Thursday, April 16, 2020
Methods of Using Inventory as Short Term Collateral
Inventories are appropriate as security for loans since they are liquid assets. While using inventories, the lender establishes a percentage advance based on the market value of the collateral. In other words, the market value of the collateral serves as a basis in which the lender establishes a percentage advance. This paper focuses on floating lien, trust receipt and warehouse receipt loan, as methods of using inventory as short-term collateral.Advertising We will write a custom essay sample on Methods of Using Inventory as Short Term Collateral specifically for you for only $16.05 $11/page Learn More In a floating inventory lien, the entire inventory acts as collateral for the loan, while over half of the cost of all items becomes granted and the interest rate is about 4 % higher than the existing interest rates. The floating lien also called the blanket loan becomes relevant in circumstances whereby the cash requirements of a company are large compar ed to the value of its inventory. Mostly, a floating lien becomes requested just as an extra protection and plays a role in establishing whether a loan can be made. The lender agrees to just make a moderate advance even when the collateral is valuable due to the hardship in exercising rigid control over the collateral. It is possible for the floating lien to cover both inventories and receivables together with the receivable collections, and such adjustments offers the lender alien on a key potion of a company’s current assets. In a trust receipt finance structure, the borrower gets entitled to the earning from the sales of the inventory and the inventory itself. Trust receipts get widely used by dealers in equipment and automobiles. A vehicle manufacturer will transport automobiles to a dealer who in response may fund the payments for these automobiles via a finance corporation, or else the financing corporation compensates the manufacturer for the shipped vehicles and after an automobile gets sold, the dealer reimburses the sum borrowed and keeps the quantity agreed with the customer on top of the price acquired from the financier. In this arrangement, the main risk is that the inventory may be sold without the income becoming given to the lenders although there is more rigid control over collateral with a trust receipt accord than with a floating lien. Also, the lender has to practice judgment before agreeing to land under this structure, since a fraudulent dealer may formulate several methods to trick the lender. Furthermore, warehouse receipts exist in two forms including negotiable and non negotiable. The negotiable receipts should be given to the warehouse operator prior to release of commodities. Conversely, a non negotiable warehouse receipt gets presented in favor of the lender who has the authority to release commodities as he gets title over them. The majority of the lending agreement use non negotiable receipts. Besides, commodities get loc ated in a public warehouse, in instances of a terminal warehouse receipt loans.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More There, also, exists another arrangement called field warehousing. This arrangement allows the making of loans against the inventory, which may be positioned on the premises of the borrower. A field warehousing firm sets off a chosen storage region on the premises of the borrower, for the inventory presented as collateral. The field warehousing firm ensures that there is strict control over the area and that only the firm accesses the area. The lender becomes granted physical power over objects that are not fragile or specialized, and are hard to recognize. A warehouse receipts get issued by the field warehousing company, and the lender pulls out a loan depending on the collateral value of the inventory. Lending via field warehouse receipts is most suitable when a b orrower need to use the inventory frequently, although this method may be expensive. A warehouse receipt loan offers the lender a high level of control over the collateral when carried out correctly. Nevertheless, many incidences of scams demonstrate that the receipt of warehouse does not always confirm receipt of actual value. For instance, barrels said to be full of chemicals may be only half full. Frequently, the floating inventory lien is likely to be more risky than the other three choices because of the hardship in indicating the precise amount and objects of inventory on site at any one occasion. The idea of the loan gets founded on an accounting approximation of less than half of the book value of the mean inventory. In case, it becomes necessary to sell the commodities following nonpayment by the borrower, the lender might find the precise composition of commodities to be different, considerably, than anticipated, at first. In conclusion, the floating lien becomes relevant in circumstances whereby the cash requirements of a company are larger than the value of its inventory. Conversely, trust receipt finance structure gets widely used by dealers in equipment and automobiles. Lastly, the warehouse receipt loan offers the lender a high level of control over the collateral when carried out correctly. Out of the three inventories, the floating inventory lien is likely to be more risky than the other three choices. This essay on Methods of Using Inventory as Short Term Collateral was written and submitted by user L1l1ana to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.
Thursday, March 12, 2020
Research Needed for Alzheimers Disease essays
Research Needed for Alzheimer's Disease essays Alzheimer's Disorder (AD) is a progressive brain disease which primarily affects older people. The parts of the brain that control memory, language, and even thought gradually decline (ADEAR, date). While AD develops most commonly after the age of sixty, there is a rarer form that can develop at a younger age. Experts estimate that between the ages of 65 and 75, 5% of the population may have AD. By age 85, however, nearly half may have AD (ADEAR, date). In spite of how common the disease is among people who have lived a very long time, AD is not considered a normal consequence of age but a disease process to which one becomes more While scientists are just beginning to untangle the mystery of exactly what causes AD, some facts have been established. The disease was first noticed by a German doctor, Alois Alzheimer. Although doctors had noted dementia in elderly people, Dr. Alzheimer examined the brain of a woman who had died of an unusual mental illness. In the brain he found clumps of matter that should have not been there (called amyloid plaques). He also found tangled figers, now called neurofrbrillary fibers (ADEAR, date). The presence of these formations are definitive signs of Alzheimer's, but since currently they can only be detected after death, their presence is not Since Dr. Alzheimer's first discovery, researchers have noted other brain changes in those with AD. Nerve cells that support memory and cognition die off, and the brains show diminished quantities of the neurotransmitters that allow neurons to communicate with each other (ADEAR, date). Researchers assume that the combination of diminished neurotransmitters and loss of nerve cells contribute to the disruption of thought processes in the patient with AD. The role of neurofrbrillary fiber bundles and the presence of amyloid plaque is less clear. The effects of Alzheimer's Disease on society ...
Tuesday, February 25, 2020
Assignment Example | Topics and Well Written Essays - 250 words - 17
Assignment Example I will direct the preparation and implementation of a new communication tool for inter-office communication. My duties would include thepreparation of the final proposal, budgeting the whole process, staffing the required personnel and finally testing and launching the system. I will be given the task for supervising the introduction of the prototype of an events calendar which will help in reporting the upcoming events of the company to the community. If the prototype is successful, it will replace the current published calendar of events which appears in the company’s newspaper. The primary motive of my internship is to gain hands-on experience in the transformation process of a company’s department from a traditional, print-based department to a completely technologically advanced department with the application of electronic communication tools and techniques. I hope to implement my learning, during the internship period, to other organizations by supervising and helping them in introducing appropriate improvements that are cost effective and efficient. Among the numerous benefits of interning at Company X, the one and important benefit is the increased awareness and appreciation of the MEC program by my direct supervisor, and the President of the
Sunday, February 9, 2020
Heritage Films Essay Example | Topics and Well Written Essays - 1500 words
Heritage Films - Essay Example The film Orlando is based on the novel by Virginia Woolf of the same name written in 1928 and Brideshead Revisited is based on a novel by Evelyn Waugh written in 1945. Both were influential books in their time by respected authors. Of the two, Woolf is the more radical in terms of structure, exploring techniques like stream of consciousness. Writing in an aristocratic circle of writers and artists in the Bloomsbury area of London, Woolf and her circle of friends represented a rather radical upper class social group which experimented with socialism and liberal views on marriage and sexuality. Although writing well before the liberalisation of laws against homosexuality and the permissive society, Woolf anticipated the freedoms that would come later in the century with her depiction of Orlando, who starts out a man and ends the book four hundred years later as a woman, breaking all usual limitations of a normal person’s lifespan and sexual identity. Turning such a quirky book i nto film is no easy task. The book is written in seven sections but Potter breaks the story up into the book into short episodes which are given one-word titles like â€Å"sex†or â€Å"birth†which crystallize life events and stress the unity of the persona, despite the changing historical periods and the shift from male to female. At various points in the film Orlando turns to the camera and addresses the viewer directly, which at first is somewhat disconcerting, but as the film develops, it becomes a pattern which invites the viewer to look again at the screen and re-evaluate the surface images to reflect particularly about how the gender and identity of the people in the film is being portrayed. The camera dwells on Tilda Swinton’s oval face, recording many impassive scenes where she/he lets the chatter of other characters wash over her, until she suddenly turns to the camera with an arch look. Ferris explains this technique: the film highlights instability of identity in its use of direct address, non-linear narrative, and parodic framing, reconstructing Woolf's novel as a postmodern text. (Ferris, p. 110) Other techniques are used to jolt the audience out of a surface reading of the film. In the scene where Orlando meets Queen Elizabeth the first, for example, there is interference from modern society because the elderly monarch is played by famously flamboyant male homosexual Quentin Crisp. Orlando approaches the throne and kneels and the wide angle of the camera captures the pale costumes but above all the striking red hair of both Orlando and the Queen. As Ferris notes â€Å"The scene highlights both the construction of the narrative and of sexuality, for the male Orlando is played by a female actress, Tilda Swinton, who addresses the female queen, played by a male homosexual.†(Ferris, p. 113) This playful treatment celebrates a diversity of genders, and sexual orientations, drawing parallels and contrasts which cross over the normal male/female and gay/straight divides. Modern feminist readings of the film appreciate the blurring of these binary divides and the exploration of how gender is culturally constructed. The persona and languid narrative voice of Orlando remain intact, whether in a male or
Thursday, January 30, 2020
Practical Play Analysis Essay Example for Free
Practical Play Analysis Essay Theme/Vision Guan Hanqing’s Snow in Midsummer centers on the idea of social injustice and human suffering particularly the unfair treatment of poor people during the Chinese Golden Era. The play must transcend a great sense of oppression as intended by its playwrights to reflect the dark side of the society they were in, as the main character (Dou E) leaves a horrifying curse as her unjust death served as a living proof of how under-class people like her are taken for granted and are short-lived despite living a virtuous life while the evil ones prevailed. This issue still continues in the modern world so it is important that the story lives up to its purpose of making the audience reflect on the existence of tyranny in the society and what should be done in order to put an end to it. Every main character’s role should be well emphasized in order to make the message of the story more understandable. The characters must be very much convincing to the extent that they are almost taking the audience back to Yuan Dynasty. An article made by Huo Jianyi, Yuan Dynasty Zaju, tells about how Guan Hanqing himself gave up his profession of being a doctor and chose to serve the public by writing plays that exposed the dark side of the society, particularly the indulgence in wine and women as a way of life especially for the Yuan rulers. He and his fellow playwrights used their talents and knowledge in exposing tyranny and through their theatrical creations, spoke on behalf of the suffering masses despite the Yuan rulers forbidding it. The success of this play will be achieved if the same fiery passion is justified by the characters. Stage Type and Settings The play is artistic therefore it would be ideal to use a proscenium or picture frame stage. It is not necessary to use a traditional proscenium stage with its common features like a large archway near the stage front or a curtain in order to close it during act or scene breaks. It is enough that the stage is raised several feet enough for the audience to see the view of the play while directly facing it (â€Å"Stage:†Wikipedia). As the Snow in Midsummer is a classic play based on a Han Dynasty folk tale (although popularized in the Yuan Dynasty), the prevailing theme should be based on the said period. The backdrop must contain both unique and artistic images depicting a usual old Chinese scenario like that of a painting. Images of courtyard houses should be used. These residences would represent the different social status that coexisted in that period. Based on Spiro Kostof’s A History of Architecture, traditional Chinese courtyard houses (such as the siheyuan) is composed of several individual houses around a square, where each house is owned by a different member of the family. Aside from this, more houses can also be constructed for additional family members that need to be accommodated. There must be a strong sense of tranquility and privacy which should prevail and be maintained despite strong and loud scenes in the play. Garden and water is also a usual feature with these residences. The outermost part of these residences is where strangers are entertained while the innermost one is set apart for intimate friends and family members of the owner. Since the title of the play contains the word snow, then winter is another requirement for the play, in fact for almost the entirety of the play. This should allow an atmosphere of gloominess to dominate the stage, making the literal coldness of winter almost felt and intensified by the cold hearts of the villains in the play. The snow plays a critical part in this and it should fall dramatically on stage with the proper sad music background going with it.            Last but not the least, there must be flowers included. They should either be illustrated in the backdrop as part of the stage props. Flowers have been a great part of Chinese art just like the dragon and bird illustrations they use in their antique porcelains. As a whole, the entire stage must become a big canvass of living Chinese art. Stage Directions            The director is responsible for bringing out the good quality of the characters’ acting and the stage production. Therefore he must be focused and fully aware of the background of the play so as to properly angle it. Directions are made up of details being heard and seen by the audience. These should be explained well in the script so as not to confuse the director, the actors or even the designers. The three kinds of stage directions must be considered, namely: (1) scene directions, (2) staging directions, and (3) character stage directions. In the script, scene directions are indented at a measurement of 3.5 inches from the left side of the margin and 1 inch from the right. This indicates the fundamental place and time of the scene with details of the events on stage as the lights come up or become dim (â€Å"How to Format a Stage Play†). Let us take scene one, act one of the play Snow in Midsummer as indicated in the script:                                                                                    SCENE ONE (The period was between 1279-1368 A.D. In a typical Chinese village lives MISTRESS CAI, a widow, who appears on stage with a sign of great anticipation on her face. She paces at the center of the stage in her long, loose gown with wide sleeves and narrow cuffs. Then she faces the audience with the same facial expression.) Second is the staging directions. This contains the description of a certain scene such as the entrance, exit, and struggles of characters on stage, as well as the changes in lighting effects or musical background. MRS. CAI: Where? (The Doctor strangles the widow with the rope. Enter Old Zhang and his son Donkey. As they rush forward the Doctor takes to his heels. Old Zhang revives Mistress Cai.) DONKEY: Its an old woman, dad, nearly strangled to death. Last would be the character stage directions. These are short descriptive lines in parenthetical form sometimes placed under the name of the character. This shows the appropriate body language while delivering a certain line (â€Å"How to Format a Stage Play†). This particular direction puts more identity on acting. Here is another example. MRS. CAI (crying): Ah, poor child! How am I going to break this to you? Make up The characters’ makeup for the Snow in Midsummer need not look like that from a Chinese opera although it may be elaborated to reflect its rich culture. It must enhance their acting and facial expression. A kabuki effect is suggested if the production team would like to add a little animation to it and lessening its tragic base. Dou E and Mistress Cai’s makeup may use thick foundation with a rosy base to show femininity. However the application must be heavier on Mistress Cai to distinguish her age along with some fake wrinkles. The eyebrows must be enhanced with a thick black color while the lips are pouty and deep red. As for the elder male actors (Doctor Lu, Dou Tianzhang, and Old Chang), a yellow base makeup can be used contrasted with a thick pink blush on. The eyebrows may also be enhanced however for the male antagonist (Donkey Chang), eye brows should be enhanced with an upward effect at both ends. Once again the appearance of wrinkles should distinguish ages. Basic Pointers for applying stage makeup According to Kate Hillard on her article Application of Stage Makeup, makeup is often applied on thick layers. Unlike the movies where the camera can focus on the actor’s face, audiences cannot afford to this kind of facility on stage plays. The makeup used for the Snow in Midsummer should be elaborate and bright especially with characters representing the high-class society. There may also be gradual moderation of the makeup for the middle and lower class members but the artist must make sure that it is enough in maximizing the actor’s emotions on stage. Sometimes even the dark layers of makeup disappear on the glaring lights. A thick, heavy cream foundation should be applied first which be a little bit darker than the skin tone. The placing of foundation should be started on the forehead and blended well up to the hairline after which the remaining of the face is covered together with the ears, eyelids, and neck as if this is the actors’ true complexion. The neck application should also be blended well so as not to create a mask-like appearance. When it comes to male actors, foundation is applied on the entire neck and back sometimes but this can appear messy. Following the general foundation, a lighter color is placed over the shadows under the nose and on the chin. When the foundation is done, the blush would follow. A rosy color is used for the female actresses but this should be applied on a lesser degree with male actors. It is spread over the cheekbone and about halfway down the cheek mixing it with a down and up motion. A naturally rosy tone is needed for male actors while it should be darker for the females enough to maintain its visibility on stage especially under the hot lights. Blush must also be placed over the nose and forehead where it is very slightly blended. The most difficult part would be the eye makeup. A very white â€Å"highlighter†is first placed along the brow bone (right underneath the eyebrow) and under the eye. The makeup artist should make sure to give the surrounding eye areas a lightened appearance without leaving white smears. Following this, an eye makeup should be placed just above the eyelid, below the brow bone, and also beneath the eye which should be a little darker than skin tone. This should be topped with an even darker color along the eyelid top through a downward blending which can also be used as an eyeliner especially with male actors. For women, an even darker and rosier tone that gives the appearance of a natural eye shadow should be placed over. It should however be more recognizable on stage and should be placed a little above the eyebrow. A less rosy color is recommended for male actors though not required. Furthermore, a dark brown or similar-colored eye lining is placed. Black color is to be used for dramatic roles that need wild makeup. Lastly, mascara is placed on top of the lashes. In order to avoid or lessen the errors of putting mascaras, it is suggested to make the actor blink after putting the wand on his/her lashes. Following the eye makeup is the simpler part of putting on the lipstick. A color that is a little darker than the usual lip color is used for male actors and should be matched with a lip liner. Either can go first depending on the actor’s or makeup artist’s preference. The liner should be placed on the outside of the lips and not on the natural line otherwise this will obviously look fake. It can also be applied all over the lips to make it last better and longer. A dark lipstick should be applied enough to be seen from the stage even if it looks like a Halloween makeup up close. It goes otherwise with male actors who should slightly be more natural even on stage. Last but not the least would be the loose powder. Before it is applied over the face, dip a large brush unto a powder container then shake it to get most of the powder off in order to avoid leaving white smears over the makeup and therefore ruining it. Loose powder is for holding the actor’s make up even when they are sweating. Costumes Costumes are very important. They help audiences identify and understand the actor’s character and social rank as well as his traits and gender. The style and color would greatly suggest the occasion happening on stage. Colorful clothes and elaborate makeup may bring more life to Snow in Midsummer as this pertains to rich Chinese culture. The main character, Dou E, may use the traditional Ruqun which is used by ordinary women during the Yuan Dynasty. This is made up of an upper jacket and lower skirt. The jacket is made of a red marten or sheepskin garment with loose sleeves and gray collars and cuffs. This is tucked below a maroon skirt with a gray sash accent to maintain its simplicity. The same type of robe costume may be used by the widow, Mistress Cai as they do not necessarily belong with the Mongolian Aristocrats who wore cur coats and fur caps. Their costumes must reflect their lifestyle and their role enough to bring out the emotion from the audience, however they should not look like paupers but more like average Chinese people however obviously struggling to maintain their dignity. However, after her execution, Dou E’s costume must change to loose, ghostly white robe with its light fabric. The red smear of blood from the execution must appear on the cloth as well. The male actors may use the Yiseyi or Zhisunfu garments where upper and lower short garments were put together while adding folds to the waistline. Furthermore, big beads were hung on shoulders and the back. The garments can either be course or of fine quality depending on the social rank the actor is representing (â€Å"Costume in the Yuan Dynasty†). Donkey Chang and Old Chang may use costumes may use colors that shows a status that is more advantages compared to Dou E and Mistress Cai, however not as luxurious as an upper aristocrat. Donkey Chang’s costume must be provoking and reflective of his selfish being. Of course the apparent hairdo must not be forgotten. For male actors, it should be the traditional snail-head, seated Buddha feature. As for females actors (Dou E and Mistress Cai), the hair must be long with the upper portion tied and placed with some simple white floral accents. Mrs. Cai’s hair must be all brushed up however with a bulky onion bulb appearance. Lighting This is perhaps the counterpart of camera trick. One of the things that make stage plays breath-taking is the lighting effect. In fact thanks to modern-day stage lighting, audiences now are able to afford richer visibility of the entire play, thus connecting more with the intense emotions of the actors. A careful outline of Bill William’s Stage Lighting Design shows four important objectives of stage lighting: (1) Visibility, which helps the audience understand the play. It is influenced by contrast, size, color and movement. (2) Naturalism (and Motivation), where a sense of time and place is indicated. (3) Composition, the overall image of the stage. Lighting must reveal actors, objects and scenery depending on their importance. (4) Mood (and Atmosphere), which is the psychological reaction of the audience is influenced by lighting effects that gives the stage a sense of happiness, sadness or even boredom. Dou E’s execution would be a perfect example where lighting is â€Å"highlighted†as this scene indicates a transition from a normal way of life to a cursed one. In this case, the lighting effects must create a great sense of grief , heaviness, and fear among the audience. Casting            A play cannot be a play without the cast. As the front liners of the production, they are mainly responsible for leaving an impression for the play since they are the ones who have direct contact with the audiences. Casts are like the main course of a meal. Prof. Audrey Stanley from the University of California at Santa Cruz presents at least eight points to consider when casting a play: (1) Interpretation of character type and function; (2) Type-casting; (3) Casting against type; (4) Cross-gender casting; (5) Gender- or race-neutral casting. (6) Generational relationships and differences between characters (for instance, how old are Lears daughters?); (7) Physical and vocal requirements of different roles; (8) Audience associations and expectations of individual actors.            Dou E’s character must be portrayed by someone who can show her virtuosity but at the same time must have the ability to transform into a vengeful character. Her father, Dou Tianzhang, must be played as someone who is old of course but has enough strength to do some laborious works. Mistress Cai must reflect the same humility as Dou E’s character but of course with a motherly touch. A trace of burden must be shown on her face from life’s realities as well as how youth has been taken from her. Donkey Chang need not be good-looking however appropriately dressed. But his dignified appearance must not conceal his disgusting character. Rehearsals Based on Simon Dunmores Advice on How to Approach Rehearsals for a Play, rehearsing is composed of thought, discussion, and doing. It is an important part of the play where the whole team gets to figure out what will work or not. That is why it is important to discipline oneself especially when it comes to the script. Even before the rehearsals, the actor must read it several times so he/she will get to be familiar with the character that he is playing. He should carry it one hand somewhere at his side and put emotion to the delivery of the line while looking at the script at a side glance. He must be patient and must take his time in memorizing his line. In case of long speeches, they should be delivered with much care and thought as single or short lines for it is usually a case where a certain idea starts and is connected throughout the story of the play. Stage directions on the other hand, must be read as possible pointers only. If they came from how the play was originally done, take into consideration that the present production might be different with the casts and circumstances being new. Pause and silence is a kind of stage direction that must also be given proper timing and must have appropriate place in the play just like long and short lines. Also in case of abbreviations, the intention of the playwright must be observed so the essence of the communication will not be lost. Writing down notes either from the director or from oneself will be helpful in remembering how to delivery one’s line properly. Notes need not be long. Directors may not be right all the time with regards to the character role. His long experience in theater acting may not give him enough knowledge or understanding of a certain character the way an actor does. Therefore, a careful and rational discussion must always be made between the two. Set and costume designs are also very important. They affect the way an actor moves about the stage. These objects must work harmoniously with the people of the play and not become a hinder.            Rehearsals do not stop within the rehearsal room. Proper focus can be achieved with proper practicing though it should not necessarily occupy one’s private time. Rehearsal for Snow in Midsummer Below is a sample table for the Snow in Midsummer’s rehearsal schedule. It is usually done with six to eight weeks but the production team may change it depending on their needs (Sample Rehearsal Schedule). Sunday Monday Tuesday Wednesday Thursday Friday Saturday Auditions Auditions Call-Backs Post Castlist First Read-Thru Off Construction Crew Meets Block scenes with leads Block scenes with Full Cast Block scenes with leads Begin Set Construction Block scenes with Full Cast Off Work on Set Construction Work scenes with Full Cast Work scenes with leads Work scenes with leads Work on Set Construction Work scenes with Full Cast Work on Set Construction Hang Lights and Set Construction Work through Act I off book Work through Act II off book Work on trouble spots leads only Finish Hang and Rough Focus Act I Run-thru Work on Set Construction Full Cast Paint and Work Day Act II Run-thru Act I Run-thru Act II Run-thru Work on Set Construction First Full Run-thru Complete Set Construction Final Setup Tech and Lights First Tech Rehearsal with Cast Run-thru Full Tech Run-thru Full Tech Costume check Tech Crew Trouble Shooting Run-thru Full Tech Finishing Touches On Set Work on problem areas Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal No Makeup Performance Performance Performance The Vision’s Effects on the Audience            The Snow in Midsummer is a play about tragedy and drama. However, the whole production team must keep in mind that as the story is based on real struggles of poor people in the past, it might leave a great sense of grievance to the audience. This is good but only to the extent that it will stimulate their sense of awareness since basically, though the storyline dates back to old times, it is very symbolic of the abuse and tyranny that still exist even in our time. Therefore, there must be a balance by creating a great sense of hope especially during the scenes where a retrial for Dou E’s case was conducted up to the play’s ending. The play must establish to the audience that life goes on and there is hope and justice even in the hardest of situations. Steve Campsall wrote in Write a Successful Play that plays must create a lasting appeal to the audience. Every words delivered by a stage performer should send out both meaning and feeling. That is why it is important to understand the writer’s intention behind the text he has created.  Common methods such as vivid metaphor, powerful imagery, alliteration, use of rhyme or rhythm, etc, are said to be used often by writers (Write a Successful Play: Effects on the Audience). Behind the scene interactions will help bring one’s natural acting and transcend the same energy and passion. The audience must be convinced with everything, from the stage settings to the acting. Not doing so will be crucial and may create passiveness. Conclusion            Behind a play’s success could be in anything that is a part of it. From the director’s vision to the actor’s execution, everyone should make sure that everything works harmoniously so that the flow of the play will be well polished on the grand day itself. It is both inspiring and fun to see actors on stage behaving like they are not actors but rather they own the stage and they are the characters that they are playing.            Lastly, behind the inspiring acts, elaborate costumes, and colorful props, the message of the story must be retained.  This is one important part that can be shared with the audience. The lesson that they can learn from watching a play can help them personally. Once the audience is touched by a play’s story or vision, he/she can use the message or apply it once he goes back to real life. Work Cited â€Å"Stage.†Wikipedia: The Free Encyclopedia. 5 February 2008. 9 February 2008. http://en.wikipedia.org/wiki/Stage_(theatre) Kostof, S. 1995. A History of Architecture. The Oxford Press. 8 February 2008.            http://en.wikipedia.org/wiki/Courtyard Jianyi, H. 2003. Yuan Dynasty Zaju.  8 February 2008.            http://www.chinavoc.com/magicn/yzaj.asp â€Å"How to Format a Stage Play.†Script Frenzy Young Writers Program. 2007. 9 February 2008. http://ywp.scriptfrenzy.org/howtoformatastageplay Hillard, K. 2002. Application of Stage Make Up. 9 February 2008. http://www.essortment.com/applicationstag_rgyu.htm â€Å"Costume in the Yuan Dynasty.†ChinaCulture.org. 10 February 2008. 10 February 2008. http://www.chinaculture.org/gb/en_chinaway/2003-09/24/content_28414.htm Williams, B. 1997-1999. Stage Lighting Design. Objectives of stage lighting. 11 February 2008 http://www.mts.net/~william5/sld/sld-100.htm Stanley, A. 1995-1996. Shakespeare Examined through Performance. 11 February 2008 http://www.tamut.edu/english/folgerhp/Recipes/7cstply.html Dunmore, S. 25 August 1999. Simon Dunmores Advice on How to Approach Rehearsals for a Play. 11 February 2008 http://www.btinternet.com/~simon.dunmore/rehearse.htm Campsall, S. 2008. Write a Successful Play: Effects on the Audience. 12 February 2008 http://www.englishbiz.co.uk/mainguides/play.htm Sample Rehearsal Schedule. Tupelo Community Theatre. 13 February 2008. http://www.tctwebstage.com/schedule.htm
Wednesday, January 22, 2020
Existentialists: I Am Me, And You Are You :: essays research papers
Existentialists: I Am Me, and You Are You      Existentialists view mankind as individuals whose unique past experiences establish personal characteristics that set all of us apart. This idea can be best expressed in an intuitive statement by a celebrated individualist, Tarzan. â€Å"Me Tarzan, you Jane†is at the nucleus of the beliefs of the existential atom. This seemingly simplistic statement relates to existentialism by leading us to the idea of man's individualism, guiding us to belief of existence before essence and ushering us to the notion of freedom of choice. These three beliefs can then be related to the characters in the existential writer Jean-Paul Sartre's â€Å"No Exit.†     At first reading of this statement, one notices Tarzan's word choice. â€Å" Me Tarzan, you Jane†implies that Tarzan and Jane are not one and the same. Instead, they are two different people who lead very different lives. Tarzan, the Ape Man, is by nature different than his newfound lady friend. Existentialists would further this train of thought to say that since people are always different, they can never be the same. They would then argue that every person is an individual, not a copy from a predetermined mold. Jean-Paul Sartre also portrays his characters as individuals, not carbon copies of each other. Garcin, a soldier who went AWOL, certainly lived a different life than the baby- killer Estelle.      These individualistic qualities lead to us by Tarzan's statement, now guide us to the existential belief of existence before essence. This idea consists of the belief that people are formed from their own unique past experiences. Tarzan, a lonely boy who was raised by a pack of gorillas, has not experienced the touch of mankind. His isolation from the world is completely opposite from that of Jane's past. Jane, a women raised in the indulgence of the modern day, has experienced many unique events that have made her what she is. Jane can never know what is like to be Tarzan because she can never experience what he has gone through. Likewise, Tarzan, the Ape Man, can never experience what it is like to be Jane because he can never live through the unique events of Jane's past. Sartre also gives us characters with very unique backgrounds. Garcin can never experience the troubled past that Inez had and Inez in turn can never understand why Garcin needs to be told he is not a coward.      After now understanding that existentialists view people as individuals who have unique past experiences that make them who they are, existentialists would now usher us to the notion of each character's freedom of choice. Existentialists: I Am Me, And You Are You :: essays research papers Existentialists: I Am Me, and You Are You      Existentialists view mankind as individuals whose unique past experiences establish personal characteristics that set all of us apart. This idea can be best expressed in an intuitive statement by a celebrated individualist, Tarzan. â€Å"Me Tarzan, you Jane†is at the nucleus of the beliefs of the existential atom. This seemingly simplistic statement relates to existentialism by leading us to the idea of man's individualism, guiding us to belief of existence before essence and ushering us to the notion of freedom of choice. These three beliefs can then be related to the characters in the existential writer Jean-Paul Sartre's â€Å"No Exit.†     At first reading of this statement, one notices Tarzan's word choice. â€Å" Me Tarzan, you Jane†implies that Tarzan and Jane are not one and the same. Instead, they are two different people who lead very different lives. Tarzan, the Ape Man, is by nature different than his newfound lady friend. Existentialists would further this train of thought to say that since people are always different, they can never be the same. They would then argue that every person is an individual, not a copy from a predetermined mold. Jean-Paul Sartre also portrays his characters as individuals, not carbon copies of each other. Garcin, a soldier who went AWOL, certainly lived a different life than the baby- killer Estelle.      These individualistic qualities lead to us by Tarzan's statement, now guide us to the existential belief of existence before essence. This idea consists of the belief that people are formed from their own unique past experiences. Tarzan, a lonely boy who was raised by a pack of gorillas, has not experienced the touch of mankind. His isolation from the world is completely opposite from that of Jane's past. Jane, a women raised in the indulgence of the modern day, has experienced many unique events that have made her what she is. Jane can never know what is like to be Tarzan because she can never experience what he has gone through. Likewise, Tarzan, the Ape Man, can never experience what it is like to be Jane because he can never live through the unique events of Jane's past. Sartre also gives us characters with very unique backgrounds. Garcin can never experience the troubled past that Inez had and Inez in turn can never understand why Garcin needs to be told he is not a coward.      After now understanding that existentialists view people as individuals who have unique past experiences that make them who they are, existentialists would now usher us to the notion of each character's freedom of choice.
Monday, January 13, 2020
Critical Study †Othello †Jealousy Essay Question Essay
Jealousy is explored in the song Jealousy by 702 in numerous ways. The two obvious ways are, one the title and the repetition of jealousy in the chorus and in the verses. Jealousy is defined by the Macquarie Dictionary as – resentment against a successful rival or the possessor of any coveted advantage. In this song the jealousy stems from women who envy the singer of her success in finding a partner. The singer believes the women want to be her as is continually repeated in the chorus – ‘THEY’RE JUST WISHING THEY COULD BE ME.’ This is further empathized throughout the song by the entire song being capitalized. Jealousy is further explored in the proceeding verses. Notably in the third verse – ‘TRYING TO TURN ME AGAINST YOU.’ In Othello the theme jealously is widely explored by two key main characters – Iago and Othello. Iago even admits ‘†¦and oft my jealousy,’ Act 3, Scene 3 – 148. Othello never openly admits to his own and even in his last speech he says ‘†¦one not easily jealous.’ Act 5, Scene 2 – 344-7. Jealousy is shown in the play Othello as a sickness and is often referred to as a ‘green eyed monster,’ Act 3, Scene 3 – 168. The jealously comes from numerous areas – the want for power – ‘I follow him to serve my turn upon him,’ Act 1, Scene 1 – 42, the concept that a white man should be above a black man, cuckolding – ‘I will chop her into messes. Cuckold me!’ Act 4, Scene 1 – 188, homosexuality and envy. Othello by Shakespeare is similar to the song Jealousy by 702 in several ways. Both explore the theme of jealousy especially that of envy. The song Jealousy through the women wanting to be the singer and in Othello Iago wanting to be Othello. Even the jealously Iago has towards Othello about him having Desdemona as a wife is explored in Jealousy through the lines – ‘THEY SAY YOUR BAD FOR ME. THEY SAY YOUR NO GOOD.’ In addition to this Iago’s wanting to be Othello – ‘THEY’RE JUST WISHING THEY COULD BE ME.’ Even down to the way that Othello believes Desdemona has cuckolded him and deems her untrustworthy – ‘JUST CAN’T BE TRUSTING THESE CHICKS THEY’RE SO QUICK TO BACKSTAB YOU.’ The text Othello and the song Jealousy are related in countless ways and both explore the theme of jealousy to an immense depth.
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