A contradiction surrounds theatre productions because of the nature and elements of the production. The prodigy is single; although there are complications, it offers a pleasant experience to every participant. This production involves tiresome, conflicting, and disagreement episodes and procedures. Yet, all these conflicts are for the sake of coming up with a show that will satisfy the audience. The production planning procedure encompasses distinct arts that embrace theatre and other people with particular concepts, perceptions, and capabilities. This production requires substantial planning, rehearsal by a diverse team of workers who possess different abilities, and preparations brought into view in one comprehensive intricate art. There can never be a good theatre experience without having this organization. A theatre is an orchestra of various proficiency. The two elements of production under analysis are music and staging, which prove to underscore the main idea and details of the play.
Throughout the performance, music was an essential element in the production of this film. They use music. Power considers the utilization of music as a critical element in conveying the story in the show. The music probes the anger and pain that Medea undergoes after her husband’s rejection, the interrelations with her two little sons, and the lust for vengeance (Euripides 81). They differentiate the production from a musical by using vocal harmonies to bring out the elegy’s mood. Music develops a unique atmosphere in which words cannot create. The script must be sung and spoken because the emotions showed by harmony in the eclogue produce a stronger effect. Above all, it is a translation, and the production team decides on what to improve. It is interesting how they utilize Greek-sounding songs and soundtracks, which the persona lament or create harmonies over. The moment before she murders her sons is very impactful because the music is intense and robust (Euripides 75). The music is repetitive at this point and it gets louder. In addition, there is pin-drop silence as she contends that her destiny is breaking her. The songs develop many discordances as the characters add more layers of sound that reflect Medea’s life journey and conflicting decisions. The soundtracks and music sound like intercessions to the gods, asking them to take sides in this contentious issue. All these effects invoke a perception of the ancient practice or religious production context.
The acting used for the production was in place for possible use; it was the structure in which the pulleys and extra strings could be affixed. Nevertheless, to mask this use, they utilized a patchwork of stretched material as a scrim in front of the framework, adding the hue of blood and retaliation to a stage that is already distasteful. What was fascinating about this, which a person could presume would be wood, is that it is full of slots covered in tight cloth. The backdrop is a big wall, characters could appear and disappear, and the troupe would fly. The staging notion is directly linked to the old idea of ushering the internal act to the scene’s public opening. The fabric represents the primeval backdrop, which is the entry point to Medea’s place. It is a solidified wall that is menacing and impassable, just like the main character Medea. The tight clothing is utilized to represent the torment of Glauce; she lashed around behind the cloth, which casts to her skin to stand for the flaming cloak, contrary to a message-bearer verbalizing the act. Again, the production decides to optically explain Euripide’s scene for the spectators, appallingly representing the terror that she created. When Medea is talking about the gruesome death and Glauce’s flames of innocence, this immediately means Medea’s participation and amusement of the end of the princess.
The lofty inclusion is an artistic type of expressing the most multiplex mental state. The aerial production is not an accidental option of theatre technique; it was chosen to highlight the psychological move we find in the tragedy. It also develops elevation for the last scene of Medea’s departure with no unfeasible chariot. She enters the scene from the top and swings around the platform while talking to Jason, kneels, hangs ribbons affixed to the structure in the crucifix model, and slides the ribbons to the platform floor, then strides off through the spectators, into her banishment. The ending allows the main character to go unpunished for her acts compared to other adaptations of this production history.
The lofty nature of the production was both advantageous and disadvantageous. It creates many aspects and links, which we find in Euripide’s, among the characters, but the fixing and unfixing of the pulleys distract from the intense emotions and the words uttered. It is people’s nature when they are engaging themselves in dangerous actions to stand by for them to go wrong. Sadly, the audience is engrossed in the thoughts that a character may fall, making some people lose the plot. Aerial dance is demanding, and the characters in Medea cope well though the ability to articulate some points is lost midway, mostly when they are hanging upside down. For this type of production to be successful, the logistics depend on weight and counterbalance. To raise Medea for her last appendix, another character has to lift her and act as her counter-weight to avoid a disaster. Some of these ropes create confusion because not all the harnesses that the audience makes sense to the storyline, which also creates a diversion on the audience. When Medea is saying her monologues, which other characters are not supposed to hear, her counter-weight listens to everything that is not on the storyline. The bottom line is that the production brings many proportions to our comprehension of the tragedy and it warrants its place in the production history of Medea. The critical significance is on the link between characters and the grapple for Jason and Medea’s influence and authority.
Having realized how the production team can utilize these elements to develop an artistic harmony and enhance the theatre experience, the director should strive to sharpen creative abilities and perceptual knowing that he is the captain of a theatrical task force that should not break down. The director should ensure that his translation and utilization of grease are essential principles and blend production elements. In addition, the technical manager should comprehend the character of every aspect like his counterpart, the director, develop a smooth mix of these elements. While these production elements give critical working mechanisms for the technical managers, the configuration concepts provide an operating angle that should enhance the production. The technical manager’s implementation of the ideas prepares the characters and leaves a lifelong feeling on the audience long after the show.
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Euripides. “Medea.” YouTube, uploaded by Emily Alexander, 23 Nov. 2014, https://www.youtube.com/watch?v=fNiriEzx5ss&t=213s. Accessed Oct. 19, 2020.