Jackson’s Ultimate Blog To End All Blogs.

 Tension: Many scenes utilized dialogue and storytelling to establish tension. Many times extremely emotional and difficult experiences are mentioned rather bluntly and with a level of sharpness. Watching how the characters then react to this was very interesting and a source of tension. Another way in which tension is established is through stage combat, which combined drama with action to create a level of suspense. Emotion: She Kills monsters deals with many emotional topics, and utilizes these to convey emotion. The entire show is a display of a young woman experiencing the death of her sister and attempting to grieve and move on. Simply this idea alone is an emotional one and the manner in which the main character is able to communicate with her dead sister and watching it from the audience's perspective was itself an emotional experience. Atmosphere: The use of lighting, sound, and set design allowed the audience to truly see the difference between the DnD world and the real ...

 Grotowski was a playwright and theorist from Poland. He took the ideas of Artaud and amplified them to the extreme. Traditional stages were rejected, as was almost all convention, very little to no lines, very little to no realism, it was all emotion. Grotowski wanted people to feel more than anything, but he wanted them not just to sympathize or empathize but literally feel what the character was feeling. Through repeated movements, interpretive movements and actions, and minimal set design, Grotowski was able to achieve in conveying the intended emotion without necessarily needing props or a script. Much of his theater feels devised, and it is in this rawness that the intended effect is maintained. Peter Brook is in many ways what Stalinavsky might've been had he come at a later time. Peter Brook focuses on catharsis and feeling, but also still maintains a story. He put's an emphasis on empty space in a theater, and the story it can tell, as well as non-directional directing...

 Our group decided to do our scene akin to the Artaud method. In order to achieve this, we had a big focus on our repeated and interpretive movements. We also focused on the dynamics of our voices to achieve a jarring experience. We amplified this by doing away with a traditional audience perspective and allowed the audience to stand on the stage or sit on the stage while watching. The access to different angles allowed our more subtle movements to be perceived as well as providing a much more intimate experience. When the lines were shouted or used to surprise people, we made sure to get very close to the audience to achieve the intended effect. We also allowed our movements to take up space, the awkwardness maintained focus from the audience as well as raising tension and bringing focus to our movements and what they represented. Overall I believe our scene to be a success, and I am very excited to show it to Ms. Guarino.

 In Artaud's version, tension is created in the movements of the actor as well as their actions and the perspective that the audience observes from. The awkward, jarring, and purposeful movements suggest an almost robotic, and extremely ritualistic movement. While this is similar to Grotowski, Artaud differs in that some semblance of a story is maintained. With the tension the plot brings forth, Artaud uses the emotion it invokes in an interpretive fashion that brings the audience out of their comfort zone. They are made tense by the fishbowl perspective that makes one feel small and distorts the facial features of the actor, and it also allows us to in a way to relate to the goldfish that is in the fishbowl. Thus, when the goldfish is being harmed by the actor, further discomfort and tension can be found. Emotion is created in both Grotowski's and Artuad's versions, and while they are similar in their objective the technique's used are different. Both Grotowski and Art...