THL1502
assignmen
ASSIGNMENT 4 SEMESTER 1 2025
UNIQUE CODE: 226387
Detailed Solutions, References & Explanations
DUE DATE: 04 April 2025
Terms of use
By making use of this document you agree to:
Use this document as a guide for learning,
comparison and reference purpose,
Not to duplicate, reproduce and/or misrepresent the
contents of this document as your own work,
Fully accept the consequences should you plagiarise
or misuse this document.
Disclaimer
Extreme care has been used to create this
document, however the contents are provided “as
is” without any representations or warranties,
express or implied. The author assumes no
liability as a result of reliance and use of the
contents of this document. This document is to
be used for comparison, research and reference
purposes ONLY. No part of this document may be
reproduced, resold or transmitted in any form or
by any means.
, 0688120934
PREVIEW
QUESTION 1 (b): What is the performance orientation of a written dramatic text,
and how is the text converted into a performance? Use a play of your choice to
illustrate how theoretical concepts can be used to analyse a play.
The performance orientation of a written dramatic text lies in its function as a blueprint
for stage realisation. Unlike novels or poems, plays are created not only to be read but
to be performed before an audience. The written script contains dialogue, stage
directions, and cues that guide actors, directors, and designers in transforming the
written word into a three-dimensional experience. The theoretical foundation for this lies
in semiotics, performance theory, and dramaturgy, all of which explore the transition
from text to embodied action.
In analysing Athol Fugard’s "The Island", we can see how the written text becomes a
vehicle for performance through dialogue and sparse, yet powerful, stage directions.
The confined setting, a prison cell on Robben Island, is described briefly in the text, but
it becomes emotionally potent when realised on stage through lighting, sound, and actor
movement. The text’s rhythm and silences contribute to the dramatic tension, guiding
the actors' emotional delivery. Concepts such as proxemics (use of space) and kinesics
(movement and gesture) become tools that performers use to convey subtext and
socio-political undertones embedded in the script.
Disclaimer
Extreme care has been used to create this document, however the contents are provided “as is”
without any representations or warranties, express or implied. The author assumes no liability as
a result of reliance and use of the contents of this document. This document is to be used for
comparison, research and reference purposes ONLY. No part of this document may be
reproduced, resold or transmitted in any form or by any means.
assignmen
ASSIGNMENT 4 SEMESTER 1 2025
UNIQUE CODE: 226387
Detailed Solutions, References & Explanations
DUE DATE: 04 April 2025
Terms of use
By making use of this document you agree to:
Use this document as a guide for learning,
comparison and reference purpose,
Not to duplicate, reproduce and/or misrepresent the
contents of this document as your own work,
Fully accept the consequences should you plagiarise
or misuse this document.
Disclaimer
Extreme care has been used to create this
document, however the contents are provided “as
is” without any representations or warranties,
express or implied. The author assumes no
liability as a result of reliance and use of the
contents of this document. This document is to
be used for comparison, research and reference
purposes ONLY. No part of this document may be
reproduced, resold or transmitted in any form or
by any means.
, 0688120934
PREVIEW
QUESTION 1 (b): What is the performance orientation of a written dramatic text,
and how is the text converted into a performance? Use a play of your choice to
illustrate how theoretical concepts can be used to analyse a play.
The performance orientation of a written dramatic text lies in its function as a blueprint
for stage realisation. Unlike novels or poems, plays are created not only to be read but
to be performed before an audience. The written script contains dialogue, stage
directions, and cues that guide actors, directors, and designers in transforming the
written word into a three-dimensional experience. The theoretical foundation for this lies
in semiotics, performance theory, and dramaturgy, all of which explore the transition
from text to embodied action.
In analysing Athol Fugard’s "The Island", we can see how the written text becomes a
vehicle for performance through dialogue and sparse, yet powerful, stage directions.
The confined setting, a prison cell on Robben Island, is described briefly in the text, but
it becomes emotionally potent when realised on stage through lighting, sound, and actor
movement. The text’s rhythm and silences contribute to the dramatic tension, guiding
the actors' emotional delivery. Concepts such as proxemics (use of space) and kinesics
(movement and gesture) become tools that performers use to convey subtext and
socio-political undertones embedded in the script.
Disclaimer
Extreme care has been used to create this document, however the contents are provided “as is”
without any representations or warranties, express or implied. The author assumes no liability as
a result of reliance and use of the contents of this document. This document is to be used for
comparison, research and reference purposes ONLY. No part of this document may be
reproduced, resold or transmitted in any form or by any means.
