The Stage Management and Scene Presentation - Article Example

Thunderstorm Thesis The fast rate of globalization and generational diversity in the modern society has inevitably impacted on the practice and preservation of the ancient cultural practices and beliefs of many communities. However, artistic works and presentations, among which are plays have been the historical preservatives for the otherwise fading cultural pride of the majority of the communities today. Thunder and its historical contexts sufficiently create the uncommon picture of cultural observation among the Chinese population. Despite the generally unpopular thematic presentation of the play, watching it makes one appreciate the essence of a culture. The theatrical attraction and general characterization of the plot, in line with the thematic relevance of the play is magnificent. Despite the play exhibiting more of the ancient settings of the time, the relevance and the brilliance of the actors is exceptionally fascinating. The paper is an analysis of general plot, characterization, the cultural influence and reception by the audience, and the general commentary on the contemporary society of the Chinese through interactions and actions. Discussion The thunderstorm is in this case used to describe the complex blood relationships as well as the various tragic incidences that are perceived inevitable. Therefore, it is a dramatic occurrence with significant connotation together with heart-stirring artistic expertise. Zhou Puyuan, the head of the coal-mining modern company is portrayed in the light of a selfish and arrogant person, who has little interest in the whereabouts of both his family and the workers within the company. He is equally hypocritical, cold-blooded, and selfish, as evident through the brutality and dictatorship evident in the scenes. The Chinese culture is characteristically inclined towards male superiority over the female gender, and Zhou Puyuan plays a perfect role of chauvinism in the society. The role is well brought out in the scene through the actor, especially the command tone that inevitably restores dominance in the settings. It is a massive privilege on the part of the modern generation to witness such characterization of their forgotten roots in the modern generation. However, I find the experience complicated for other non-Chinese audience interested in the play, particularly due to the strong translated message of the play, but it is easy to appreciate the colorful and moving acting, which only prompts an urge to see more. I must confess that watching the play was one of my favorite moments, with enormous enjoyment of the play evident. The design elements, which included the Lighting, Set, Sherry GAO Xing, and Bob Xi Bing, were presented in a relatively simple manner. However, it was easy to note that the sound design, especially Sharon LIU Shang-Shang, were dramatically cogent as they were evocative. The director of the play, Wang Hui-Li, has sufficiently managed to execute performances with significant level of sophistication from the otherwise small cast in the play, namely, La Ba, Adam Sun, SK Zhang; Lucy Huang, Denise Ye, Gordon Guo, Dennis Wang, and Evan Gong. The aplomb and characterization with which dramatic revelations in the play are handled by the characters are so impressive due to the embodied discipline belief. I love the class distinction together with the theatrical drawing sophistication presented by the cast, particularly Lu Gui, Gordon Guo, Zhou Ping, who were very impressive. The attires used by the actors are significantly communicative of the arrogance and provocative character of Zhou Puyuan. Considering that the entire story in the play is built around him, it is of great importance that the attire, character presentation and tone reflect the significant role occupied in the entire plot. It is revealed that Zhou Puyuan parents drove Shipping, who was their maidservant away, despite the fact that she bore two sons for him. All this is done due to the apparent disparity in the social status of the two families, where the rich and royal dissociate from the poor class. After throwing the poor girl away from their home, the supposedly believe that Shipping drowned herself and died long ago, which could have come at their pleasure and relief. The plot of the play effectively brings out the tragic outcomes of the two families, the servant class, and higher caste families, which inevitably get embroiled in sexual attractions for each other. The aspect of hypocrisy among the upper class of the society is vehemently portrayed, with the emotion angst and secrets engulfing the entire play’s plot. There is the pronounced aspect of the section of society construct during that period and time obfuscating the ideal needs of all humans. Another notable aspect of the play is the coincidences and the incidences that are fairly melodramatic, particularly the shocking incidences of the revealed unsuspected significantly incestuous contact. Zhou Puyuan is a character that sufficiently portrayed within the play Thunderstorm. There is the association of all sinful acts with Puyuan domestic autocracy. Essentially, the major insight of the Thunderstorm, which is apparently a tragic and destructive occurrence in the society, is based on the revelation of the ideological and political bond that exists between the deep-rooted traditions of feuds and the Chinese capitalist. From the scene and characterization of the play, the audiences are able to read the inner thoughts of Puyuan, the main character, particularly the negativity he plans to execute against those people he hates. It is possible to see that his minds are filled with complex plans of conflict together with the humane appearance that is superficial in reality. The dark soul filled with feudal deposits can be well brought out from the acting in the scenes of the play. On the other hand, Fanyi is portrayed as the character that is stoniest in the play, and best suiting the role she plays, filled with multiple incidences of striving and struggle for life. She is forced to make tricky and life-changing decisions for her family as well as herself, which demand strong personality and courage. The character is portrayed as being eccentric and significantly capricious all through the play. There are mixed reactions from her at different occasions, where she demonstrates calmness and aggression at varying intervals. The ability to create variable points of lows and highs through characterization of the play is another important aspect of the stage management and message delivery. The mixed moods in the play make the acting give a real reflection of human life. Regardless of the problems and torture people go through, it is never expected that the people maintain sad mood throughout their lives. She is particularly amused at different incidences in life, including the company of her children, whom she dearly loves. Additionally, Fanyi’s freak love together with the very strong drive of lust reminds the audience of the violent and sudden thunderstorm reflected in the play’s title. Being a second wife to Puyuan, she is much determined by holding her own life and making the best out of the scarce chances of sustenance that come her way. Even with the lonely, apathetic, boring and gloomy life she leads with her family, there is the evidence of love flame burning within her heart. Her love for Puyuan still lives within her, especially given the behavior she demonstrates towards the entire family of her boss, Puyuan. As Puyuan’s wife, she tries to maintain her supposed role as a mother to the children of her boss, as well as behaving as a sweetheart to the boss, despite the previous torture and rejection she had been subjected to by the boss. Her desire and pursuit of happiness and happiness of her children made her vulnerable to destruction for herself and others. In this play, Thunderstorm, Hipping is of significant importance and her role is sufficiently acted out through stage characterization. She is portrayed as a kind and simple employee to the family, who faithfully served the family’s interests despite the extensive humiliation and pain she suffered in the hands of her master. The fate, which is so harsh and unfair, puts massive pressure on her with no chance for escape. The characterization of the part in the play enhances the reality of the torture and humiliation of a house worker in the male-dominant society of the Chinese culture, where women are relegated to the minute roles of serving others with no appreciation. In addition, the social gap between the two families; the masters and the servants, are perfectly maintained and reflected in the manner Shipping suffers at the feet of her bosses. On the other hand, Sifeng, Shipping’s pretty and chaste daughter with the right to have her own love, is a victim of the miseries brought about by the historical confusion and troubles of her mother. There is a great artistic achievement by the thunder play in this, particularly the characterization of her naïve role from the truth surrounding her real family background. The artistic success may be associated prominently to the inspiration obtained from the Greek tragedy, the familiarity of Cao Yu with plays that are well made, or the influence exerted by the plays by Ibsen. However, as opposed to mere imitation, the play gives a clear indication of derived anger from the playwright at the society and families of the Chinese population and the poetic sense of the thunderstorm presented in the play. For instance, the dramatic language that has been applied in the entire play is significantly pure, refined and exhibits a great sense of undertones. Thunderstorm by Cao Yu is undoubtedly a modern classic spoken drama of the generational production standards. The exhibitions within the Beijing’s theater museum is enough testimony to the illustrious history of the Chinese production, whereas the recording and presentation of the play gives massive encouragement to the members of the audience to do a continuous replay of the artistic piece at any time, due to the fun within it. Thunder undoubtedly proves boomsominous at the climatic moments, and Sifeng provides the long, melodramatic pause prior to revelation of her pregnancy to her mother. There is a great sense of predetermination in the play as evident in the manner of characterization, which overshadows the characters’ own lives, and the manner in which the past life events determine the present and future occurrences of their lives. This style of characterization makes the play more uncanning and faithful to the play’s major themes of indebtedness, fate and legacy. The play can be described as a “success de scandal” due to the major themes presented within it, entirely centered on mistakes made by the characters that eventually result in greater trouble for themselves and their generation, and this gives it the portrait of a clumsy structure of drama. For instance, there is extremely too much revelation provided to the audience within a very short time frame, an aspect that least justifies the reality of such complex yet consecutive occurrences. it is the uniquely surprising sequence of occurrences that strikes the audience, and it is surely dense and stunning. Personally I find the sub-plot so impressive, especially the political critique provided by the characterization of workers carrying out industrial actions and struggles with their management for their rights. It is interesting watching the play of Chinese origin written in the 1930’s when the war lord unrest was highly dominant. The scene presentation manages to re-kindle the revelation regarding the interconnection of the cultures across the world. The plot efficiently manages to reproduce the otherwise waning indigenous Chinese culture, through the society setting, attires, and the mannerism of the characters on stage. Of particular importance is Puyuan’s dominance over his subjects and wives alike. Men are characteristically dominant in the cultural setting of the Chinese population, and it is thus expected that women submit to the demands of the men, as evident in the manner Shipping complies with the induced frailties in her life. I was particularly engrossed with the type of wonder, as well as being impressed with the dense and apparently overburdened play plotting, as presented through the thunder characters. It is striking watching how the Chinese audiences watching the production, find a great sense of humor within the writer’s affect. It would be fascinating to inquire if the scene created is some sort of contemporary cynism or a gasping shock, which cannot be categorically determined. For instance, there is an aspect of suppressed excitement regarding the performance ritual, which perhaps gives the audience the typical emanating rapt glow when watching the work presented in their own language, as well as providing the sense of prideful ownership and sense of belonging. In the otherwise diversified cultural setting today, where western practices and beliefs have overtaken the indigenous and essential dominant cultures from China, the presentation fo the play, with the ideal reflection of historical cultural scenery, provokes the sense of pride in the modern generation that dearly miss their past. Conclusion The play sufficiently presents the intended message through well stage plot and characterization through its actors. The stage management and scene presentation equally give the historical context in which the different actions portray the major themes in the play. The chauvinism and barbarism demonstrated by the male characters in the play are a typical reflection of the Chinese society characterized by male dominance, with their women relegated to lesser and submissive roles. The predeterminance of fate, which seems to run through the entire lineage of the characters is particularly fascinating, and gives the moral lesson that everything people do must be repaid in due course. Work Cited Cao Yu. Thunderstorm. 1936 Read More