American and Canadian Theatrical design

They have performed in many of the global stage performance. They have always come up with ideas that have supported the content and values of visual elements their citizens have an attitude towards learning a new idea so that they engage creativity and willingness to be inquisitive and curious. This paper will focus on the play by Anne Washburn’s play, 10 Out of 12, which is a realistic rendering rehearsal play in an unnamed small town. Scriptwriters are superfluous towards the director, the stage manager and the designer on integrating all the elements of performance into a production fit so that they begin performance. Using the play, I will be able to identify how the selected themes have been used in the play.

The theatrical design has two broad categories, one that serves aesthetics and always seen appropriate for the art of theatre in a given culture and on the other hand the one that optimizes the experience of art for the audience. American Theatrical design American had various stages which include musical review which dominated the early twentieth century. Fletcher elaborated that the American stage design has less information on the key aspects of cultural, social, theoretical and political underpinnings of different practices (270). On the other hand, Walmsley says that theatre is a complex pastime that bridges leisure and arts. It is the driver of aesthetics, education, emotions, entertainment and hedonics (335). This is one of the most famous the critical creations that have been used up to today.

The pioneer of these designs Norman Bel Geddes who used it together with an imaginative theatrical concept. Canadian theatrical design In the late 18th century the Canadians amateur and professional theatre companies recognized the value of conceived scenery and costuming for a successful theatrical production. Canadians mainly deal with the stage and costume design which is essential in the theatrical design (Taylor, & Elizabeth 140). Many of the stages were dominated by the Americans and British companies which show that the Canadian theatrical was not that different to the American style. The Canadian theatrical design does emphasize costumed actors, lighting, and furniture more than the scenery so that they avoid obscuring the audience view. Some of the theatres played contemporary drama and the classics like in the Hart House theatre in 1919.

Many of the Canadian theatres have been influenced by the London Theatre which has inspired their innovation and experimentation. Just after World War II many of the Canadians theatres increased since they encouraged the production of the Canadian play. Some of the play that symbolized the Canadian drama include the Hihn Harber’s prison drama the Fortunes and Men’s Eyes that succeed into the international platform (Conolly & Dorothy 45). There should be a connection between the audience and the performer. Many of the performance keeps the audience in the dark of the theatre letting them become the invisible watcher. However, in other shows, the performers break the forth wall and gaze directly to the audience despite them remaining on the stage.

It should be noted both the performer and the audience share the same physical space and they can both take part in the show. In the play 10 out 12, the audiences have been allowed to become grasper in the dark where we hear conversations between members of the crew. With metadrama in mind common them of the audience is to expect them to laugh whenever a joke is cracked towards them in a play. Metadrama is seen in the play 10 out of 12 just after the conversation between he director and Eva (28). Just after they finish talking a play within the main play is seen where Eva, Ben, and Signet starts to do their things too. Ben starts to look towards the light while Eva starts to look at him dramatically.

She pulls back her shirt back in the other way. It is how the artist imagines, create and perform an act of art. Indicating on how people use it to enjoy and criticize the art when they understand and see what they hear. On the other end, Canadians have made effective use of the experience in art for the audience. As revealed from the American and Canadian style of theatrical design they had some difference. Mainly the American style serves the aesthetics which is usually considered appropriate to many of the practitioners of the art theatre on the other end Canadians are interested in optimizing their cultural experience in front of their audience. Stage Designers in Early Twentieth Century America: Artists, Activists, Cultural Critics.