Women In Black Essay Example

settings of the production: the "run-down theatre," the nursery behind the first layer of gauze, and the staircase gobo behind the second layer of gauze. A simple sheet covered the furniture and created a graveyard effect before being removed to expose the detailed nursery. The level of detail in the nursery allowed the audience to comprehend the love shown to the child through the abundance of toys and belongings. This naturalistic set was incredibly realistic and stood out amongst others.

By utilizing lighting and gauzes, the set was enhanced and given greater depth. This technique proved effective by revealing concealed areas, thereby creating the illusion of a larger and more realistic space. A particularly clever element was the door which only became visible when illuminated, adding intensity to the scene. Despite being modest in design, the set benefited greatly from the use of gauzes which provided a suitable ambiance for the production. Although color choices were restricted, they were employed judiciously.

Both the gauze and the door were colored in sepia, creating an antique effect reminiscent of the 20th century. The use of light changes was also effective, as demonstrated by the transition from low lights to house lights during rehearsals. The introduction of house lights made the audience feel safer.

The effectiveness of the blackouts in allowing the characters to move around unseen and creating uncertainty among the audience was heightened by the use of torches, which created an eerie mood. The appearance of a blue light shining on an actor while sleeping seemed like moonlight and was the only source of light. Additionally, a rosy red color was used to give the impression of a sunset

during the scene where the actor was first introduced in the house. The gobo's were effectively used to easily change the set for scenes involving a train, cross, and house. Overall, their use was successful in enhancing the production.

The effectiveness of the torch's illumination on the audience as a distraction from the upcoming appearance of the actor's face was remarkable. It created an element of surprise that startled the audience. Turning off the lights heightened the anticipation for what was to come next. The significant role of sound in creating a frightening atmosphere cannot be ignored. The scenes would not have been as impactful without sound.

The sound effects generated varied moods and increased tension in the play, setting distinct atmospheres for different locations. The London Street scene transmitted the typical hustle and bustle vibes of a busy place. Moreover, the recurring noise of the pony and trap sound usually foreshadowed frightening events, producing an effective buildup of fear for the audience. This technique was occasionally employed to deceive viewers into expecting a scary occurrence.

The train announcements were very successful in creating a realistic train station atmosphere through the use of surround sound. The actor's simple yet fascinating method of changing seats to portray train changes was highly efficient in conveying his message. In addition, the pub scene was brought to life by the effective use of sound effects to capture the bustling, crowded ambiance.

Personally, one of the most memorable sound effects was in a big empty church where the voice of the priest could be heard, creating a cold and scary atmosphere, especially when combined with dimmed lights. Another effective scene was the

rocking of a chair in the attic where the noise came from above.

The audience experienced a sense of mystery and tension as they awaited a frightening moment. Additionally, the use of sound coming from upstairs enhanced the scene and added an old-fashioned touch. The actor's depiction of reading a letter was well-executed, with a seamless transition to the lady's voice. The surround sound system was used effectively, creating a realistic and immersive experience for viewers.

The use of the pony and trap sound was intriguing in two distinct contexts - one during the child's death and the other as a usual occurrence. The play aimed to toy with your thoughts and anticipations. The sound moved from one speaker to another, which heightened the tension as you listened to it. The sole sound not pre-recorded in the play was that of the music box.

The only live sound, which was a typical horror sound, proved to be effective. As tension built and the atmosphere grew scarier, the noise in the house grew louder. The repetition of the pony and trap noise was also effective in preparing the audience for something to happen. Once the sound effect was identified, the audience is more aware. The use of voice, particularly when the actor was sleeping and the sound of the rocking chair woke him up in an empty house, created suspense and tension.

During his performance, the actor spoke to the dog, asking "what is it spider?" and created suspense by looking away and suddenly turning towards one side of the stage while lying in bed. The way he slowly reached for the door drew the audience in and

made them wait with anticipation for what would happen next. The old man's skill in changing roles was exceptional; the audience could tell the difference between him and his character during the "rehearsals" based on how he put on his glasses for the actor role and adjusted them around his ears to become the character. In his portrayal of Arthur as a solicitor when he was younger, he looked devastated while describing his child's death, which made the mood even more upsetting.

The play was impactful as Arthur presented the tale and the actor embodied Arthur Kipps. The effectiveness of Arthur's vocal modulation for each character highlighted their differences. It was intriguing to witness how his movements altered for each role, such as when he portrayed Keckwick, the pony and trap driver, by hunching his back slightly.

During his time as clerk, the actor displayed northern traits and had trouble with his acting during the early stages of rehearsal. Specifically, he struggled with saying "he sniffs" in the script. In addition to his main role, he also played the character of Sam Daley, who owned a dog named Spider. Despite there being no real dog on stage, the communication between the actor and Arthur Kipps was captivating and effectively convinced the audience of the dog's presence.

Arthur portrayed various characters in the production, including Gerome, whom he attended a funeral with. For his role as Keckwick, he donned a duffel coat, a large scarf, and gloves, while portraying Sam Daley required him to wear a cashmere Hammel coat, suited for a sophisticated businessman. The Women in Black character's wardrobe was fashioned after the 1840s era, featuring a long

black cape and bonnet. Her pale, luminous face was the only exposed skin on her body.

If her face was illuminated, it was the only visible part of her, with the cloak being hidden in shadow. Distinctive coats for each character aided the audience in recognizing and understanding the different personalities on stage. The Women In Black performance was thoroughly enjoyable, with well-executed acting that created tension and spooked the spectators. The unpredictable nature of the play made for an intriguing experience, especially considering the skillful performances of just two main characters.

I was impressed by how Arthur Kipps recounted the story with strength and conviction despite his fragility due to age. I highly anticipate another viewing of Women In Black as it left a lasting impression on me.