idea that actors perform by invoking affective memory or a personal memory of the emotion they are trying to portray.

Adler studied with Stanislavsky in Russia in 1934 and adapted his principles, which in their original form she considered too rigid. Upon her return to the Group Theater, she taught her version of Stanislavsky's method. In her classes Adler taught that drawing on personal experience alone was too limited. She encouraged performers to draw on their imaginations as well.

In the early 1940s Adler began teaching acting at the New School for Social Research in New York City. She remained there until 1949, when she established the Stella Adler Theater Studio (later renamed the Stella Adler Conservatory of Acting). While conducting her own school, she also taught at Yale University's School of Drama (1966-67) and headed New York University's drama department in the 1980s. Adler herself performed until 1961.

In addition to acting and teaching, Adler worked as an associate producer for MGM in the early 1940s, directed commercial theatre in New York City throughout the 1940s and '50s, and wrote The Technique of Acting (1988). The second of her three marriages was to Harold Clurman, one of the founding members of the Group Theater; it lasted from 1943 to 1960.

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Stella Adler | American Actress, Acting Teacher & Theatre Founder

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Stella Adler was an American actress, teacher, and founder of the Stella Adler Conservatory of Acting in New York City (1949), where she tutored performers in "the method" technique of acting (see Stanislavsky method). Adler was the daughter of classical Yiddish stage tragedians Jacob and Sara

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Willy Russell, born 23 august 1947, is a composer, lyricist and a dramatist. His best works include “Educating Rita”, “Our Day Out”, “Shirley Valentine” and many more. Russell was born in liverpool. He dropped out of school at 15 to become a womens hairdresser and a part time singer/songwriter performing on the local folk scene, before returning to education and becoming a teacher.

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Actors warm up their voices for many reasons, including to prevent strain, allow for enhanced range and projection, improve breath work and to enhance diction. The key areas of vocal warm ups include, diaphragmatic breathing, which is a deep breathing technique that uses to muscles in the diaphragm to pull in air and create deeper slower breaths. another key area is diction. diction is the distinctness of speech emphasising the enunciation and pronunciation. a final key area is projection, vocal projection is the ability to produce clear, powerful and resonant sound without the voice breaking to strain.

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William Shakespeare, born 1564 and died 1616, was an english playwright, poet and actor who rose to fame during the elizabethan and Jacobean eras through his undeniably powerful literature and plays. Shakespeare married his wife Anne Hathaway in 1582 and they had three children named Susanna and twins Judith and Hamnet.

Shakespeare's reputation was established in 1592. it was around this time that he wrote his earliest works including Titus Andronicus. after the plague, Shakespeare and many other actors combined to form the lord chamberlains men and for almost 20 years Shakespeare was its regular dramatist, producing an average of 2 plays a year. from here his reputation skyrocketed and he rose to fame.

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Shakespeare's reputation was established in London by 1592. It was during this time that Shakespeare wrote his earliest plays, including Henry VI Part 1, Henry VI Part 2, Henry VI Part 3, The Two Gentlemen of Verona, and Titus Andronicus, though it is often debated which of these plays was actually the first.

Shakespeare's first printed works were two long poems, 'Venus and Adonis' (1593) and 'The Rape of Lucrece' (1594). These two of Shakespeare's poems were both dedicated to Henry Wriothesley, Earl of Southampton, who had become his patron.

After the plague epidemic subsided, Shakespeare and other actors who had previously belonged to different companies combined to form the Lord Chamberlain's Men. This new theatre company was under the patronage of the Lord Chamberlain, and Richard Burbage starred as its leading actor. As a member of the troupe, Shakespeare also became a sharer in the company's overall income. For almost twenty years William Shakespeare was its regular dramatist, producing on average two plays a year. Shakespeare stayed with the Chamberlain's Men, which would later evolve into the King's Men under the patronage of King James I, for the rest of his career. He also became a member of the syndicates which owned the Globe and the Blackfriars Theatre.

During his lifetime, Shakespeare provoked the envy and admiration of fellow writers, as we know from their surviving comments in print. The First Folio, an unprecedented collection of a playwright's work, is the best illustration of the pre-eminence awarded to him. Ben Jonson's tribute to him, printed in this volume, famously praised him as:

".....Soule of the Age!
The applause! Delight! The wonder of our Stage...
He was not of an age, but for all time!"

The memorial statue erected by his family in Holy Trinity Church, Stratford-upon-Avon also demonstrates his status as a prosperous man of property as well as a famous poet.

Shakespeare's Patrons

As a member of the acting company called the Chamberlain's Men, which from 1603 were known as the King's Men, Shakespeare enjoyed the patronage of the Lord Chamberlain George Carey 2nd Lord Hunsdon and then of James I. Early in his career as a writer Shakespeare dedicated Venus and Adonis (1593) and The Rape of Lucrece (1594) to Henry Wriothesley, 3rd Earl of Southampton. The First Folio was dedicated after Shakespeare's death to William Herbert, 3rd Earl of Pembroke and his brother Philip who supported Shakespeare and his plays in his lifetime.

Elizabeth I was an active and generous patron of the theatre. She had her own acting company called the 'Queen's Men', and stood against the puritans who wished to close down the theatres. Without her support the Elizabethan theatres would not have survived. In the 1590s court performances by acting companies became popular and Shakespeare's company was selected more than any other. Shakespeare does not refer to Elizabeth very often. He makes only one direct reference to her: "a fair vestal throned by the west" (A Midsummer Night's Dream). There is a reference to her baptism at the end of Henry VIII, but that section of the play is believed to have been written by John Fletcher. It is believed that she liked the character of Falstaff so much, in Henry IV, Part One, that she asked Shakespeare to write a play that showed the character in love - this supposedly inspired The Merry Wives of Windsor. When Elizabeth died Shakespeare wrote no elegy for her, unlike most of the poets of the day. As you can see it is not easy to determine Shakespeare's relationship to Elizabeth I. It appears that he worked for her as she demanded but there is no indication that their relationship was closer than that.

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Read about William Shakespeare's early career as he built his reputation in London.

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The Globe theatre is a 20 sided, open air, polygonal structure with a thatched roof and a thrust stage. It was built in the 16th century and primarily used by shakespeare and his company. The concept of building a scaffolding with three levels of galleries surrounding a circular yard was made to copy the layout bearbaiting and bullbaiting houses. the stage stands raised in the yard which was the type of stage companies would set up in inns.

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The design of the original Theatre responded to a mix of traditions. Its name, which up to then had been used for atlases (such as Mercator's) rather than for playhouses, drew attention to the Roman theatre tradition. Its circular shape, though, reflected not the D-shape of a Roman amphitheatre but the gatherings of crowds in a circle around the actors in town marketplaces, where all the players of 1576 got their training. The concept of building a scaffold with three levels of galleries surrounding a circular yard mimicked the arrangement for audiences of existing bearbaiting and bullbaiting houses. The stage, a platform mounted in the yard, was the kind of thing that traveling companies set up in inn yards.

The old Theatre was a 20-sided structure, as near to a circle as Elizabethan carpentry could make it. It stood more than 30 feet (9 metres) high, with three levels of seating in its galleries. Audience access was either through two narrow passageways under the galleries into the standing room of the yard around the stage or up two external stair towers into the rear of the galleries. Five of the 20 bays of the galleries were cut off by the frons scenae, or tiring-house wall, behind which the actors kept their store of props, costumes, and playbooks and prepared themselves for their performances. The stage was a 5-foot- (1.5-metre-) high platform protruding from the tiring-house into the middle of the yard. Two posts upheld a cover over the stage that protected the players and their expensive costumes from rain. The audience standing in the yard had no cover, though when it rained they could pay more and take shelter in the lowest gallery.

The Globe reproduced this old shape, with a few innovations mainly in the fresh painting and decoration of the stage area. Each of the four London amphitheatres that scholars know most about, the Rose, the Swan, the Globe, and the Fortune, had auditorium bays of a certain size, about 10 feet 6 inches (roughly 3 metres) from front to back and an average width of 14 feet (about 4 metres). The Globe and Fortune, and probably the Swan, had 20 bays in all, while the smaller Rose had 14. Seating in the form of degrees (wooden benches raked upward to the rear), along with the roofing over the topmost gallery, provided all the comfort short of a cushion that Elizabethans expected. A few rooms were reserved for the most privileged on the stage balcony itself. Including the space for nearly a thousand customers to stand in the yard around the stage, the small Rose had a total capacity of about 2,400 people, while contemporary estimates of total audience capacity at the Swan and the Globe claimed 3,000.

The stage was large, 43 or 44 feet (about 13 metres) across and 27 or more feet (some 8 metres) deep. The two stage posts were substantial, since they had to uphold the large cover, or heavens, which had a trapdoor in it with a windlass for winding boys playing gods down onto the stage. Below the heavens trapdoor was one in the stage, which served as the entry point for King Hamlet's ghost and the grave for Ophelia. The tiring-house wall had two doors on its flanks for entrances and exits and a central opening, normally covered by a set of hangings (Polonius's arras) that concealed the caskets in The Merchant of Venice and Hermione's statue in The Winter's Tale. Above the three openings, a balcony ran the width of the stage wall, the central room of which was used for scenes that required an upper window or balcony or the walls of a town.

Playing at the Globe

The experience of watching a performance at the Globe was radically different from that of viewing modern Shakespeare on-screen. The plays were staged in the afternoons, using the light of day, and the audience surrounded the stage on all sides. No scenery was used, except for occasional emblematic devices such as a throne or a bed. It was almost impossible not to see the other half of the audience standing behind the players. Consequently, much of the staging was metatheatrical, conceding the illusory nature of the game of playing and making little pretense of stage realism. (For more on this subject, see Sidebar: Performance in Shakespeare's Theatre.)

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The design of the original Theatre responded to a mix of traditions. Its name, which up to then had been used for atlases (such as Mercator's) rather than for playhouses, drew attention to the Roman theatre tradition.

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Improvisation is the act of performing without script or plan, making decisions on what feels natural to the scene. I personally don't dislike improv but i wouldn’t say its my favourite. I feel much more comfortable with direction and structure, however i aim to make

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Improvisation helps build the creative flexibility many actors rely on. As an actor you always need to stay open minded as well as think on your feet and contribute to a rehearsal. Having improv skills shows you are adaptable, creative, character aware and engaged.

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Mastering Improvisation In Drama: Essential Skills For Aspiring Actors | Italia Conti

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As an aspiring actor, improvisation is one of the most essential tools you need in your toolkit. Whether you’re responding to a forgotten line, adapting to a

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The crucible is set in Salem Massachusetts 1692, the play follows a group of girls who get caught dancing in the woods. to avoid punishment the girls start frantically accusing townspeople of witchcraft which sparks mass hysteria and chaos. The court took these accusations seriously and often condemn people without any real evidence. Abigail Williams, one of the girls uses the situation to seek revenge against Elizabeth Proctor whose husband, John Proctor once had an affair with. John proctor tries exposing the lies of the court but they don't believe him and in the end is hung with a few others who don't admit to witchcraft.

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Meisner was born in brooklyn, new york and was a founding member of the Group Theatre in the 1930s alongside others like stella adler. This company explored stanislavskys methods of acting.