The magic if drama Essay Example

The magic if drama Essay Example The magic if drama Paper The magic if drama Paper Constantine Stanislavski is a man whom is a great insperation to all aspiring actors. He believes in a variety of techniques which allows the actor to create total realism and focus on stage. I am now going to talk about the Magic If explaining what it is and how it is important for the actor to under-go. If the Magic If were to be studied successfully then as an actor i should be able to make any character I play believable not just to the audience, but to myself. I am aware of the work of Constantin Stanislavski, but Ive never really looked into detail about his System. Stanislavski believed that acting should not be thought of as imitation but as a process. It isnt a matter of external control, technique, and skillfully reproducing an experience but creating and conveying inner life, a sense of being, not playing. As an actor, I have to create organic links between my own personality and the character I am playing. Although I must believe that I am that character, in that time and in that situation, it must be remembered that I mustnt forget who, as an actor, I really am. To help create any role, Ive always found it helpful to attempt many improvisations. In the System this is known as the magic If. The magic If opens up many possibilities for the actor and can no doubt help them to explore new emotions. But to aid the Magic If is the given circumstance. This is the basis for the actor and the role. The given circumstances are: the story of the play, its facts, (the characters in the play, who they are and their purpose); events, (what happens in the play); time and place of action, conditions of life and finally the actors and directors interpretation; the production, the sets, the costumes, the properties; lighting and sound effects. The most important thing needed to create the realism and Magic If is imagination. But of course the most important thing needed to do all this is my imagination. Stanislavski points out: If you speak any lines, or do anything, mechanically, without fully realising who you are, where you came from, why, what you want, where you are going, and what you will do when you get there, you will be acting without your imagination. Some good techniques to develop the imagination are to prepare the body by relaxation and then being taken on a meditation by some else. This can help create a more power imagination, and if you can hold the images and believe them, it can also help in developing your concentration. To aid the imagination of a character i would be undergoing, I would research into the lifestyle he might have had, what he wore, ate, how he may have entertained himself and possibly different aspects of his personality. Relaxation techniques and meditations can also help in focusing and relaxing an actor on stage. Stanislavski created a devise known as Circles of Attention. This can be shown like ripples on a pond. If the actor is in the centre of the pond, the ripples radiating out from the actor in an increasing circumference will eventual embrace the whole pond, or in this case the whole stage. To begin with, I would create a very small circle around me, focusing on myself and character, what Im wearing and what Im doing. Then I would spread the circle farther away, drawing in nearby objects and props or any characters stood by. Finally I would spread the circle around the stage, focusing on everything there and knowing where everything is. To practice this I would stand in a room and go through the procedure of expanding the circle, and being aware of whats in the room Im in. I would practive this in the Art Centre as it is generally a large room and I would have to emphasise my movements and voice so all 3 sides of the stage could hear/see me. Stanislavski also calls for the use of the Emotion Memory; Just as your visual memory can reconstruct an inner image of some forgotten thing, place or person, your emotion memory can bring back feelings you have already experienced. You would think that this would give a more emotional performance and convince the audience that the character is real. However, the use of your emotional memory with a character may end up with you not acting at all, but saying the words from the text as you bring up all your past emotions. I have just recently worked on the Emotion Memory in a workshop. I was called to bring out an emotion at a time when I was at my saddest. This I did, but I dont think that if I was on stage and my character demanded sadness that I could recall that memory I had. I would forget about the character and end up re-living the past. I think that it is important to remember how you felt at that time, without the reasons for it, and then call that up instead. An example of this would be when my character would have to represent sadness on stage. I would think of when my nan was dying from cancer or when my best friend died to bring the required emotions to my head. This would create more realism and make much more sense to the audience on stage. Happiness is easily shown and I feel that so is the sadness. Anger, though, is something that I dont express very often. Im one of those people who bottles everything up and walks away quietly. This is why, when representing anger, I would have to rely on my body movements and voice. Instead of yelling out the words, I would raise my voice but say them slowly, not projecting as far as I normally would do. Id try not to move my body and maybe raise an arm (to reinforce my power over another character on stage. Stanislavski pointed out that all actors need to have a tempo/rhythm in their acting. This tempo/rhythm needed to be external and internal. For example, the character may be worrying about something and could even be panicking and at the same time is in a room where other characters are talking about something as bizzare as the weather. The inner turmoil tends to be conceiled. ase, by a show of calm. This can lead to an interesting performance as the two tempo/rhythms contradict each other and i believe this creates a stronger visual impact on the audience. The whole System was designed to allow characters to become more indepth and Stanislavski spent many years trying to studying and experimenting with his System. Studying it you can initially see where he was heading, the only problem being the length of time needed to complete the system, with a character. Unfortunatly, we havnt got the required length of time available to us, so it is of great difficulty to fully study and complete Stanislavskis techniques. However, Stanislavskis ideas for realism and naturalism were a great influence on this last century, and parts of the System are still used today in rehearsal time when creating a role. The Magic If has had a great impact on all aspiring actors as it has taught us how to develop our roles to create the most realism possible. Stanislavskis techniques are of great importance as they truly indicate to the actor how to portray their characters role by looking at their personality and studying how they move around stage as a person. In conclusion, the Magic If is very important for all actors as all mainstream actors follow the system and Stanislavski has become a big rolemodel to many because of it.

What is Irony The 3 Major Types of Irony (with Examples)

What is Irony The 3 Major Types of Irony (with Examples) What Is Irony and How Should You Use it? Last updated: 04/18/2019Many of us probably know it when we see it, but few of us can articulate what irony really is - much less identify the different types. However, it’s important for writers to understand this literary technique, as it can really add depth to your story - so long as you’re not using it in a hackneyed or incorrect way (like the much-debated Alanis Morissette song).In this article, we will define and analyze the various types of irony and how to use them in your writing. These types include dramatic, situational, and verbal irony, along with their offshoots and related terms. We’ll also give examples of each type in literature, films, and other media. Finally, we’ll debunk the concept of "rain on your wedding day†Ã‚  - which might be inconvenient but certainly isn’t ironic. The 3 different types of irony how to use them What is irony?Irony is a storytelling tool used to create a contrast between how things seem and how they really are beneath the surface. The term comes from the Latin word ironia, which means â€Å"feigned ignorance.† The three main types used in literature are dramatic, situational, and verbal, as mentioned above.People often conflate irony with sarcasm, coincidence, or bad luck. While these concepts can have ironic characteristics, they’re not interchangeable with irony.So for example, if you run to catch the bus and miss it by two seconds, that’s not ironic - unless the reason you’re late is because you were bragging about how you wouldn’t miss the bus. This creates an unexpected and comic contrast to what would otherwise just be an unfortunate situation. More on that later. The stages of dramatic ironyNow that you have a solid handle on what it is, let’s break down the three stages of dramatic irony.  We’ll use another Shakespearean example, this time from Baz Luhrmann’s Romeo + Juliet (which has an ever-so-slightly different ending from the original play), to illustrate these stages.Stage 1. Installation: the information is presented to the audience, but withheld from the characters. Toward the end of the movie, Juliet fakes her own death to get out of marrying Paris. She sends a message detailing her plans to Romeo, but he never receives it - so the audience knows Juliet isn’t really dead, but Romeo does not.Stage 2. Exploitation: the author uses this imbalance to heighten curiosity and tension. Romeo finds out about Juliet’s â€Å"death† and buys poison in order to join her in the afterlife. The audience doesn’t yet know whether he will go through with it, however, and they're filled with anguished curiosity.Stage 3. Resolution: the characters find out the truth. In the Baz Luhrmann version, Romeo drinks the poison by Juliet’s side, but she awakens from her deep slumber just before he dies. Hence he does, eventually, find out the truth that she was never really dead - but of course, he’s already consumed the poison, which means all they have time for is one final kiss.In this case, the dramatic irony is also tragic irony; the characters in Romeo + Juliet find out the truth just moments too late to stop something horrible from happening. Heartbreaking, no? 💔How else is dramatic irony used?To induce feelings of fear or suspenseAlfred Hitchcock succinctly explains dramatic irony by describing two scenes:In the first, four people are sitting at a table, having a conversation, when a bomb explodes.In the second, we witness an anarchist enter the room, place a bomb under the table, and set it to explode at 1pm. Moments later, we watch as four people sit at th at table and begin a conversation. There is a clock on the wall that reads 12:45pm.In the first scene, we experience momentary surprise. In the second scene, an innocuous conversation becomes charged with prolonged suspense - dramatic irony.For some truly impressive suspense-building, check out this list of the 50 best suspense books of all time.To stir up sympathy for a characterIn the movie Ten Things I Hate About You, high school senior Kat is cold and reserved. After Patrick agrees to woo Kat in exchange for payment from a fellow classmate (who wants to date her sister), we see her warm to him. However, even as they fall for each other, we know that the truth about Patrick’s initial interest in Kat will inevitably come out - consequently, we feel sympathy for her as the reveal draws closer.To create comical situationsIn the season eight finale of  Friends, Joey picks up Ross’s coat and a ring tumbles out - a ring intended for Ross to propose to Rachel. When Jo ey kneels down to pick it up, Rachel assumes he is proposing†¦ and accepts.Hilarity ensues as misunderstanding and miscommunication take the day. But of course, ignorance can only remain bliss for so long. Once exploitation is underway, resolution must follow soon after. A character who remains oblivious for too long can start to seem unrealistic to readers, and tension turns to frustration; always keep this in mind when using dramatic irony in a story. Dramatic irony: when readers know something the characters don’t 😠² 2. Situational ironyWhen the truth contradicts an expected outcome, it's  situational irony - also known as â€Å"the irony of events.† Again, just to clarify, irony is not the same as "coincidence" and "bad luck." If you buy a new car and then accidentally drive it into a tree, that is both coincidence and bad luck. However, if a professional stunt driver crashes into a tree on their way home from receiving a â€Å"best driver† award, that is situationally ironic.Example of situational irony: Harry Potter and the Deathly HallowsThroughout the seventh book of the Harry Potter series, readers follow Harry on his quest to find and destroy Voldemort’s six Horcruxes. At the end of the novel, we find out that there is a seventh Horcrux, so to speak  - and it's Harry himself.This unexpected twist also comes with the ironic realization that in order for Voldemort to die, Harry must sacrifice himself. So he willingly goes to meet Voldemort - and his own death. But when Voldemort uses the killing curse on Harry, it has the opposite of his desired effect. Harry lives while the Horcrux dies, bringing Voldemort that much closer to his greatest fear: mortality.In this way, Harry being a Horcrux is actually a double case of situational irony. Harry believes he must die in order to vanquish his enemy, whereas Voldemort thinks he is killing Harry, but he’s actually killing himself. Mind = blown, right?How to Write Dialogue: 10 Simple Rules (Plus 5 Mistakes to Avoid!) Read post This does rely on well-planned timing and context, however. A character needs to be properly developed, and the tone of a scene needs to be precisely conveyed, in order for dialogue to come across as ironic. Otherwise, there's a danger that the character’s statement may go over the reader’s head or be taken literally.For comic reliefOf course, sometimes writers use verbal irony simply to be funny. Whether it’s to highlight a sarcastic character (see: Chandler Bing) or to lighten tension during a dark or difficult scene, verbal irony typically does a very good job of providing comic relief.Final takeawaysHopefully you now understand the general purpose of irony: to create a contrast between appearances and underlying truths. When done properly, this can rather significantly alter a reader’s interaction with, expectations of, and insight into a novel. Indeed, irony is a hallmark of some of the most interesting and sophisticated writing in this day and age.Re member to use it with care, however, as it requires people to read between the lines. Irony can add a lot to the reading experience, but shouldn’t throw us so far off course that we can’t find our way to the truth. With that in mind, go forth and be ironic! (In your story, we mean.)What’s your favorite example of irony? Let us know in the comments!