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Year 13 An Inspector Calls 2012
Yr 13 Waiora and Purupuruwhetu
Yr 13 'The Importance of being Earnest
Yr 13 The Crucible
Yr 13 Daughter's of Heaven 2011
Yaer 12 Shakespare Macbeth 2012
Yr 12 Mt Taylor Taurere Myth
Yr 12 (2011) Mt Taylor Myth
Yr 12- Will's Twins
Yr 12 Romeo and Juliet
Yr 12 Revision
Year 12 (2011) Shakespeare
Yr 12 The Tempest
Yr 11 Revision
Yr11 Melodrama Research Page 2012
Across The Barricades
Pygmalion Yr 11 2011
Yr10 Drama Shakespare 2012
Yr 10 Shakespeare Study 2010
Myths and Legends of the Pacific
Myths and Legends of the Pacific 2011
Junior Theatre History
Yr10 Shakespeare 2011
Year 10 Drama Theatre Practitioners Assignment 2011
YR11 Melodrama Victorian Research
Hey Year 11! This is the awesome wiki, soon to be full of research which we can all use. XD
Holly and Vanessa
Clothing in the 1800’s.pptx
Breanne and Nick
Ellie and Lauren E
London in the 19th century.pptx
Work/Jobs People Did:
Lauren H and Natalia
Here is the powerpoint :
CLASS SYSTEMS IN VICTORIAN ENGLAND.pptx
Manon and Adam
Here is our PowerPoint about Plays and Playwrights of Melodrama and the Victorian Era, we could only find a video extract of "Black-Eyed Susan" but have added captioned images and more detailed information about the plays' content and genre as well as the playwrights:
Playwrights and Plays of Melodrama in the Victorian Era (3).pptx
Hannah and Olivia
Riandri, Amy and Apinya
A powerpoint I made with the information we have from our book research and a bit more from the internet with the general cliche characters
The Hero, Heroine, Villain, Accomplice, Faithful Servant and Maid
Vanessa and Holly
Stephen and Adam
Wars of the Victorian era.pptx
Saraya and Josh
William, Mitch and Alana
drama colonisation victorian melodrama.ppt
Capri and Charly
Light, sound/ voice/ music and make up:
Danni and Grace
Because there was no electricty, candles and oil was used. In 1810 Covent gardens used 270 candles and 300 oil lamps just to light the stage and scenery. Since the introduction of electricity in the late 19th century lighting has become more and more sophisticated. Theatres moved indoors in the 1600's.
Gas allowed greater control of the quality of light and made it possible to vary the levels of light on the stage. It only became standard practice to darken the auditorium in the later half of the 19th century.
Until the 1890's, sound effects were all produced traditionally. Thunder was created by rolling a sheet of iron or rolling cannon balls down a wooden trough. A rumbling vibration was created by striking a big wooden drum with the skin tightly stretched over it. Wind was created using a wind machine which resembled a paddle-like- steamerwheel. Rain was made by crushing dried peas into a wooden box and shaking it.
They had live orcestras which are still in use today. The actors had to project their voices because there were no microphones.
Foundation: Use a combination of light ivory and brown-ish brick red.
Shading: Put a slight shadow on either side of the nose and under the cheek bone using brown.
Outline the lips in a darkish colour. Full lips suggest sensuousness. (appealing)
Use dull/darkish colours on the eye hallow and use dark eyeliner. also darken eye brows and highlight the upper and lower lids.
Heavy shading on either side will make the nose seem narrower, Highlighting on the ridge in addition to the shading will make it appear long and straight.
^This info on our powerpoint:
melodrama power point.pptx
lighting and stage effects:
Theatre has adopted many visual forms which has grown in popularity — the proscenium theatre was even described as a "giant peepshow",
with its proscenium arch (the fronting wall above the stage, acting as the forth wall) and wings and borders receding towards large painted backcloths or other scenery.
Advances in lighting — from oil (whale or vegetable oil), through to gas (1817), then limelight (1837) and electric light
(arc lamps from 1848, filament lamps from 1881) — allowed actors to perform within the scenery upstage of the proscenium arch and for the
auditorium to be blacked out. Gas lighting was used backstage, causing a tremendous fire risk because of bare flame and costumes, props and set peices.
There was always a row of footlights along the stage front. Upstage, lenses, like fresnals, were used to increase the brightness of the gas mantles.
Every lamp was supplied with a metal shutter which would stop it shedding its light on stage, like barndoors today and dimmer control units, thereby
making blackouts possible in theory, if not in practice.Electricity backstage did not become common until the 1880s and even then the fire risk was almost
as great as it was with gas because of the tremendous amount of heat produced by the lamps. Scrolling panoramas were incorporated, images were projected
from lamps with 'gobo's' infront or surrounded, translucent gauzes made for backlighting effects, coloured light on smoke and coloured flares were used.
Other effects included traps of every description (there were at least fifteen different types), waterfalls, fires, etc. the proscenium arch conveniently
hiding all necessary men and machinery. The stage itself was hollow, and accommodated removable panels, slots, lifts, 'scruto' (slatted rolling surfaces)
and hand-operated and mechanic trapdoor machinery. Above the stage was situated the 'upper fly floor' where the ropes that controlled the hanging scenery
were operated, which is still used today by larger theatres.
for lighting and stage effects:
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