Tierneybrook

'Choose a play or performance that some critics and/or audiences have condemned as being misogynist or anti-LGBTQ and make a case for the opposite; that in fact it functions to interrogate notions of the ‘other’ in a manner that challenges and deconstructs dominant norms of gender and sexuality.' This essay discusses the Oresteia from a feminist perspective on gender and sexuality.

'“Actors impress the public not when they are furious, but when they play fury well.” (Diderot, 169). To what extent it is necessary for an actor to feel the emotions they are portraying?' This is a model essay, receiving a first class mark which discusses the idea of what it means to act.

"Classicist Edith Hall once said to the theatre director Peter Hall that “the moral of Greek tragedy is that unsupervised women invariably wreck things” (qtd. in Jonathan Croall Peter Hall’s Bacchai: The National Theatre at Work 20). Discuss the ways in which Greek tragedy in performance can support or subvert Hall’s assertion." This essay received a mark of 78 and discusses from a feminist perspective the plays 'Agamemnon' and 'Libation Bearers' from the Oresteia.

A comprehensive introduction to theatre semiotics. What is theatre semiotics? Who are the key thinkers? Examples? It's all in this document. I have included some key quotations and references along with an easy to understand summary of what it all means.

'Focussing on Anthony Minghella’s Truly, Madly, Deeply (1991) and James Brooks’ Terms of Endearment (1983), critically contextualise, explore and evaluate the treatment of love and absence.' This essay scored 78.

Comprehensive set of summary notes for the book 'The Director's Craft' by Katie Mitchell. Brief and accessible!