Some Monarch Butterflies Dont Migrate

Freedom And Freedom Of Freedom - 1260 Words

Freedom is one of the major aspects that we as Americans look at in perspective, in the United States today, freedom meaning â€Å"the ability to achieve one’s preferences.† In other words, the more you get to do what you want, the freer you are. Obviously, all societies have to limit the freedom of their citizens; being free to steal and kill is not a virtue, of a person or a nation. When freedom is justly abolished it is a complex issue. One suggestion has been that governments may limit the behavior of their citizens on the grounds that prohibiting some forms of free behavior will maximize the overall freedom of the citizenry. One initial stab at measuring freedom would be to examine how much of its population a country imprisons. The more citizens behind bars for exercising their preferences, the less the citizens are able to do what they want, and so the less free they are. â€Å"Under this measurement the United States fares rather badly, as the U.S. imprisons a higher percentage of its citizens than any country in the world, and while the U.S. has 5 percent of the world’s population, it has about 25 percent of the world’s prisoners.† (Davidson, 63) Political rights enable people to participate freely in the political process. This includes the right to vote and compete for public office and to elect representatives who have a decisive vote on public policies. Civil liberties include the freedom to develop opinions, institutions, and personal autonomy without interference fromShow MoreRelatedFreedom And Freedom Of Freedom885 Words   |  4 PagesDid you know that freedom helped our forefathers shape America throughout the centuries? Freedom is a way to describe independence and a way to self-govern oneself. Freedom is what united the thirteen colonies and gave them the courage to fight for their freedom. Ever since the day settlers set foot on American soil to the day the Declaration of Independence was signed to declar e America as an independent nation. Colonist knew that freedom would be the key to create a diverse nation in which it allowedRead MoreFreedom And Freedom Of Freedom1864 Words   |  8 Pages Freedom, a loosely used word to describe something that us Americans, enjoy on a daily basis. Freedom, as defined in the Oxford Online Dictionary as being in â€Å"the state or fact of being free from servitude, constraint, inhibition, etc.; liberty.† America, prior to gaining independence in 1776 from Great Britain, was not referred to as a free country. The colonists, were under constant control of the British, even half-way around the world. Freedom during this time period prior to 1776 did not experienceRead MoreFreedom And Freedom Of Freedom872 Words   |  4 PagesWhat is freedom? Many people have a different view of freedom. Some people can see freedom politically, financially, or freedom of expression. The meaning and views about freedom had changed throughout history. Due to European s social crisis, which causes many poor colonists to leave England for North America. Many early European settlers came to North America because they wanted more religious freedom, to set up their own colony, and have a better government. ...as in a well governed and ChristianRead MorePrivacy, Freedom, And Freedom Of Freedom1303 Words   |  6 PagesWithout directly stating in The Bill of Rights that we have a right to privacy, I believe we can all draw our own conclusions to what some of them mean. Such as the first amendment that states that we have freedom of speech, freedom of religion, and freedom of press. The very definition of freedom according to Defnition.com states â€Å"the state of being free or at liberty rather than in confinement or under physical restraint.† To me the first amendment means that we have the right to privacy of ourRead MoreFreedom Of Speech : The Freedoms Of Freedom Of Speech937 Words   |  4 PagesFreedom of speech now a d ay’s means being able to have the right to express one’s own opinions without restraint. The United States of America is an open country for any U.S. citizen to be free to say what one would like. By citizens having freedom of speech, it gives the people the right to use hate speech. Freedom of speech belongs to every person in the United States. Here lately citizens are witnessing the rising concerns with hate speech. Unfortunately, hate speech is protected by freedomRead MoreFreedom : Freedom Of Speech And Freedom Of Speech1167 Words   |  5 Pagesdetermining how much freedom the citizens in a society has. Throughout history we have seen many different type of governments that include North Koreas’ dictatorship to the United States that has a government based on principles of democracy. In societies that have democratic governments such as the United States, England, France, and many other western European countries, the citizens have a high degree of freedom of speech. In addition, these people are allowed to have a high degree of freedom of thoughtRead MoreFreedom Of Exercise And Freedom975 Words   |  4 PagesFreedom of Exercise One of the key principles the United States of America was founded upon was the idea that religious freedom was an inalienable right. Many who sailed to new world were pilgrims who believed the land was a promised land, sacred. They also believed the new world would allow them to escape religious persecution. When the Constitution was developed in 1787, the First Amendment addressed the relationship between the government and religion stating, â€Å"Congress shall make no law respectingRead MoreFreedom Of Freedom Essay753 Words   |  4 PagesFreedom of speech, press, and religion is like a traffic light. The by-laws are always changing and everyone must obey them. What is freedom? Freedom is the act of doing what one pleases without the fear of government intervening or restraining the action. So, if our freedoms are restricted, are we really free? Personally, I do consider the freedoms of the Bill of Rights counts as freedom. It is however, an opinionated topic and just like th e by-laws of the amendments, everyone’s backing case willRead MoreThe Importance Of Freedom On Freedom816 Words   |  4 Pagespreservation; and reason bids me look on him, as an enemy to my preservation, who would take away that freedom which is the fence to it.† Locke explains that others become involved with preserving life in another in order to secure one’s own liberty. Thus, it is also important to preserve liberty within mankind to keep oneself free. This idea of helping another keep one’s freedom and fight for freedom as a majority in order that all may inquire individual liberty, is depicted within the modern groupRead MoreFreedom And Freedom Of Speech Essay2518 Words   |  11 Pages Many people come to the United States looking for freedom and liberty and where their essential rights are protected under the Constitution. However, freedom should not be taken for granted as for every rule there may be limits. The First Amendment of the United St ates’ Constitution states that â€Å"Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to

Drama and Theatre Studies structured records Free Essays

string(88) " for humorous effect a few were interpreted by the audience as humorous without intent\." ‘Use of space’ explored the broad topic of social and professional satisfaction and happiness. In order to highlight the universal implications of our piece, we decided that it was necessary to use diverse characters allowing the audience to identify with aspects of each persona’s issues. Initially, we brainstormed several different problems that could affect an individual’s happiness in the work place, and came up with the fundamentals for five characters. We will write a custom essay sample on Drama and Theatre Studies structured records or any similar topic only for you Order Now The original basis of my character came from my own anxieties towards life. During devising we were contemplating university choices and starting to arrange our lives after college. As a group we all felt anxious and many felt a lack of direction. This insecurity we felt towards leaving the secondary education system, led to the creation of Pamela (the character I played. ) After discussing Pamela’s initial characteristics, focusing on her feelings of anxiety and confusion we had to decide her plot. Her lack of control and direction led us to create her objective to gain a secure role in the work place to solve her anxieties. After creating the fundamentals of each character we discussed as a group their characterisation. The role of Pamela primarily emerged through a series of role-plays. Firstly, I performed as her character in different situations allowing me to develop her personality. The remaining members contributed as supporting characters in the role play and often suggested ways to present her. I feel that my understanding of Pamela’s persona emerged during the staging of her box monologue. Through this monologue we hoped to communicate to the audience Pamela’s feelings of anxiety and confusion towards her professional future. As a group we felt the most effective way to portray this was through the use of physical theatre, therefore, the remaining members of the group adopted the role of a maze in which Pamela was metaphorically trapped. During the staging of this sequence I had to deliver my monologue whilst struggling through a figurative maze. As a performer I was sensitive to my characters claustrophobic feelings allowing me to successfully communicate her anxieties to the audience. Throughout the staging of this monologue the remaining group members concentrated on the performing space I was given. Although it was frustrating for me to be contained to a very small performing area, it allowed me to sympathise with my characters feelings of confinement and eventually resulted in a very successful portrayal of Pamela. During devising our characters, we were aware that each individual had to adopt a dream persona in the ‘fantasy’ scenes. We hoped to communicate to the audience contrasting characteristics in these persona’s, to highlight their desire to escape the frustration they feel towards reality. Whilst creating the character Angela’s ‘fantasy’ persona we analysed the reality Angela. Angela shows boredom towards her monotonous life. Through her character we hoped to communicate to the audience the necessity of having hobbies and dreams. The fantasy Angela emerged through the improvisation of a Latin American soap opera. We created the vivacious and dramatic character Maria who starkly contrasted Angela. As a group we agreed that the performance of Maria should be melodramatic and exaggerated to further contrast Angela’s tedious reality. It was important to introduce a character for Maria to interact with to inject more energy into the scene. Through discussion we settled with a clichi love story and decided to introduce a male character who Maria is having an affair with. It was essential for this scene to maintain intense energy levels to contrast with the previous office scene. Firstly, we researched typical novella characters to influences our roles. I suggested that the group members in this scene (Helia and Payam) should highlight the sexual attraction between the characters. Initially this provoked awkwardness between Payam and Helia; therefore, we felt it was necessary to introduce an activity to make the two more comfortable with each other. We used several team building exercises to make Helia and Payam more physically comfortable with one another; the most successful was the leading the blind exercise. Through this exercise the participants were forced to be more sensitive towards each other, in partners one partner was chosen to lead the other blindly by the tip of the nose. Through constant contact and reliance this was very successful in making Payam and Helia more at ease. Similarly, it helped to distance the novella character to the actor. Through exaggerated physicality and melodramatic acting techniques the actor was dissociated with the character. Costumes successfully contributed to the portrayal of my character in the murder mystery fantasy. I played a stereotypical, stock detective character originally based on the Agatha Christie character Hercule Poirot. Initially I struggled to effectively portray this character because it was such a contrasting role to my reality. Physicality was a very important aspect of this character because of the desired effect we hoped to achieve. We had chosen to use melodrama and clichid anecdotes, therefore, it was important that the audience drew parallels between my character and Poirot for comedic effect. Through further independent research I discovered Poirot’s defining feature was a French trench coat, and I decided to rehearse wearing this item. Surprisingly, the trench coat allowed me to connect with Poirot’s physicality and personality, through wearing the coat my characterisation improved and allowed me to successfully perform as a response to Poirot. How the group planned for a range of responses from the audience. Initially we intended to present a serious production highlighting the importance of life satisfaction parodied through working life, based in an office. However, during the initial devising stages we decided to introduce fantasy scenes to contrast the monotonous office scenes and highlight the significance of dreams and ambition. As a group we showed interest towards comedic genres and felt that these would juxtapose the natural and static nature of the office scenes. However, although many of our fantasy scenes were intended for humorous effect a few were interpreted by the audience as humorous without intent. You read "Drama and Theatre Studies structured records" in category "Papers" Fortunately, we decided to perform a dress rehearsal to a mock audience to gain an understanding of the successful aspects of humour the results were unexpected. Through devising the silent movie fantasy scene, we were expecting humorous results due to the slapstick nature of the comedy, however, we had to take into account the clichi and overexposed format of the silent movie. As a group we discussed the possibility that the audience would not react well to this scene due to the lack of originality. Throughout popular culture for the past fifty years in some opinions this genre has been exhausted, therefore we had to be prepared for an underwhelming reaction towards this particular scene. In order for the humorous response to be successful we decided that the content of our silent movie had to be obviously inspired by original content. As a group we decided that we were not going to aim to be original in this scene but aimed to create a polished and skilful tribute to silent films. It was important for us to consider different attitudes towards comedic genres. In particular silent films and slapstick comedy often generate various opinions. Through discussion we discovered that in our group of five alone there were several different opinions regarding slapstick comedy. Personally, I contributed an annoyance towards the genre explaining that I found it tedious, patronising and often crude. However, contrastingly, Payam presented his enthusiasm towards slapstick comedy and defended his fondness towards slapstick comedians such as Lee Evans and Charlie Chaplin. Therefore we were initially prepared for an audience varied responses to the slapstick moments throughout our piece. This discussion led us to consider our target audience. Due to the content of our play we discussed that it transcended a fixed target audience, any age group could respond to the implications and the messages we were hoping to portray. However, because of the universality of our play we discussed different attitudes towards aspects of the play. Firstly, we evaluated that a younger audience would react better towards the humorous aspects especially ages between 12 and 19, therefore we decided to target the humour to this age group. We initially decided to do this by exaggerating our humorous stereotypes and characters physicality to the extreme. However, during a viewed rehearsal run it became apparent that our characterisations needed to be exaggerated, especially in our silent movie scene. Through discussion we came to the conclusion that older audience members would react well to the stereotypes used in out murder mystery fantasy. In particular the detective stereotype took inspiration from the fictional character Poirot. Generationally, we were aware that a younger audience member would be alienated by the introduction of this stock character because they would not be able to identify with the original. The characterisation of the detective also played a large reliance on the audience members, creating a pantomime like effect. Whilst playing the detective character I often made eye contact with the audience and projected jokes to them, therefore their reactions were very important at these stages. We used lighting to gain more audience reaction during this scene by up lighting the audience subtly allowing the performers to see their reactions and in turn play off their reactions to the humour. During the novella fantasy scene, melodrama was employed. An argument between Carlos and Maria the Latin American characters led to Maria slapping Carlos around the face. This prompted a shocked reaction amongst the audience because they were not expecting it. Difficult reactions from the audience- racist generalising Latin American, stereotyping French maids, stereotyping in general we had to be sensitive towards the audience whilst approaching these scenes. Explore the impact of social, cultural and/or historical conditions on your devised piece. – Vicki Marks. Our devised piece ‘Use of Space’ is socially and culturally influenced by traditional conventions of popular culture. Foremost, we decided to exploit the familiarity of these conventions to highlight social perils. Most poignantly we decided to highlight the implications of a female in the workplace and comment on the fact that women still earn substantially less from their employment than men. We chose to emphasize this by going against traditional clichis. Primarily, the character of Nicky symbolised an ambitious business women hoping to succeed in the workplace. To highlight her characters struggle to be successful we altered the traditional female clichi. We felt that typical stereotypes of women came from medieval genres; furthermore the clichid format was a damsel in distress being rescued by her knight in shining armour. For this social comment to be accessible to the audience we simply chose to invert the roles of the typical damsel in distress and knight in shining armour. This resulted in highlighting the fact that women are capable of metaphorically ‘rescuing’ themselves, in turn reaching success without help, showing the capability of women and hopefully promoting sexual equality in the workplace. Additionally, through our research into the presentation of women in conventional medieval drama, we learnt the historical relevance of female roles. In a traditional damsel in distress story women are patronised and demeaned. To emphasise the inequality between the sexes we chose to use contrasting levels. For example we chose to place the damsel on higher levels than the knight; this allowed the damsel to take a more commanding role. However, throughout we made constant references to the traditional format through humour, by showing the characters awareness of the reversed roles. I feel that this was very effective because we were culturally aware that a modern day audience would be aware of the clichi allowing it to become humorous in itself. Whilst devising another characters fantasies we settled on the concept of a traditional Latin American soap opera. We chose to use this format to contrast the tedious nature of the characters work life. This idea initially was influenced by the popular television series ‘Ugly Betty’ showing clips of traditional Latin American soap opera’s or novellas. This genre was particularly useful because of the melodramatic acting techniques used, to give this scene authenticity we chose to have the characters speak a few words or phrases in Spanish and maintained a Spanish accent throughout. Surprisingly, the use of accents and clichid Spanish phrases created a comedic effect, the audience reacted well to this humour. To further the humorous effect we exaggerated the Spanish personalities getting inspiration from the Mexican cartoon character ‘Speedy Gonzales’ which allegedly depicts a stereotypical Mexican. Through popular culture we were aware of many of the love clichis also apparent through this scene, in particular the over poetic declaration of love using the analogy of the ‘fake red rose. ‘ Initially, we wanted to explore the format of a silent film in order to highlight the importance of communication, but were anxious to use such a challenging convention on stage and were worried that the audience would become confused. However through research we were able to adopt this style very successfully. Silent movies were made before technical advances allowed an audience to view a film with both images and sound. We wanted to make our silent scene as authentic as possible therefore through our research into silent movies we noticed the projection speed and decided to significantly slow the scene down; some scenes were intentionally slowed down further in order to accelerate the action, particularly in the case of the slapstick moments. One of the main messages of our production was the importance of job satisfaction. There have been many recent surveys and articles surrounding job prospects and the amount of people dissatisfied in their current job placements. We therefore decided to show a group of characters that want to break free from the confinements of an unsatisfying job to highlight the importance of passion and dreams. We feel as young adults embarking on our working lives and starting to make important decisions that will shape our futures, it is very relevant that we have shown our anxieties towards working life. Work related stress is also socially rife especially in western culture therefore; through one of our characters we showed the importance of maintaining hobbies outside of a job to hopefully indicate that money is not the most important thing. Use of Space is an escapist piece; the fantasies represent each character hoping to escape the constraints of their tedious, impassionate lives. Dream worlds are a commonly used plot device in fictional works, most notably in science fiction and fantasy fiction. The use of a dream world creates a situation whereby a character (or group of characters) is placed in a marvelous and unpredictable environment and must overcome several personal problems to leave it. The dream world also commonly serves to teach some moral or religious lessons to the character experiencing it a lesson that the other characters will be unaware of, but one that will influence decisions made regarding them. When the character is reintroduced into the real world (usually when they wake up), the question arises as to what exactly constitutes reality due to the vivid recollection and experiences of the dream world. How acting techniques or design elements and the use of dramatic form were consciously employed to achieve intended effect. The dramatic form of ‘use of space’ was inspired by abstract theatre. Our devised piece does not follow a typical chronological time sequence; it has a warped sense of time due to our introduction of ‘fantasy’ scenes. Dreams allow the repressed parts of the mind to be satisfied through fantasy and let the mind express things that would normally be suppressed in the waking world. Dreams may also offer a view at how future events might proceed; this is similar to running future events through the mind, for instance a work presentation or a job interview. As a group we identified dreams as an interaction between the unconscious and the conscious. Therefore we wanted to highlight the contrast between reality and fantasy. To begin with we discussed using contrasting lighting effects to show an obvious transaction between reality and fantasy. To express the abstract, fantasy scenes we felt the audience would react well to pink colour fill lighting. This was successful because, the unnatural pink lighting allowed the audience to be aware of the abstract format of the scene. We also relied on the audience’s familiarity with clichi dream scenes shown in popular culture. Dream worlds are a commonly used plot device in fictional works, most notably in science fiction and fantasy fiction. Lighting is often used similarly when representing a dream, often flashing lighting is used and mists to show the audience the unreality. As a group we took this into account and decided to use soft lighting throughout the ‘fantasy’ scenes by using a flood effect to fill the whole stage. Flash lighting was also used subtly during the transaction from a reality scene to a fantasy scene. We decided as a group to only use subtle flash lighting during the transition because we did not want to reproduce the clichi formats of a dream sequence, we felt that this would undermine the intended serious messages we were trying to relay to the audience. Firstly each fantasy scene is triggered by an action and a simple freeze frame to link the office reality to the dreams. This use of gestus was an acting technique developed by Bertolt Brecht which reflects the characters emotional conflict through a brief frozen action. Gestus was employed during the transaction from my characters monologue to her fantasy scene. As a group we discussed our desired effect of the gestus and decided to show an obvious link between the character’s emotional conflict and the freeze frame, for the audience’s accessibility. We therefore decided to each come up with a simple freeze frame highlighting the principal emotions of my character, due to the lack of direction my character was feeling we chose to physically interpret the emotion confusion. Coincidentally, each member of the group similarly replicated a curled up freeze frame with their hands clasping their heads. As a group we decided that this composition showed the audience the characters basic feelings of confusion. Sound plays a big part in our production. Our opening scene begins with a metronome to highlight the artificial nature of the office scene and the rhythm of a monotonous life. We decided to open with a metronome to cause a feeling of anticipation through the audience; the ticking rhythm exaggerates and builds tension therefore immediately engaging with the audience before the action begins. The metronome rhythm also acted as a beat to keep our opening routine in time. The beat and the routine showed the audience the typical rhythm of an unsatisfying job. Due to the intimacy of our staged environment we decided not to use microphones because we wanted the sound to be raw and natural even in the fantasy scenes to accentuate the fine line between dreams and reality. This also made the audience feel close to the actors and therefore able to relate to the performers more easily. However to contrast this effect we chose to show all costume changed on stage employing the popular Brechtian technique Verfremdungseffekt through using this we hoped to communicate that the audience’s reality was, in fact a construction. During the silent movie scene we used clichi silent movie music. We wanted to stay authentic to a conventional silent film therefore we had a pianist. This music contributed to the atmosphere and gave the audience vital emotional cues. Silence is also an important tool in our production because it is in contrast to the loud interludes of music for example in the silent movie fantasy. Silence was often used after intense sections of dialogue or monologue. For example during my characters monologue the volume levels of my voice were used to create intensity building up to a climax. The silence during my characters gestus freeze frame is poignant because when the sound is taken away the audience begins to focus more on the movement and the emotion of the character, the silence intrigued them. There are many different characters and settings in our play; therefore we decided that our set should remain very neutral. We designed our set in a deliberately ambiguous way, so we could move easily between fantasy and office scenes. We decided that altering the layout of the stage and the set between each scene would prove noisy and would distract the audience’s attention. We were however very aware that a permanent set would become boring and the audience would lose interest, nevertheless we decided through rehearsals and a practice production that the intensity of the action made up for the lack of set changes. We used two black oblong boxes as the fundamentals of each scene, occasionally changing the positioning of them to create a different atmosphere. We chose not to have a specific setting contributing to the representation of free-flowing images within the characters mind. However, we decided to introduce an element of decaying society preoccupied by work ambitions and promotions through the use of broken computer monitors, keyboards, mice, and disks positioned around the stage. This gave the stage an overall look of disarray and immediately introduced the audience to the conflict within the characters in the production. How research material was gathered and used within the process. – Vicki Marks To begin the devising process our group was presented with five quotes that took inspiration from different aspects of life, this supplied us with an excellent starting point for developing a challenging piece of theatre, however our initial responses to the stimuli shaped our early work and many aspects were later changed as the piece matured. Firstly each member of the group decided separately which quote inspired them and worked towards abstractly analyse the meaning of these quotes. As a group we were drawn towards the quote â€Å"fear is a dark room where negatives are developed. † We felt that this quote gave us enough scope to produce a brainstorm surrounding the analysis of it. After analysing the quote through a brainstorm we decided to focus on the idea of fear. These fear aspects of the quote lead our group to research and gain an interest surrounding common phobias. As an initial response to phobias we decided to explore phobias that restrain and dominate everyday life. As a group we were interested in the psychological effects of irrational fears, through discussion, we realised one of our member’s arachnophobia and decided to research real life stories showing the influences of phobias. We began to gain an understanding of the psychological effects of living with an irrational fear, this allowed us to contemplate the way a person living with a phobia views the world. This topic particularly appealed to our group because three of the members were studying a course in psychology and took a specific interest in phobias. Through research we were drawn to highlighting different perceptions of the world, this is initially why we decided to show a dream or fantasy of each character. I was currently studying Margret Atwood’s dystopian novel â€Å"A Handmaid’s Tale. † And inferred parallels between dystopian societies and living with a life altering phobia. As a group this led us to discuss the concepts of normality and initially directed us to create a dystopian society to base our phobic characters in. However, we felt that through creating a dystopian society we were overcomplicating the piece and decided in order to create an accessible message we would have to simplify the plot. Many of our responses to the quote were detached and impersonal; therefore we decided to take a more personal approach to the analysing the quote. We wanted to create a more abstract approach to analysing, consequently, rather than brainstorming we played a word association game. Our earlier research indicated to us the potential of exploring fear; for that reason we opened by associating responses to the word ‘fear’. This resulted in a discussion of our apprehension and anxiety towards our futures, each member of the group was in the process of applying to university and planning the next step of their lives. It was important for us to follow our dreams and mistakes in choices at this stage worried us and we were sensitive to the idea of being stuck doing something we were not passionate about. This discussion allowed us to infer parallels between our fears towards losing our passion and job satisfaction in the work place. This led us to create a work place scenario, highlighting different characters problems with the way their lives have transpired. Although we had created an initial scenario we had to decide how to highlight the importance of job satisfaction and dreams. This is where our ideas surrounding an exploration of dreams and fantasies linked in with our running idea. How group skills contributed to the development of the drama. – Vicki Marks As an ensemble, we had many different approaches to the production of our devised piece. Firstly, after the initial discussions of the basic structure of ‘use of space’ we decided that each member should separately prepare an initial suggestion for a fantasy scene. Subsequently as an ensemble we modified each member’s idea to fit the characters objectives incorporating each group member’s requirements. Two of the four fantasy scenes required only two characters, therefore allowing the two remaining members to direct. This particularly put pressure on the team and initially certain members of the group did not respond well to being directed, however, we had to be flexible whilst blocking a scene and be open to criticism and changes. Considering the ensemble approach to devising we wanted each member to experience directing each scene, this also allowed us to incorporate more than one member’s objective for a particular scene. Therefore, we often resorted to switching roles mid scene to appreciate the way each member would perform certain characters and situations. I feel that this successfully allowed us to create two dimensional characters and by including aspects of everyone’s ideas created an overall satisfaction towards each scene. Each member of the group had a monologue allowing the audience to understand each individual characters state of mind. The preparation of a monologue is often very personal, initially, Helia and I scripted each monologue, but we worked as a group throughout the blocking and performing, however, this proved difficult. Due to the individual approaches of a monologue, taking control of scripting them was ineffective. This approach resulted in confusion and the monologues were less emotionally effective, because members struggled to connect with them on a personal level. Therefore, firstly, we each took our monologues separately and worked on the content through closely analysing our characters objectives and intentions. After we were happy with the essential content of our monologues we worked as a group to develop them. Group timing was essential during the silent movie fantasy, due to a lack of dialogue the scene required carefully choreographed action, which required the group to work carefully in relation to one another. At one stage of this scene, Helia was required to jump on Payam’s back and knocked to the ground. In order to prevent any injuries we applied a partnering system, involving a free member of the group shadowing Helia, providing support during the initial stages of rehearsals. During the later stages of devising the murder mystery scene we became uninspired with the outcome An evaluation of the ways in which ideas were communicated to the audience. – Vicki Marks Throughout the devising process we focused predominantly on comedic genres, to allow the audience to access the central messages through humour. Although we were aware of the comedic value of each scene it was difficult to predict the audience’s reactions, therefore we decided to perform it to a small audience during our rehearsal to evaluate which areas of humour were successful and which were less effective. Consequently, we realised that many of the melodramatic fantasies such as the silent movie were physically being underplayed resulting in a misrepresentation of our desired style. This resulted in a member of our group to employ a technique that we had used on a physical theatre work shop. Performing our characters physicality on levels from one to ten, ten being the most physically expressive allowed us to evaluate which level of physicality was successful. As a group we decided that the audience reacted best towards the silent movie scene when we employed a physicality level of ten. Due to lack of dialogue, physicality and expression allowed the audience to follow the storyline whilst also creating humour. As a result of working with a limited number of actors it was necessary to multi-role; however, through multi-rolling it is often easy to confuse an audience. We therefore decided to employ the Brechtian technique of changing our signifying costumes on stage. This allowed the audience to understand the style of our piece, and the abstract nature of the fantasy scenes. We also decided to place each change of costume on stage from the opening scene to intrigue the audience and allow them to become more involved in the action. We also had to take into account the wide range of characters we used. For example in one fantasy scene Payam took on the role of a Spanish soap character and during the next fantasy scene his character changed to a medieval knight. As a group we realised that a change of costume would not be sufficient to demonstrate to the audience a change in character, therefore we had to ensure that each actor varied their physicality according the role they were playing. As a group we consciously casted many of the characters as stock characters and stereotypes, allowing us to successfully communicate to the audience a significant change in role. Naturalistically it was difficult to vary each member’s character therefore by using melodramatic genres we were able to separate each members character. Originally, we intended to highlight the importance of job satisfaction through juxtaposing the office scenes with the fantasy scenes. We hoped to communicate to the audience the monotonous routine of being unsatisfied in a job. In order to convey this to an audience we decided to use opposing theatrical styles for the fantasy and office scenes. We decided on a naturalistic approach for the office scenes to highlight the dissatisfaction of the characters, similarly we decided to use abstract and melodramatic genres for the fantasy scenes to show the positivity. The accessibility of the humour in our piece relied on the audience’s knowledge of the common clichis we drew inspiration from. I feel we did not fully take into account the age range of our audience and miscalculated the universality of the clichis. After discussing with our audience their reactions towards our piece many of the younger members did not understand the humorous aspects on every level. For example in our murder mystery fantasy we took inspiration from the popular detective character Poirot, however many of the younger To open our piece we decided to have each character on stage the composition involved my character facing the audience frozen in a spotlight and a visible shadow of the four other characters in the background, to show individual stories and the universal message that applied to each character. t. How rehearsal and the production process contributed to the final performance. – Vicki Marks During the rehearsal process, we encountered many difficulties with the staging of certain idea’s and aspects. Initially we had decided to each perform a separate monologue as our office characters to highlight the objectives of each individual, we felt that it was important to portray to the audience an interesting insight into the characters feelings and wanted each monologue to project different forms. After the initial scripting of the monologues, we brainstormed the different approaches to staging them. Fortunately, each monologue adapted distinctive structures which allowed us to manipulate and create visually appealing scenes. During the staging of Payam’s monologue initially aimed to block the physical placement, this required him to be free to travel across the stage, and therefore, a remaining member of the group read his monologue whilst he attempted to block it. Surprisingly, this created an interesting effect of daydreaming; therefore we decided to continue having his monologue projected from off stage. At one stage during our rehearsals we were challenged to find an original and inspiring way to present our idea. We had already decided that we wanted to contrast reality and fantasy. We had devised the fundamentals of ‘office scenes’ created to depict our original character Dylan’s disconnection with a dystopian society. Because we had created a leading character we struggled to introduce equal roles. Therefore, we decided to create a structured brainstorm addressing our themes and the ideas we hoped to communicate. Through this we discovered a situation where Dylan’s disconnection with society linked to a modern day scenario. Dylan’s alienation towards an unfamiliar society was transformed into a group of office workers unsatisfied with their situations. Luckily, through former improvised scenes we had created characters which fitted this scenario. Throughout the devising process we were interested in developing an interpretation of parallel universes. We were initially drawn to this idea through different interpretations of phobia’s and the way an individual interprets fears. This idea led one member of the group to compare parallel universes to dreams, and fantasies. As a group we decided that we were interested in highlighting the importance of following your dreams, therefore began to research different fantasies and dream scenarios. We began to discuss different genres and settled initially on medieval clichis drawing on the typical female fantasy of being rescued by a knight in shining armour. As a group we decided that our acting techniques should mirror this genre therefore we settled on melodrama. Previously, we had only attempted naturalistic acting techniques, and as a group we were aware of the contrast between naturalism and melodrama. In order to familiarise ourselves with this acting technique we attended a physical theatre workshop, it was apparent to us that in order to effectively portray a melodramatic genre we would have to introduce exaggerated physicality. Initially this felt unnatural to most of the group members due to our back ground in naturalism, therefore, the support we received from the workshops group leader was very helpful. We benefited from the group leader knowledge surrounding physical theatre and he introduced us to a technique which allowed us to exaggerate the physicality during rehearsals. How the influence of ideas of other playwrights and/ or directors, designers and performers have been used. Originally, we hoped to achieve a depressing and desolate office scene highlighting the impassionate emotions of the characters. We initially decided that the characters would remain deadpan to express their negative attitudes towards their work environment; however, we wanted to employ a more exciting abstract format to express this further. We therefore turned to ‘Machinal’ by Sophie Treadwell which one of our group members had previously studied. The opening scene to Machinal is a powerful expression of a monotonous office scene. Treadwell uses an expressionist form employing repetitive dialogue and action and harsh audio effects to create a tedious and mechanical impression. Inspired by Treadwell’s use of repeated dialogue and action we began to improvise scenes using similar techniques. Firstly, we chose words and phrases linked to an office environment and repeated them, overlapping each other and increasing in volume throughout to create an intense atmosphere. Unfortunately, due to the small group, this did not achieve our desired effect. This then lead us towards a more physical representation, as an alternative to repeated dialogue we chose to highlight the routine of the office through repeating typical office actions. The use of stylised actions reminded a member of the group of a performance of ‘absolute beginners’ through which the director had expressed the rigidity of the office through women typing in unison creating a routine effect. Considering the size of the group we were not enthusiastic to have each character simultaneously performing one action, we therefore, took inspiration from the over exaggerated nature of each movement. Instead of using a routine we highlighted a sense of artificiality by introducing a metronome to emphasise the mechanical and artificial nature of the scene. Characterization was very important to the success of our performance. Because we had chosen to show many stark and stereotyped characters throughout it was important to exaggerate the physicality of the characters in certain places. Physicality was expressed most poignantly through the silent film fantasy. Because this was such a challenging format to express due to the lack of dialogue it relied fully on each actor’s physical representation of the character. Inspiration was originally taken from Charlie Chaplin. Through research we learnt that as a Silent film actor he emphasized his body language and facial expression so that the audience could better understand what his character was feeling and portraying on screen. However, simply watching and attempting to replicate Chaplin’s style was not enough. As a group we decided to participate in a ‘Jet’ physical theatre company workshop. This not only allowed us to work on our physicality as performers in general but gave us excellent scope to improve our silent film scene. Costumes were not hugely significant in our performance. We did not want to over complicate things and circumstantially our performance consisted of many short scenes and an array of different characters, similar to the conventions of epic theatre employed notably by Bertolt Brecht we decided to do all of the costume changes on stage. These changes only consisted of small variations to costumes such a hats a jackets that symbolised each character Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself, which he called the Verfremdungseffekt. Such techniques included changing costumes on stage. Through this Brecht hoped to communicate that the audience’s reality was, in fact a construction and, as such, was changeable. Another Brechtian technique used in our performance was the use of song. We decided that this allowed the audience to distance themselves from the action hopefully making the social comments throughout more accessible and setting the abstract theme from the beginning notably the entire performance was strictly episodic and many scenes were in isolation from each other. Each fantasy scene is triggered by an action and a simple freeze frame to link the office reality to the dreams. This use of gestus was also an acting technique developed by Bertolt Brecht which reflects the characters emotional conflict through a brief frozen action. Gestus was employed during the transaction from my characters monologue to her fantasy scene. As a group we discussed our desired effect of the gestus and decided to show an obvious link between the character’s emotional conflict and the freeze frame, for the audience’s accessibility. We therefore decided to each come up with a simple freeze frame highlighting the principal emotions the character. The initial idea to dress each character in their own variation of full black was inspired by a performance of ‘attempts on her life’ at the national. The director Martin Crimp chose to dress each character in their own interpretation of completely black. We adapted this idea to our performance because it allowed each character to show their own individuality whilst still highlighting the monotony and dull nature of the office and their negative emotions towards their situations. We took a large amount of inspiration from the melodramatic acting techniques employed by soup opera’s. We particularly focused on the style of acting used in traditional Novella’s or Latin American soups. Whilst approaching this style we researched the soup opera ‘Days of our lives. ‘ To help us adopt similar persona’s. How the stimulus material was developed through the drama process. To begin the devising process our group was presented with five quotes that took inspiration from different aspects of life, this supplied us with an excellent starting point for developing a challenging piece of theatre, however our initial responses to the stimuli shaped our early work and many aspects were later changed as the piece matured. Firstly each member of the group decided separately which quote inspired them and worked towards abstractly analyse the meaning of these quotes. As a group we were drawn towards the quote â€Å"fear is a dark room where negatives are developed. † We felt that this quote gave us enough scope to produce a brainstorm surrounding the analysis of it. After analysing the quote through a brainstorm we decided to focus on the idea of fear. These fear aspects of the quote lead our group to research and gain an interest surrounding common phobias. As an initial response to phobia we decided to explore phobias that restrain and dominate everyday life. As a group we were interested in the psychological effects of irrational fears, through discussion, we realised one of our member’s arachnophobia and decided to research real life stories showing the influences of phobias. We began to gain an understanding of the psychological effects of living with an irrational fear, this allowed us to contemplate the way a person living with a phobia views the world. This inspired us to contemplate feelings and emotions surrounding living in a different mindset to the norm. We therefore decided to create five different freeze frames, abstractly exploring the physicality of emotions. How to cite Drama and Theatre Studies structured records, Papers

Barry Hines in writing a Kestrel Essay Example For Students

Barry Hines in writing a Kestrel Essay I am going to explore the theme of bullying in the novel Kes. The novel is set in the north of England (Yorkshire). The social context of the novel is that the society offered them very little. Most of the children only got jobs in coal mines so the community was full of coal miners. The economic context of the novel is that they are quite poor. People left school at the age of fifteen before the raising of the school leaving age. Students like Billy felt that school and society offered them very little. The writer explores many different themes in this novel; some of these are to with people feeling imprisoned, family conflicts, freedom, nature and education.  However the theme of bullying is of particular importance because Billy is subjected to a wide variety of different forms of bullying which almost crush his spirit and his sense of humour.  The novel opens with Jud; Jud is Billys older brother, so we have been told in the novel. Jud is the kind of person that likes to get his own way at home. As soon as Jud comes in to the scene we are shown the way in which he bullies Billy. This begins by the alarm going off for Jud. Jud is in a bad mood. Jud physically bullies Billy this is shown in the novel when  He swung his fist under the blankets and thumped Billy in the kidneys,  This is a very bad place to hit someone especially someone as small as Billy he can suffer really badly and would be in agony.  He also verbally bullies Billy this is by telling him things that had happened to him that he was not pleased with such as growing up to become a coal minor and getting up early in the morning. Another few weeks lad, an thall be getting up wi me.  The reason that jud is like this is maybe because, Billy is smaller than Jud. Jud can not do anything to change the way in which he lives. He does not have power in his own life, he has no money, he hates his job, and he wants to make someone suffer, so he uses Billy as a scapegoat.  In the assembly we are shown the way in which they use institutional bullying.  Hymn number one-seven-five, new every morning is the love  This sounds sarcastic because this is the opposite of the life they normally have.  While the hymn was going, Pupils tried to stand up for themselves by coughing and making the head angry No one really saw who it was, so when the teachers picked out the students, they just did it randomly as if they knew who it was even though the pupils protested and it was not even some of them but instead the head lied and said he saw who it was. Dont argue lad, I saw you.  When Billy arrives at school he is immediately bullied by his teacher because he falls asleep in assembly. The head teacher humiliates the children he shouts at the pupils for little unnecessary things. The pupils are the victims.  Ill make you sing like youve never sung before. The head is bossy and threatens them. But although this is the case the Head still seems powerless. It is shown by his role.  The smallest boy is bullied by smokers; they force him to take the cigarettes. When he tries to tell the head about the message he was told to pass on the head does not listen to him, and instead punishes him along with the others. .udc8eb40fda0dca185d64d2194ce42798 , .udc8eb40fda0dca185d64d2194ce42798 .postImageUrl , .udc8eb40fda0dca185d64d2194ce42798 .centered-text-area { min-height: 80px; position: relative; } .udc8eb40fda0dca185d64d2194ce42798 , .udc8eb40fda0dca185d64d2194ce42798:hover , .udc8eb40fda0dca185d64d2194ce42798:visited , .udc8eb40fda0dca185d64d2194ce42798:active { border:0!important; } .udc8eb40fda0dca185d64d2194ce42798 .clearfix:after { content: ""; display: table; clear: both; } .udc8eb40fda0dca185d64d2194ce42798 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udc8eb40fda0dca185d64d2194ce42798:active , .udc8eb40fda0dca185d64d2194ce42798:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udc8eb40fda0dca185d64d2194ce42798 .centered-text-area { width: 100%; position: relative ; } .udc8eb40fda0dca185d64d2194ce42798 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udc8eb40fda0dca185d64d2194ce42798 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udc8eb40fda0dca185d64d2194ce42798 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udc8eb40fda0dca185d64d2194ce42798:hover .ctaButton { background-color: #34495E!important; } .udc8eb40fda0dca185d64d2194ce42798 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udc8eb40fda0dca185d64d2194ce42798 .udc8eb40fda0dca185d64d2194ce42798-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udc8eb40fda0dca185d64d2194ce42798:after { content: ""; display: block; clear: both; } READ: Educating Rita: Frank and Rita's Relationship EssayIm sick of you boys, youll be the death of me.   so for want of a better solution I continue using the cane, knowing full well that youll be back time and time again for some more.  Please, sir  Quiet, lad! And get your pockets emptied!  The head finally discovers that the smallest boy has the cigarettes so he smacks all of them on their hands with the cane  Head uses cane to conflict pain/humiliation. Wants to dominate through fear. The head does not care about what they have to say. Not caring about any of the students. He wants to make sure nothing gets out of control, quite afraid of what will happen if they do get out of control. As you can see the head master wants to feel in power. Mr Sugden is particularly cruel to Billy and bullies him physically, mentally and emotionally this is in his pe lessons.  I bet that was stimulating for him, wasnt it?  Every lesson its the same old story, please, sir, Ive no kit.  The teacher mimics him, makes a joke out of him. Mr Sugden shows his anger towards Billy by throwing the ball at him with a lot of force and wanting to hurt him very badly.  Then he purposely humiliates Billy by giving him shorts for pe that are way too big for him, and makes him wear them.  What are you talking about, lad? You can get them on, cant you?  Finally Mr Sugden makes Billy suffer by forcing him to shower in freezing water an example of his physical strength is:  Sugden back-handed him hard across the cheek, swinging his face, and knocking him back into an avenue of clothing. When Billy goes into the shower, Mr Sugden does not care if Billy gets ill.  In the playground, MacDowall, another student, tries to bully Billy by insulting his mother but Billy defends himself and is supported by Mr Farthing. He bullies the bully back to show him how it feels to be bullied. Mr Farthing is a different kind of teacher he actually listens to what Billy has to say.  The worst bullying Billy experiences is when Jud kills Kes, Billys only friend, just because Billy did not place a bet for Jud.  I think that Billy goes to the cinema as a source of comfort. This is the last memory he has being happy with his farther. All of a sudden an abrupt change of mood, his mum is having an affair and then his dad leaves. Then the memory is over. Billy wants to escape in to a better life. Where Kes is alive, Billy is powerful and Jud cant do any thing to Billy or Kes. But there is no escape. Billy returns to the same situation. The writer creates sympathy for Billy by showing that he can survive no matter what life throws at him. He shows that Billy is resilient, that he does not get defeated by anything.  My own personal response to the novel is that, Bullying is in the whole society. And that there is not many choices given to anyone in the society to become anything of themselves. I have not actually experienced this myself but it did make me think about people and life. It is a harsh society.

What i have lived for Essay Example

What i have lived for Essay Over the course of my life, three passions that have driven my life: the need for adrenaline, the commitment of family love, and the endless love for cars. Though simple and uninteresting to ones mind, these overwhelming passions have lead my life of dullness and bitterness to a life of sweetness and Joy. Whats so life changing of these passions? Whether its the urge to winning a race or parachuting off a plane miles up, that heart pumping, adrenaline, feeling I get is what I would describe fun as. That slow action time zone I receive in the midst of battling a position for a race is the feeling that cannot be explained, but for one to have experienced it to know. That time zone where everything is slowed, is where I have the chance to forget all the stress built up, and to Just enjoy the ecstasy feeling of the adrenaline. We will write a custom essay sample on What i have lived for specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on What i have lived for specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on What i have lived for specifically for you FOR ONLY $16.38 $13.9/page Hire Writer This ecstasy feeling is so great that one could sacrifice a stressful moment of their life Just to sit down and enjoy the beautiful scenery around them. Then all of a sudden, the feeling would Just seem to fade away and the life I once had comes back. Though knowing the fact that this adrenaline feeling could be experienced again, the depression I have decreases just a bit, while I look forward to the next time will experience it again. While the want for adrenaline, comes with the want to return a favor to my family. Thinking of the pain my parents have suffered to give me the life I never had, gives me pains as I watch them come home tired and hungry every day since I could remember. Family first is what I go by, so I would take every available chance there is to be able to return the favor. Parents are not Just the people who wash your loathes and cook you dinner, they are the people who have striver to see you be happy. Though I could tell them I love them every day, nothing more than physically showing them proves more. The day I read my first car book at the age of 5 was the day that marked the beginning of my love for cars. The rumbling roars of the cars circling the track is like music to my ears. Spending time admiring the beauty of each car would be my second definition of fun. But the real fun lies behind a leather gripped steering wheel of an Italian supercargo. The adrenaline that rushes through your brain makes o feel like you never want to get out of the car, forgetting the fact that you once had a life. Speeding through the hollow tunnels leaving a trail of roars and taking the turns with such speed is what each young car fanatic would have dreamed of before sleeping. Its a shame that Im still in the introduction years of my life, unable to experience that life at the moment, but its good to know that with effort I can achieve it. Blood -rushing adrenaline, commitment to the family, and endless love for cars are the passions that have driven my life of dullness and bitterness to a life of sweetness and Joy.

What is an Epilogue and How To Write One, According to Pro Editors

What is an Epilogue and How To Write One, According to Pro Editors What is an Epilogue - and How To Write One Readers Won't Forget The epilogue comes after the story has ended and acts as a finishing touch. It’s one of those literary devices whose necessity is often debated - along with its predecessor, the prologue. If you write a strong ending to a story, should there really be anything left to say? Well, like a good digestif, an epilogue can serve as a satisfying close to a story - one that gives you a moment to reflect on everything you just consumed. It shouldn’t replace dessert the ending of the novel, but merely provide a grace note for the story to close on.To help you decide if your story needs an epilogue and, if so, how to write a strong one, we’ve asked our editors to give us their top epilogue advice. But first, let’s make sure we’re all clear on what an epilogue really is...What is an epilogue?Classic Greek and Elizabethan plays often included epilogues to explain the later fates of the characters. An actor would step forward and speak directly to the audience, offering commentary on the story and dispensing morals, if any were to be found in the tale.  Note that the epilogue, in this respect, is the exact opposite of the prologue and the preface.Since then, the epilogue has naturally evolved. Today, this kind of wrap-up is very rarely used in novels. It's seen as "spoon-feeding" the reader and it implies a lack of trust - either between the novelist and the reader, or between the writer and their own ending.Whether you’re writing a â€Å"Happily Ever After† or a â€Å"To be continued†¦Ã¢â‚¬  epilogue, just be sure to go forward with confidence. If you doubt its necessity, it’s a strong sign it doesn’t need to be there. Either way, don’t overwrite, trust your readers, and you’ll surely have them sighing when they flip the final page and remember that â€Å"parting is such sweet sorrow.†What are some of your favorite epilogues? How do you feel they contributed to your understanding or enjoyment of the story? Leave any thoughts or questions in the comments below!

Brandenburg Concerto No. 5 performed in 1721 Essay

Brandenburg Concerto No. 5 performed in 1721 - Essay Example Bach's musical education began with the violin followed by his growth into an authority on the organ and other keyboard instruments. He was a musician with a strong personality and intensity and was known to possess a desire to create a "richer, more complex" music score. Bach's concerts have known to be rich in complexity and this is what we get to understand in the Brandenburg Concerto which has been recognized as one of the best combinations of Bach's works, combining elements of church and orchestral music. "Baroque", a set of European classical music which existed from 1650 - 17501 originally meant an insult also describing an 'irregular' shape of no particular beauty which is often compared to an irregular pearl denoting its irregularity in shape. The "irregular pearl" is a strikingly fitting characterization of architecture often symbolized with that of 17th century. Over time though, this style of music came to be recognized as one with grandeur, stylishness, a sense of bravado and improvisation. Instruments that are particular in this era are hurdy gurdy, harpsichord, organ, bass viol, lute, violin and baroque guitar. Brandenburg Concerto No. 5 is considered to be a masterpiece in the Baroque style. This composition has a clear melody, with excellent and timely usage of instruments like the Lute, Organ all put together in a clever ensemble. The harp and organ invoke an uplifting feeling of happiness along with the lute. The concerto has a continuous line moving and extends with the addition of instruments as the composition progresses, which is peculiar to the Baroque style. Brandenburg Concerto No. 5 displays the influence of the reformation on musical style when compared with the Renaissance era proving to be a masterpiece in its style and era. The concert begins with the lute, followed by introduction of the organ and the cello. The introduction of the 5th Concerto is impressive and demanding which was created with the combination of the violin, cello and the lute. As the concert progresses, the cello and lute are continuous with the organ providing the "melody", the violin depicts drama and intensity and the constant variations in instruments succeeds in invoking many emotions. The finale is depicted with the dramatic introduction of the violin and the cello. Brandenburg Concerto No. 5 is a brilliant composition that is captivating. References http://www.answers.com/baroque+musiccat=entertainment http://classicalplus.gmn.com/composers/composer.aspid=2 A History of Baroque Music (Book). By: McGee, Timothy J., 03630277, 5/15/2004, Vol. 129, Issue 9 http://www.mckeeth.org/wikilinks/bach1911.html Johann Sebastian Bach & the Art of Baroque Music (Book). By: Jones, Trevelyn E., Toth, Luann, Charnizon, Marlene, Grabarek, Daryl, Larkins, Jeanne, Steinberg, Renee, 03628930, Aug2004, Vol. 50, Issue

Sunbelt South Essay Example | Topics and Well Written Essays - 1000 words

Sunbelt South - Essay Example The book continues in this vein moving along the time line until the second world war from whence a tremendous change starts sweeping through the south; altering its identity amid strong global influences. This change is witnessed amid strong resistance from the south’s white leadership who try to stem the new influences that threaten to change the status quo that has existed and given the south its distinct identity up to that point in time. Cobb uses a huge base of historical and literary references to illustrate his points and succeeds in providing a very balanced and unbiased account of the state of the south. The only criticism that can be leveled his way is the lack of reference to the medical situation through out the narration. The health maladies that plagued the south at various durations over time have also had an impact on the self- identity of the south and deserved some mention as well. To illustrate the state of the south since the Second World War, we have to r ely on the available literature and Cobb is a renowned historian of repute especially concerning the south. The study of the south is intricately interwoven with the history of America and its only fitting we look at it to understand the state of America since the end of the second world war. ... The image of the south has undergone change all through its existence and none is more profound than the change experienced after the Second World War and intensified during the civil rights era. The white supremacists fought hard to cling on to the status quo from this period but the winds of change were blowing harder and getting even harder to ignore. The very definitions of the southern way of life as it was known up till then were shaken to the core. The African Americans were at this time examining their southern heritage more keenly and openly and beginning to embrace their southern heritage amid their championing of their black identity. There is a distinct feel of the south’s development and evolution being dissected in the book and its wide array of relevant topics got fromfrom the national ascendance of southern culture and music, to a globalized Dixie's allure for foreign factories and a flood of immigrants, to the roles of women and an increasingly visible gay pop ulation in contemporary southern life. The heart of the book illuminates the struggle for Civil Rights. For instance the author refers to a time when Jim Crow still towered over the South in 1945, but Cobb shows that Pearl Harbor unleashed forces that would ultimately contribute to its eventual downfall. Rising black political influence outside the South and the incongruity of combating racist totalitarianism overseas while condoning the same at home, created the opportunity for returning black veterans to organize the NAACP's postwar attack on the South's racial system. This assault elicited not only vocal white opposition but also led to increasing violence that climaxed in the murder of young Emmett

Global Warming Essay Example | Topics and Well Written Essays - 2250 words

Global Warming - Essay Example Nations that approved the Kyoto Protocol concur to decrease emissions of six greenhouse gases that increase the problems of global warming. These nations are also permitted to utilize emissions trading to reach their obligations if they maintain or increase their greenhouse gas emissions. All of these activities around the world are then observed and maintained by the Intergovernmental Panel on Climate Change or the IPCC, as well as other environmental protocol treaties. The University Corporation for Atmospheric Research or UCAR (2011) cited that â€Å"the IPCC coordinates the efforts of more than 2,000 scientists from 154 countries. Together, they represent a vast array of climate specialties, from physics, to chemistry, to interactions with Earth's surface, to the role of human behavior.† The IPCC also has a policy-making body that helps extensively review the findings from scientists or field-related researchers so that their formation in creating policies is well founded and guided. The question that should now be asked is whether or not such measures are good or bad for the environment. Could it be certain that the measures taken by these various human actions and endeavors help the world against the effects of global warming? These inquiries shall be explored further through the next discussions of this paper. The Affirmative Side It has come to the attention of various environmental organizations and some societies of various nations that the negative effects of global warming could no longer be taken for granted and ignored. This matter has made environmental groups and organizations rise in their activities through the years, and many have made successful advances with their agendas in government, business, and... Combining policies that deal with the local air pollution and the issue of global climate change would result to beneficial changes for climate alleviation. Medium to long term plans and actions to lessen air pollution will lead to more benefits in combating global warming. For example, the development of green intelligence policies has been growing in different businesses and societies. This was observed by the BusinessWeek Research Services (2009) who posited out, â€Å"amid the current climate of greater demand for both environmental awareness and corporate accountability, organizations are finding that success is increasingly being measured not only by financial performance, but also by ecological and social accomplishments as well† (p.3). If various major governments and much of the private sector adopt the green intelligence as a core goal and as part of their methods and practice, then it could make up for all the environmental damage that has been done for the past cen tury. Different methods of proper waste disposal and management can also help combat and deal with the increasing problem of global warming. Proper segregation and recycling of garbage or trash can prevent the creation of massive waste landfills that release a lot of gases that are harmful to the atmosphere, the ecological systems, and human health. Recycled material can also be used for the consumption and use by society and even help promote a new type or brand of goods to be used for commerce and trade.

Carnival Major Aspect Of Trinidadian Culture Social Policy Essay

Carnival Major Aspect Of Trinidadian Culture Social Policy Essay What is culture? According to La Belle and Ward (1996), a current definition of culture encompasses the shared attributes which delineate one group as separate from another ( p. 28). A slightly more specific definition for this very broad term comes from Frantz Fanon who says that a culture is first and foremost the expression of a nation, its preferences, its taboos, and its models (2004, p.177). From this standpoint we will examine Trinidadian culture or more specifically the significance of Carnival, an integral part of Trinidadian culture, as an outpouring of expression which originated with the French Roman Catholic aristocracy and later was influenced by slaves and former slaves. We will also examine the role it plays in inspiring national pride and uniting the Trinidadian diaspora. According to Mr. Walcott we have lost much of our historical legacy and it is from this loss and the consequent necessity for something to fill that void that the innovation of our culture (i.e. Caribbean culture) materialized (Walcott, 1974, p. 6). I disagree with Mr. Walcott on this point. I believe that a great deal of history was lost yes, whether it is because it was irrelevant as he says or not is in itself immaterial for the purpose of this discussion. It is my opinion that culture was not simply an upwelling of inventiveness due to large gaps in historical memory, but also an amalgamation of what historical heritage was left behind regardless of the fact that it was in tatters. If we take Carnival as an isolated part of culture, this point can be proven as we examine the origins of Carnival and see for ourselves that it began in Trinidad with a French Roman Catholic tradition of the aristocracy (Zavitz Allahar, 2002) in the pre-emancipation era as a last prelenten celebratio n, which symbolized the abandonment of propriety. It was transformed with the advent of emancipation from a celebration in the form of masked balls, song, drama and dance which indirectly, covertly and subversively confronted issues of social restrictions of class and race, since most wore masks, into a fusion in the post-emancipation period of West African religious practices and beliefs and the pre-existing French celebration (Nurse, 1999). The initial celebration of Carnival by the recently freed slaves was in the form of re-enacting a scene that they had become all too familiar with and which they had named Cannes Brulà ©es or burning cane (Carnival). This is one instance of creation such as that which Mr. Walcott speaks of, however we can clearly see that the entirety of the Carnival practice, once taken as a whole, contains old and new elements, old from both French and African historical celebrations separately and new from the synthesis of new ideas based on experiences and the mixing of two cultures together, one forcibly oppressed for many years, and the other, living in extravagance comparatively. Let us now take a look at what Carnival is, what it symbolizes presently for the citizens of Trinidad and Tobago. Carnival as seen by the spectator and masquerader alike is not viewed as anything static. It is a dynamic and fluid process (Green, 2007, p. 206). It is a vibrant, exuberant, triumphant, colourful display on the one hand of freedom from ones inhibitions as passed down from the originators of this festival, in which fast-paced, up-tempo music urges revelers to jump and gyrate in time with the syncopations of the melodic soca music (Green, 2007, pp. 207-208). Feathers, beads, staffs, headbands, bright dramatic make-up, sequins, beads and all manner of shiny things bob and weave with the rhythm of the uninhibited who proudly bare their costumes and newly fit bodies for cameras and tourists alike. Big music trucks patrol the streets with thousands cavorting to the tune reverberating from the massive speakers that take up the entire truck-cab and face in all directions. This m addeningly spectacular display of peacock-like feathers, glitter and lithe bodies strutting to the beat, begins on Carnival Monday morning with JOuvert which means opening of the day and continues right through into LasLap on Tuesday night until the stroke of midnight (Scher, 2002, p. 461). This is the part of Carnival that is marketed, packaged and sold to the masses every year. The package includes the enticement of watching steel-bands vie for the title of champion in the Queens Park Savannah, during Panorama, the most renowned steelpan competition during the Carnival season. It is not to say that this is all that Carnival consists of, however when considering the diasporic culture of expatriate Trinis, as they are called, and their descendants, these are the images that bring to life that longing for the homeland and have inspired stirrings in the soul to return to Trinidad, just to participate in this festival of colour and unadulterated elation. The term diasporic mentioned re fers to the dispersion of a community away from its homeland to more than one peripheral region, which remembers or has some cultural connection to the homeland and is not fully acknowledged as a member of the current country (Clifford, 1994, p. 304). Although they may be expatriates, during the Carnival season, many Trinis faithfully return home to take part in festivities and can be heard speaking d lingo of dey people even if with a slight North American twist. As was stated by Clifford (1994) the language of diaspora is increasingly invoked by displaced peoples who feel a connection with a prior home (p.310). Many Caribbeans in New York, for example, have maintained a sense of connection with their home islands, a distinct sense of cultural, and sometimes class, identity that sets them apart from African Americans (Clifford, 1994, p. 315). The reclamation of ties to the homeland can also be seen through the migration of the celebration of Carnival to major cities around the world. This repossession can be accounted for by marginalization and experiences of discrimination and exclusion (Clifford, 1994, p. 311). It is the way that the diasporic mentality makes up for the bad experiences (Clifford, 1994). It also however speaks t o the issue of nationalism. Expatriates and their descendants must look to Trinidad for innovations in the Carnival arts (Green, 2007, p. 213) speaks to the issue of national pride as well and the refusal to allow the denigration of the achievements of the nation. I digress here to discuss this issue of nationalism and national pride. Nationalism, according to Greenfeld (2006) refers to the set of ideas and sentiments which form the conceptual framework of national identity (p.69). Four concepts that are key to Greenfelds theory that factor in here in our discussion are: equality, respect, dignity and citizenship(2006. She says that the fact that ones national identity is coupled with dignity and self-respect, due to the elevation of citizens to the level of membership in the nation, guarantees ones investment in the community that constitutes the nation. The dignity imparted with feeling like one belongs is what spurs national pride. The prestige associated with that feeling of belonging encourages international competition. This concept speaks to the pride that Trinidadians feel, particularly at Carnival time, possibly more so than at any other time of the year, on professing that, yes they come from the land of Carnival and pretty mas and w hats more they know how to wine. It may well be that other islands craved the sense of pride that they saw in Trinidadians at some point since we are told that it is from Trinidads Carnival that they take their inspiration, form, and structure (Cohen, 2007, p. 898). I dont suppose we will ever know if this adoption of carnival stemmed from regional competition or from a different historical legacy. In support of this argument that Carnival has inspired national pride we look to Mr. Green, who talks about how these other carnivals derived from Trinidadian Carnival has instilled a certain drive in Trinidadians to have their originality and cultural innovation recognized and their country acknowledged as the birthplace of the copycat Carnival that is now marketed in at least three major metropolitan centers internationally: Toronto, London and Brooklyn respectively (Green, 2007, pp. 210-213). Even still, we find that the visitors still number in the thousands to Trinidad for Carnival each year. Currently, most of those who come to Carnival are either expatriate Trinidadians or individuals who are very familiar with some aspect of the Carnival (Green, 2007, p. 206). But non-Trinidadians and descendants of Trinidadians living abroad also learn about theCarnival-like events inspired by Trinidad Carnival Caribana, Notting Hill, and West Indian-American Day among them, in the three afo rementioned major cities respectively (Green, 2007, pp. 210-211). We can see from the comments made by the interviewee in Mr. Greens article, that national pride and the resultant desire to seek the nations interest in reclaiming what is rightfully Trinidadian is spawned from the prospect of stolen ideas and the frustration at other countries inadequate imitations of a distinctive cultural marker People in promoting their own Carnival based on Trinidads Carnival, forget about Trinidad So we have got to look after our own laurels to re-establish ourselves And once we do that, people will remember that this is the Mecca, this is where you come for the real things that are rich and flavorful and tasty about Carnival (interview, 13 August 1993) (Green, 2007, p. 212). We learn that sadly, it is mostly Trinidadian expatriates and individuals who have had some exposure to some aspect of Carnival, who come to visit each year (Green, 2007, p. 206). It is still encouraging from my standpoint however to know that non-Trinidadians and descendants of Trinidadia ns living abroad also learn about Carnival-like events created by Trinidadians inspired by Trinidad Carnival Caribana, Notting Hill, and West Indian-American Day among them, in the three aforementioned major cities respectively (Green, 2007, pp. 210-211). Even if the name of the country is mentioned and people are able to experience and capture some essence of what Carnival is about, we never know, it may instill in them the desire to come and visit Trinidad 1themselves. Carnival is broken down into parts and must be expressed in such a manner that can be experienced by others in order for it to be brought to the educational forum and projected into the public arena both nationally and internationally (Green, 2007, p. 207). It can be broken down into music, costumes, food and so on. The end to this breaking it down, when we consider edification of the nation in itself of its own tradition and festival , is cultural nationalism. Cultural nationalism as described by Mr. Green has as its aim to inculcate among members of the nation a sense of shared national culture, one that is not distorted by outside cultural influence (Green, 2007, p. 203). Simply put, this has the ability to put the citizens of Trinidad and Tobago in a position of stemming its vulnerability to outside cultural forces because it has been educated on the importance of its own. Globalization is inevitable, however, the question that has to be posed is how much is Trinidad willing to l ose its culture to other nations? How has Carnival indirectly affected culture negatively? It has opened the country up to the influences of massive influxes of tourists and the impact their culture has on the uneducated populace. Unfortunately though, as Derek Walcott so eloquently expressed his feelings of dependence on America that can be easily transmitted to many an educated Trinidadian regarding Carnival the more West Indian I become, the more I can accept my dependence on America not because America owes me a living from historical guilt, nor that it needs my presence, but because we share this part of the world, and have shared it for centuries now (La Belle Ward, 1996, p. 3). Again, the only solution to avoiding vulnerability and to ensuring sustainability of the festival and the uniqueness of Trinidads Carnival as opposed to what is being produced in the name of Carnival, is education. Now that Carnival has come to pass: national pride has been boosted, global awareness of the festival has exploded and tourism has grown as an industry during that period of time, the Carnival season. With increasing globalization, Trinidad stands to lose out on a large percentage of income and also the proper credit, recognition, and appreciation for what it has contributed to the world (Green, 2007, p. 214) that could be earned through these festivals, these pseudo-carnivals initiated by members of the diaspora uniting to recapture the essence of their homeland in metropolitan hubs around the world. The positive side of the coin is global recognition for innovativeness and diversity as a culture. What will become of Carnival and Trinidadian national pride in the years to come? We will have to wait and see. REFERENCES Carnival. (n.d.). Retrieved November 23rd, 2009, from Trinidad and Tobago National Library and Information System Authority Web site: http://library2.nalis.gov.tt/Default.aspx?PageContentID=206tabid=161 Clifford, J. (1994). Diasporas. Cultural Anthropology , 9 (3), 302-338. Cohen, C. B. (2007). Trinidad Carnival Today: Local Culture in a Global Context. Anthropological Quarterly , 80 (3), 897-902. Fanon, F. (2004). On National Culture. In F. Fanon, The Wretched of the Earth (p. 177). New York: Grove Press. Green, G. L. (2007). Come to Life: Authenticity, Value, and the Carnival as Cultural Commodity in Trinidad and Tobago. Identites: Global Studies in Culture and Power , 14 (1/2), 203-224. Greenfeld, L. (2006). Nationalism and the Mind: Essays on Modern Culture. Oneworld Publications. La Belle, T. J., Ward, C. R. (1996). Ethnic Studies and Multiculturalism. New York: State University of New York Press. Nurse, K. (1999). Globalization and Trinidad Carnival:Diaspora, Hybridity and Identity in Global Culture. Cultural Studies , 13 (4), 661-690. Scher, P. W. (2002). Copyright Heritage: Preservation, Carnival and the State in Trinidad. Anthropological Quarterly , 75 (3), 453-484. Walcott, D. (1974). The Caribbean: Culture or Mimicry. Journal of Interamerican Studies and World Affairs , 16 (1), 3-13. Zavitz, A. L., Allahar, A. L. (2002). Racial Politics and Cultural Identity in Trinidads Carnival. Identity: An International Journal of Theory and Research , 2 (2), 125-145.

Mind, Matter and Descartes :: Philosophy essays

Mind, Matter and Descartes "Cogito Ergo Sum," "I think, therefore I am," the epitome of Rene Descartes' logic. Born in 1596 in La Haye, France, Descartes studied at a Jesuit College, where his acquaintance with the rector and childhood frailty allowed him to lead a leisurely lifestyle. This opulence and lack of daily responsibility gave him the liberty to offer his discontentment with both contrived scholasticism, philosophy of the church during the Middle Ages, as well as extreme skepticism, the doctrine that absolute knowledge is impossible. Through the most innovative logic since Aristotle's death, as well as application of the sciences, he pursued a lifelong quest for scientific truth. Philosophy is believed to have begun in the sixth century in ancient Greece. In fact, the word "philosophy" is the Greek term for "love of wisdom" (Pojman). After notable minds of the Ancient World such as Socrates, Plato, and Aristotle, by modernist standards, original thinking ceased for many centuries. Throughout the following period, later known as the Middle Ages, the world was dominated by dogma of the Catholic Church. Scholasticism allied with severe punishment for heresy prevented rationalization outside of religion. Descartes was the first to bring philosophy to its "Renaissance" (Strathern 7-9). He questioned the reality of everything, including God. Though he was a devout Catholic, and later proved the existence of God mathematically, he founded and popularized the concept of questioning that which is taught. Descartes' philosophy was an attempt to create a genuine foundation upon which further scientific developments would be established. His devotion to math's methodic nature and invariability lead him to apply these concepts to all other ideas. He hypothesized that "those propositions which one could come to understand completely would be self evident, since one's knowledge about them would not depend upon knowledge of any other propositions; therefore they were suitable to stand as fundamental assumptions, to be the starting points from which other propositions could be deduced" (Walting). He realized that he knew nothing for certain except for the fact that he was thinking, which proved that he existed; "Cogito Ergo Sum." "Descartes argues that all ideas that are as clear and distinct as the Cogito must be true, for, if they were not, then Cogito also, as a member of the class of clear and distinct ideas, could be doubted" (Walting). Descartes theorized that each person has an innate idea of a perfect being.

A Dream Deferred

Langston Hughes’ poem, A Dream Deferred, is about the sentiments of African American people back when they were great oppressed and marginalized (Hughes).They were denied of a dream, of a better life and a better world just because of their skin color and their ethnicity. Looking closely at the poem, we can see that the elements used by Hughes could clearly show the readers how much he felt back at that time when he wrote it.It is important to analyze the poem through its parts first and then its entirety so that we’ll see how Hughes came up with a short but very effective poem.Hughes used several literary elements all throughout his poem. The first one is the use of rhetorical questions, where we can see that the poem is structured as a questions related to deferring a dream. These questions tend to answer themselves in the end, and this is where the use of the next element, simile comes in. He uses it to describe every situation that he gives relating to a dream defer red.One example is â€Å"Does it dry up like a raisin in the sun, where he used â€Å"like a raisin in the sun† to describe the â€Å"drying up† of the dream (Hughes). From this, it is evident that it also uses the element imagery when describing, including â€Å"fester like a sore,† â€Å"stink like rotten meat,† and a lot more (Hughes).Through these literary elements, we can see how much emotion the author has regarding this topic. As an African American, he had his fair share of discrimination, which led to his dreams being deferred.The poem shows us the progression of how his dreams and aspirations were denied and how his reaction evolved. From the poem, we can clearly see that it seemed to worsen to a point of destruction. With this, the readers can follow how his emotions could have changed through time.Hughes intends to answer the question â€Å"what happens to a dream deferred,† and he was able to do so by giving several responses (Hughes) . His first few responses were generally negative, as we’d expect from someone discriminated and denied of their dreams.He responded that it could dry up like a raisin in the sun. This is a very appropriate response for someone who lost hope, saying that their dreams would all go to waste and just dry up.A raisin in the sun is once a juicy grape, just like a dream that’s full of promise and hope. By denying that dream, all that would be left is just the wrinkled skin of the past, something very distant to what it previously resembled.Other responses that Hughes provided include festering like a sore, stinking like a rotten meat, and crusting and sugaring over like a syrupy sweet. These are all undesired, negative situations that could be a gauge of how the author felt when his dream was deferred.It was uncalled for, it was not the outcome that he expected, but still he must live with that. There isn’t any hint of justice for the author, since these were all irre versible outcomes. At this point, we can now see that aside from disappointment, having one’s dream deferred also causes a great deal of sadness and pain.In the end, all of the dreams deferred from a man like the author would eventually have to go somewhere. As it piles up, it creates a heavy load which would eventually sag.All the dreams that they were not able to achieve, all the opportunities that were denied from them would eventually sag and weigh them down. It is such a heavy burden to carry and there is no other way to ease it other than giving them the chance to fulfill those dreams.Because eventually, as it continues to sag and expand, there would come a point when it would just explode. In the end, they wouldn’t be able to sustain such load and so it leads to destruction.This could be taken both literally and figuratively, because I think that when the load is too heavy to bear, people like Hughes would eventually think of a way to lessen the burden, and it m ay not be a desirable course of action.Work Cited:Hughes, Langston. â€Å"A Dream Deferred.†Ã‚   Writing through Literature. Eds. Linda Anstendig and David Hicks: Prentice Hall, 1995.   

The Use of Gamification to Improve the Internal Communication

The Use of Gamification to Improve the Internal Communication The Use of Gamification to Improve the Internal Communication between Nationals and Expatriates in the Private Sector Companies of Dubai Introduction The improvement of internal communication between representatives of different cultures is a challenging task to address by managers. In Dubai, the percentage of expatriates working in the private companies is extremely high (Srimannarayana Santosh, 2011). The development of strategies that allow expatriates and nationals to communicate and work as teams at projects is a priority for managers in these organizations.Advertising We will write a custom proposal sample on The Use of Gamification to Improve the Internal Communication specifically for you for only $16.05 $11/page Learn More As a result, managers analyze available methods and choose new effective approaches to engage employees in the teamwork and promote cooperation. Gamification in this area is one of the newest and most promising strategies to moti vate employees and create conditions for their interaction and effective collaboration. Gamification is effectively used in spheres of training, rewarding, and marketing (Roth, Schneckenberg, Tsai, 2015). From this perspective, referring to gamification as an effectively working approach, it is also possible to expect positive results in the field of internal communication. In companies located in the United Arab Emirates (UAE), the popularity of gamification increases actively, and in Dubai, there are agencies that train managers to apply principles of gamification to all areas, including teamwork, communication, promotion, rewarding, training, and performance management (Thottathil, 2013). This prospectus discusses the key concepts used in the study with the focus on the development of the gamification concept, concentrates on the nature of the problem in the private sector companies of Dubai, and explains the selected methodology. Key Concepts Internal communication is discussed in the academic literature as the process of sharing the information and ideas in the company (Linke Zerfass, 2011). In this research, the focus is on the internal communication between representatives of the diverse workforce: nationals and expatriates. Rana (2013) states that in companies with the diverse workforce, the communication plays the critical role, and it is necessary to improve collaboration. Linke and Zerfass (2011) propose to influence the employees’ motivation to improve the internal communication. In spite of the fact that gamification is not discussed as a tool to improve the internal communication directly, Roth et al. (2015) accentuate the advantages of gamification for the organizational culture and performance. These aspects are important to speak about the effective exchange of knowledge in the organization. Therefore, it is possible to expect that improvement of communication between diverse employees as a result of applying the gamification principl e.Advertising Looking for proposal on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More Problem Statement The problem is in the fact that Internal Communication specialists in Dubai private sector companies recognize advantages of gamification because the organization can use this principle in training or marketing, but they hesitate to refer to it when it is necessary to improve internal communication between nationals and expatriates. Gamification can be useful to promote the teamwork, conduct assessments, and provide feedbacks, but it is not applied to the field of internal communication actively, why? Thus, the research questions to be answered in this study are the following ones: Does gamification lead to improving the communication between nationals and expatriates in Dubai private sector companies? Is the use of gamification related to positive changes in the teamwork, assessments, and feedback provisio n in Dubai private sector companies? This study aims to use two operational definitions for concepts of internal communication and gamification. In this study, internal communication is defined as a process of sharing the information in the organization. Gamification means the use of game elements in the business context not related to the game (Roth et al., 2015). Methodology The mixed method approach is selected for the study. The quantitative information will be collected with the help of the survey, and the qualitative data will be collected as a case study. Variables The independent variable in the research is the use of gamification. The dependent variable is the internal communication measured in relation to positive or negative changes. The purpose of the research is to study whether there is a relationship between gamification and any changes in the internal communication. For answering the second research question, the focus is on measuring the presence of positive change s in internal communication and other aspects of the employees’ interaction. Sampling The study will focus on examining gamification in one company representing the private sector of Dubai where it is used not only in management but also in internal communications. The sample for the survey will include nationals and expatriates that will be selected with the help of a stratified random sampling (Chambliss Schutt, 2013). It is expected that the sample will represent males and females from the 18-45-year-old age group. This approach to sampling allows examining attitudes to the gamification of both nationals and expatriates. For the case study, the sample will include Internal Communication specialists working in the company.Advertising We will write a custom proposal sample on The Use of Gamification to Improve the Internal Communication specifically for you for only $16.05 $11/page Learn More Methods The quantitative cross-sectional survey is chose n to assess the extent to which the use of gamification in the area of internal communication contributes to the productive interaction between nationals and expatriates. Advantages of the cross-sectional survey are in possibilities to receive questions to answers quickly and at low costs. Disadvantages include the impossibility to check the influence of external factors on answers (Reagan, 2006). This limitation is addressed with the help of using the case study approach to gain the qualitative data on the gamification strategy in the company. The advantages of the case study are in possibilities to focus on the experience of the concrete company basing on interviews and the review of documents (Berger, 2014). Weaknesses of the case study approach are addressed while combining it with the quantitative method. Instruments To conduct the survey, it is necessary to use the questionnaire structured with the help of the Likert scale indicating the extent to which employees discuss the g amification strategy in the internal communication as positive. The use of the questionnaire based on the Likert scale is supported by the necessity of adapting the qualitative answers to measuring them with the help of quantitative tools (Chambliss Schutt, 2013). To guarantee the high level of reliability, the questionnaire on gamification will be retrieved from the existing literature. Questionnaires will be sent to participants via e-mail. For the case study, instruments include the structured interview questions to communicate with the Internal Communication specialists. The other data on the use of gamification will be collected referring to the corporate documentation. Conclusion The study on the problem of using gamification to improve the internal communication of nationals and expatriates in the private sector of Dubai will utilize the mixed methods in order to explore the problem in detail and determine possible relationships. The focus is on using the questionnaire and a case study approach. The proposed study will allow concluding about the effectiveness of using gamification in the sphere of internal communications and provide the results of the quantitative and qualitative assessments to support the conclusions. References Berger, A. A. (2014). Media and communication research methods: An introduction to qualitative and quantitative approaches. New York, NY: Sage Publications.Advertising Looking for proposal on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More Chambliss, D. F., Schutt, R. K. (2013). Making sense of the social world: Methods of investigation. New York, NY: Sage Publications. Linke, A., Zerfass, A. (2011). Internal communication and innovation culture: developing a change framework. Journal of Communication Management, 15(4), 332-348. Rana, R. (2013). Effective communication in a diverse workplace. International Journal of Enhanced Research in Management and Computer Applications, 2(2), 1-5. Reagan, J. (2006). Applied research methods for mass communicators. New York, NY: Marquette Books. Roth, S., Schneckenberg, D., Tsai, C. W. (2015). The Ludic drive as innovation driver: Introduction to the gamification of innovation. Creativity and Innovation Management, 24(2), 300-306. Srimannarayana, M., Santosh, K. M. (2011). A study of human resource issues in Dubai. International Journal of Economics and Management Science, 1(1), 55-66. Thottathil, M. (2013, December 2). Gamification set to increase corporate growth in 2014. Th e Arabian Gazette. Retrieved from https://arabiangazette.com/