Student Director's Prompt Book | Broadway EducatorsShakespeare's Romeo and Juliet provides an ideal test case for an editorial approach which emphasizes the history of the play in performance. In the first place, it originates in two substantive texts Q1 in and Q2 in and a variety of editions since the seventeenth century. In the second, it has had a remarkable career on the stage since its initial performances at the end of the sixteenth century. From the Restoration on it has been in production -- in one form or another -- almost continuously. During certain periods it has enjoyed enormous success. The second half of the eighteenth century was one of those times: performances in London between and eclipsed Hamlet. The second half of the twentieth century has been another: hundreds of performances internationally have been eclipsed by Hamlet alone.
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Student directors need to document their process, including showing clearly the reasons for the directorial choices they have made. Along with the materials outlined below, it would also include:. As this is, due to time, more of a presentation than a performance, we have opted to mime many of the props. If we were to perform this piece, I would have nothing mimed — all the props would be furnished. Below is the prop list for a play entitled Simply Selma. Note: this section may be more than one page long. Selma has returned home to care for her mother, after completing only a year of schooling most likely a tech school rather than a college.
English 9 Honors. Romeo and Juliet prompt book rubric. Reading to uncover layers of meaning that lead to deep comprehension. For this assignment, you and a partner will do a close reading of a monologue or scene from Romeo and Juliet. Your interpretation and analysis of the passage will be expressed through you creation and presentation of a prompt book.
The archive includes — but is not limited to — photographs, programmes, posters, scripts, prompt books, scrapbooks of reviews, notes on props, costume designs, stage plans, show reports… a whole wealth of information on every aspect of theatre production. Inside the archive is a whole host of familiar faces. Photographs are not the only artifacts of performance hosted in the collection. Tracing the notes on stage positions and decoding the sound cues allowed the still, silent images to resume a kind of movement that would be totally lost if we were unable to integrate the different records. What I find most interesting, however, is what is not usually seen from the audience seats. There are hundreds of show reports for every season, tracking audience reaction, technical problems, corpsing, the whims of the weather.
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The mission of The Unrehearsed Shakespeare Project is to perform the works of William Shakespeare using the Unrehearsed Cue Script Technique in order to expose our community to unique productions that bring the audience and performers together in a way that only theatre can. We teach actors to find cues and clues that Shakespeare put into his scripts enabling them to make the plays the entertainments the playwright intended. We tell the stories. You interpret them. Gambling, drinking, bear baiting and prostitution were available only feet away from the performance, if not in the theatres and inn yards of the time. This meant that performances had to be entertaining and fast-paced to keep the audience interested and to entice them to come and spend their money again. For this reason, the same play was not repeated every day for a long run as is common today.
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