From Playwright to Production: the Process of Recreating Shakespeare :: William Shakespeare Essays

From Playwright to Production: the Process of Recreating Shakespeare Works Cited Missing A full understanding of Shakespeare's plays is arrived at through the process of imaginatively recreating them. Reading a play, or watching a production, or being involved in a production, or reading what someone else has to say is not enough fully grasp any given play. All of these things must be done to achieve a deeper comprehension. On the following pages I will try to organize my ten week Shakespearean experience by drawing parallels between my own experience and the experience of the rude mechanicals and royal audience of A Midsummer Night's Dream. Origin of a Shakespearean Production: The Bard Himself Any representation of a Shakespearean work must necessarily begin with Shakespeare himself. He is the creator and the genius behind the dramatic works that hold a revered place in our literary and theatrical culture. Part of what makes Shakespeare great is his consciousness of the enduring role of the poet and a playwright. As a result, he wrote not only for his own age but, in Ben Jonson's words, 'for all time.'; Shakespeare focuses not on what was popular and relevant in his contemporary world, but on the themes that would be enduring beyond his death. Shakespeare's musings on the function of the poet and playwright are included as themes of many of his plays. In A Midsummer Night's Dream, Theseus speaks for Shakespeare at the beginning of Act Five: the poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name. (Act V.i.12-17) The poet is a visionary and his main tool is his imagination. Through his imagination he looks at heaven and earth and sees what the average person does not. The imagination gives 'bodies'; to and brings forth what cannot be seen by the naked eye. The poet is given insight into a world beyond what is seen every day of the surface of the world. He is like Bottom, who when awakening after his adventures with Titania says: I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was....The e ye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was.

Invisible Man :: Ralph Ellison, Invisible Man

One obvious theme that I picked up when I read Invisible Man was the theme of invisibility. I think the theme of invisibility has different meanings to it. One meaning is that invisibility suggests the unwillingness of others to see the individual as a person. The narrator is invisible because people see in him only what they want to see, not what he really is. Invisibility, in this meaning, has a strong sense of racial prejudice. White people often do not see black people as individual human beings. Another meaning of the theme of invisibility is the idea that it suggests separation from society. While the narrator is in his hole, he is invisible. He cannot be seen by society. He is invisible because he chooses to remain apart. Invisibility, in this meaning, is similar to hibernation, with the narrator’s choice to remain in his cave and think. This meaning of the theme doesn’t relate to me, but in a way, relates to the poet, Emily Dickinson, who wrote, â€Å"The Win d Tapped Like a Tired Man.† Dickinson withdrew from the world in her early twenties and became a recluse. It’s like Emily chose to be isolated from the rest of the world, just like the narrator in Invisible Man did. The third meaning is that invisibility indicates lack of self-hood. A person is invisible if he has no self, no identity. If a person doesn’t have a soul, spirit, personality, etc., then they seem like a ghost, a thing who is cold and invisible. Invisible Man may be read as a story about the narrator’s development. It is a first-person narrative, and because you experience the novel through the narrator, you get to know him better than anyone else. One pattern of development is that of innocence to experience. At first, the narrator is extremely innocent and does not understand what is happening to him. He does not believe people are bad. He does not see that Bledsoe is making a fool of him. As he suffers, he learns. With experience, he begins to see the world more as it really is. Experience teaches him to be a better judge. This relates to me, because experience is a major importance in my life. Four years ago, when I first started forensics, I was â€Å"innocent† or inexperienced. But as I started experiencing new techniques of how to present the speech, I learned more and, therefore becoming a better judge.

Macbeth theme of kingship Essay

What is Kingship? During the Shakespearean time, being a king means that you are god-appointed to rule on Earth. It was a kings’s responsibility to rule wisely and well and his subjects’ duty to serve him loyally. We see how King Edward is described as ‘good’,’pious’,holy’ and ‘full of grace’ who has the ability to miraculously cure his subjects. While Macbeth’s tyrannical rule is contrasted to the rightful reign of good and lawful kings, bringing death and disease to his country.†i think our country sinks beneath the yoke; it weeps, it bleeds, and each day a gash is added to her wounds.† In the play Macbeth, when Duncan made his first appearance he immediately apprehends the traitors and rewards the good. â€Å"No more that Thane of Cawdor shall deceive Our bossom interest. Go pronounce his present death and with his formal title greet macbeth. He also portrays another trait of being a king, one who is humble,†there’s no art to find a mind’s construction in the face.† He expressed humility when he misjudged the previous thane of Cawdor. When Duncan rewards Macbeth with the title of Thane of Cawdor, he brought about his own downfall as a king, fulfilling the Witches prophecies on Macbeth â€Å"Hail to thee, thane of Glamis†¦ Hail to thee, Thane of Cawdor†¦ Hail to thee, that shalt be king thereafter.† When Macbeth commits regicide on the good Duncan, his inner guilt sets in and he then says,†wake Duncan with thy knocking, i would thou couldst†. After Duncan’s murder, Macbeth takes over the reign of Scotland as king. This unlawful order causes turmoil within Scotland, turning healthy Scotland to a sick and wounded Scotland under an intolerable burden.†Alas poor country, almost afraid to know itself, it cannot be called our mother, but our grave.† This shows how terrible Macbeth’s reign as a king as compared to Duncan. Macbeth does many unscrupulous deeds to keep his throne. He plots the murder of Banquo and Fleance due to Banquo suspecting Macbeth of murdering Duncan as he knew the witches prophecies. Macbeth also massacre Macduff’s family as he wants to give himself self-affirmation that he would be safe for the time being as Macbeth had been told by the witches to â€Å"beware Macduff† Finally, when Malcolm and Macduff unites to rebel against this Tyrannical Macbeth, Malcolm, the rightful heir of the throne, claims back the throne. Malcolm is seen to be the Medicine of sick scotland and macduff seen to be Scoland’s avenger. Macduff, carrying Macbeth’s head on a pole, hails Malcolm as king of Scotland and says, â€Å"Behold, where stands / The usurper’s cursed head: the  time is free† . The â€Å"time is free† because they are all now free of Macbeth’s reign of terror over Scotland. Macduff then leads the men in a shout of victory and loyalty. He says, â€Å"I see thee compass’d with thy kingdom’s pearl, / That speak my salutation in their minds; / Whose voices I desire aloud with mine: / Hail, King of Scotland!† . â€Å"Compassed† means â€Å"encircled† and Malcolm’s â€Å"kingdom’s pearl† is Malcolm’s circle of loyal thanes, who encircle him like a string of pearls encircles a crown. Macduff knows that these thanes already think of Malcolm as their king, and now he asks them to join him in shouting out loud, â€Å"Hail, King of Scotland!† And so they do, honoring Malcolm, above whose head looms th e severed head of Macbeth.

How Retail Operations Management Objectives Can Best Be Achieved

Retailing is now one of the world’s largest industries and it is in a permanent state of change. This change has been accelerating over the past decade, (Zentes et al. , 2011: Pg. 1). This sector is not only more competitive than in the past but the consumer is also increasingly more demanding and more complex, (Gordon et al. , 2006: Pg. 22). Retailers have to predict the desires of fickle customers, buy and allocate complex sets of merchandise, set the right prices, and offer the right promotions for each individual item.However, there are often wide gaps between supply and demand, which leave retailers holding too much of what customers don’t want, and too little of what they do’, (Friend and Walker, 2001: Pg. 133). This is a huge challenge which faces the retailer of today. Fisher et al. , (2000: Pg. 115) maintains that retailing’s formula for perfection is offering the right product in the right place at the right time for the right price. This is no e asy feat for the retailer and with merchandising decisions becoming more complex, the penalties for errors too are even steeper, (Friend and Walker, 2001: Pg. 33). This is why Gordon et al. ,(2006: Pg. 24) notes that in today’s cutthroat market, there is no place for a ‘head in the sand’ attitude. The importance of the areas of ‘retailing’s formula for perfection’ as stated by Fisher et al. , (2000) will now be examined theoretically and subsequently researched in the context of a successful, independent fashion boutique, Emporium Kalu. Right Product ‘Retailers capture their customers’ interest by the nature of their product range’, (Varley, 2006: Pg. 8).Fashion markets have become increasingly complex with consumers fragmenting into small groups who have very different needs and demand very different products. Varley, (2006: Pg. 8), maintains that product helps to position a retailer against it’s competitors within a given market, but problem many companies today face is that they sell very similar products and services to those of their competitors, (Ingenhoff et al. , 2010:83). Therefore, tremendous pressure is put on retailers to offer the customer something different, (Dvorak et al. , 1996: Pg. 121). In making roduct decisions for individual stores, buyers and retail managers have long relied on instinct, (Friend and Walker, 2001: Pg. 133) but in today’s marketplace many more factors need to be considered. What is at the core of the ‘right’ product is the retailer’s target market, they need to be given a good reason to choose one retailer over another, (Varley, 2006: Pg. 8). Four major trends which affect the consumer’s choice of product have been emerging in recent times.Since the consumer is at the core of what the ‘right’ product is, the retailer must pay attention to these trends and how they relate to their target customer. . The Savvy Co nsumer Whether you are a value fashion retailer or a high end department store, it is necessary to acknowledge that today, the consumer is more tuned in to the latest trends and styles in the fashion industry. Consumers have become more savvy about fashion as they can now access information about various fashion events around the world almost immediately through internet media like blogging, video sharing and podcasts. An increased number of weekly glossies, e. g. Grazia, also fuels this consumer demand for the latest look at a faster pace (Barnes, 2006:260).The consumer now knows what ‘should’ be in-store and retailers will suffer if they cannot provide this to their customers when they expect it. 2. Celebrity power Many Irish consumers find their fashion influenced a great deal by celebrities, with this being the most likely facet of their lives to be influenced by celebrity culture, (Mintel, Clothing Retailing-Ireland, 2011). Star style has never been more accessible . As a result of this constant exposure to celebrity lifestyle, 8% of Irish consumers claim that celebrities influence their purchases, (Mintel, Clothing Retailing-Ireland, 2011).This report continues to detail how this high level of interest in celebrities and their lifestyles is beneficial to the clothing retailing market and can be used as a tool to attract consumers by adding value to a clothing retailer’s product range, and help to drive sales. This can be seen when brands of clothing celebrities wear or clothing lines where a retailer collaborates with celebrities and well known fashion designers become popular. â€Å"In a celebrity-obsessed world, it’s no surprise that we all want to copy what famous faces are wearing†, (www. gsn. com, 2010). Celebrities, according to Olympio, (2007) represent a â€Å"glamour that most of us have idolized and wanted for our own†. This concept can be said to be the reason why people emulate styles they have seen on celebrities, for example, Joan Collins, who in the soap opera ‘Dynasty’, made shoulder pads a signature trend of the 1980’s. This can also be seen today where Sarah Jessica Parker, in ‘Sex and the City’ helped make Manolo Blahnik, the shoe designer, a household name, (www. wgsn. com, 2010).Retailers who choose to sell brands that are publicly linked or associated to a celebrity will stand to be of benefit if their target consumer aspires to be like said celebrity. 3. The Concept of Fast Fashion Gordon et al. , (2006: Pg. 22), remarks that retailers have to deal with constantly shorter product lifecycles. Fast fashion is a business strategy which aims to get new fashion product into stores in the shortest time possible and reduce the processes involved in the buying cycle consequently satisfying consumer demand, (Barnes et al. , 2006: 259, Bruce et al. , 2006: 330).This notion of consumer demand driving the fast fashion industry demonstrates the need to have the ability to act accordingly and respond quickly to these demands. Today, successful fast fashion companies have been moving away from the traditional fashion buying cycle of seasonal forecasting from historical sales one year in advance, (Bruce et al. , 2006:330), to creating smaller collections more frequently, (Barnes et al. , 2006: 261). Barnes et al. , (2006: 261), believe this is as a result of fashion trends being moulded by â€Å"what is happening on the street, in clubs, lifestyle hotspots and not 12months in advance of a selling season†.Long buying cycles have become inappropriate for the demands of modern fashion consumers. Bruce et al. , (2006: 329), maintain this is because fashion consumers â€Å"expect and thrive on constant change and so new products have to be available on a frequent basis†. It is no longer sufficient for retailers to have the same collection in-store all season; product ranges need to be constantly refreshed in order to be à ¢â‚¬Ëœright’. â€Å"Quick response is a concept that has become synonymous with the textile and apparel supply chain†, (Barnes et al. , 2006: 263).This approach to supply chain management is regarded as information driven, minimal pre-season ordering is engaged in and more frequent, in-season small orders are placed to take advantage of improved speed and flexibility, (Christopher et al. , 2004 as cited by Barnes et al. , 2006: 263). This quick response method allows companies to respond almost instantly to catwalk trends that would appeal to their target audience, therefore providing them with the ‘right’ product. The success of this high volume/low cost business model is down to constant and regular updates of fashion collections.For these types of retailer, (value) this has historically been the ‘right’ product as it satisfies the need for ‘newness’ by the consumer at a low cost, something which is central to what their target market seeks. 4. Quality Vs. Quantity: Durability has been found to be a key concern for Irish consumers as four in five R. o. I. consumers claim to make their clothes last, (Mintel, Clothing Retailing-Ireland, 2011). With the occurrence of the recession, consumers are more inclined to want to get the best value for money out of all the products that they buy.In terms of the clothing industry, they are increasingly likely to claim that they make their clothing last a long time. According to Mintel (2011), 81% of R. o. I. consumers agree with this statement as they note between 2007 and 2010 there was an 11 percentage-point increase in agreement with this statement among R. o. I consumers. This highlights that Irish consumers, are increasingly moving away from disposable fashion (i. e. clothing that they may only wear a few times), and towards buying clothing that they expect to last a long time, illustrating a higher demand for quality.Consumers who are now searching for high qualit y investment pieces that will last are driving sales within the premium womenswear market. â€Å"Nearly a quarter (23%) of women are opting to invest in fewer items of superior quality clothing that will last, a substantial increase of 10 percentage points since 2010†, (Mintel, Is the Era For Fast, Disposable Fashion Coming to an End? , 2011). While consumers may be seen to be cutting back in the recession but they are still willing to pay for high quality clothing, (Mintel, Clothing Retailing-Ireland, 2011).With this trend growing, it is necessary for the retailer to evaluate whether their target market is interested or seeking this quality in order to provide the ‘right’ product to them. The type of product on offer in Emporium Kalu has been described as having ‘fashion aesthetic that is unlike anything you will find anywhere else in Ireland’, (Harris, 2011). The Emporium Kalu customer is a ‘business woman, a student, a mother, a grandmother, anyone who wants to be feminine, elegant and unique. She appreciates beautiful design, stunning quality fabrics and subtle detail.She likes to wear timeless, great fitting pieces but puts them together in an individual and personal way’, (Louise Flanagan, co-owner of Emporium Kalu, 2011). The owners of the boutique, who are in business nearly fifteen years now, really know their customer. They have fantastic know-how on what customers want, (Harris, 2011). They pride themselves on offering their consumer exclusivity and uniqueness in their labels, (Louise Flanagan, 2011). They deliver on this by offering high quality brands such as Giles, Galliano, Maria Grachvogel, Alice by Temperley, M Missoni, Vivienne Westwood Red Label, and D&G.Kate O’Dwyer, (co-owner of Emporium Kalu) has stated that ‘even if we have a label that might be stocked somewhere else, we buy it differently. We buy it with the Emporium Kalu attitude. So it is always different to what you will fin d elsewhere’, (as cited in Harris, 2011). They are constantly searching for the ‘next big label’ so keeping a close eye celebrity fashion is a must. It is through this product differentiation and clear focus on their customer that Emporium Kalu have succeeded in buying the ‘right’ product for their store.Right Place/Location ‘A common cause of business failure among retailers is the selection of the wrong store location’, (Mazze, Pg. 17). Zentes et al. , (2011: Pg. 203), agrees and adds that a good location can lead to strong competitive advantages as location is ‘unique’ and thus cannot be imitated by competitors. It is necessary however for the location of a store to be appropriate to the retail business because in order to reach the right kind of customer it is important for a store to be in a street that reflects its image, (Varley, 2006: Pg. 173).The success of a retail store depends on many factors such as the storeâ⠂¬â„¢s location in relation to the region and the state, its situation within the community, its location on the street or in the shopping centre and the characteristics of the community and trading area, (Mazze, Pg. 17). The retailer also needs to take into account, the customer’s perception of the shopping task. Mazze explains this consideration in that a customer who wishes to obtain speciality goods like gourmet foods is not greatly concerned with how far he must go or the length of time it takes to get them.This implies that store location can be directly linked to the merchandise available within. This theory put forward by Mazze can be seen in practice by Emporium Kalu. The store is located in Naas, Co. Kildare, Ireland. This is not a large, heavily populated city with substantial daily footfall. It is a relatively small commuter suburb where many people reside but work in capital city Dublin. The store itself is positioned on the corner of a pedestrianised lane which meets the main street of Naas.This location ‘offers the kind of environment that attracts a more discerning shopper ‘, (Varley, 2006: Pg. 173). While Emporium Kalu’s location may not be preeminent, it offers the product ranges and service that consumers are willing to travel for. The owners leverage it’s merchandise and style expertise in a way that makes up for what it may lack in store location, so much so that it has been honoured with being ranked as one of the fifty best boutiques in the British Isles, (www. telegraph. co. uk). Right Quantity at the Right TimeVarley, (2006: Pg. 110), holds that getting the ‘right’ quantities of merchandise delivered into the retail organisation at the right time is necessary to satisfy both basic customer needs and retail management goals. The implications of getting product levels wrong are great; too much stock will threaten the profitability of a range and increase holding costs and too little stock wil l cause a loss of customers and sales, both direct and complementary. These errors can occur as a result of late deliveries, late orders or choosing the incorrect size mix.Choosing the perfect size configuration for a company store program requires careful calculation, (Cook Kimbrough, 2008: Pg. 36). A retailer must decide how much of a particular product line is needed for their store, (Varley, 2006: Pg. 110). Similar to the other ‘right’s, this decision is highly dependent on a fashion retailers target audience. Cook Kimbrough, (2008: Pg. 36), is of the opinion that a good rule of thumb is to think of the bell curve when choosing your sizes for your range. Sizes in the middle tend to sell about twice as much as the sizes at the extreme.As can be seen, the ‘right’ quantity includes many different factors and cannot be considered independently. Emporium Kalu operates with an exclusive image. They pride themselves on offering product that is ‘different to what you will find somewhere else’, (O’Dwyer as cited in Harris, 2011). They achieve this exclusivity factor through both the labels they offer and through their size configuration. They are not the business of mass selling product. ‘We want the consumer to feel special when she wears her clothing and she can be confident that she will not see other people wearing the same outfit.That is why we buy our ranges relatively wide as opposed to deep’, (Louise Flanagan, 2011). Therefore, the co-owners do not purchase large quantities of each style in-store which creates the ‘exclusive’ feeling. This strategy has proven to be extremely successful for this boutique and is the ‘right’ quantity for their customer and their retail organisation. Right Price Setting prices in today’s intensely competitive and dynamic retail environment is a complex task and developing a detailed understanding of consumer behaviour and buying patterns lies at the heart of any successful pricing strategy, (Gordon et al. 2006: Pg. 22). Retailers can use price in conjunctions with product quality, customer service quality and selling environment to make a very clear statement about the image they wish to communicate and about where they belong in the market, (Varley, 2006: Pg. 13). Therefore, pricing is directly linked to a retailers specific target market and the level of product quality they offer. This is clearly seen in the three main retailing pricing structures that Zentes et al. , (2011: Pg. 256) puts forward; 1. Value/ budget Price: Focuses on low cost and high volume selling of product. 2. Medium Price: Focuses on 3.Premium Price: Focuses on attracting customers who are less concerned with price and more interested product quality and prestige. In order for a fashion retailer to succeed with their pricing structure and charge the ‘right’ price, product quality and consumer expectations need to be aligned. Empo rium Kalu is positions themselves in the premium price segment. They attract the type of consumer described in this segment by Zentes et al’s, (2011: Pg. 256). Kate O’Dwyer verifies this and states that ‘we're about beautiful pieces because there are people who appreciate the special and unique’, (cited in Harris, 2011).Whilst on buying trips, price is not at the forefront of the minds of the co-owners, it is more about whether the collection and quality is a good fit for the store and their customer, ‘if we love a piece, we have to have it’, (Flanagan, 2011). This pricing structure prevails for Emporium Kalu as they attract customers who are in pursuit of product prestige and service over lower cost. Right Personnel What has not been included in the ‘retailing’s formula for perfection’, and should be considered as a new addition, is having the right personnel to carry out the final step in the retailing process, that is, s elling product to the consumer.The rational for this inclusion is for without converting store visits into sales, the bottom line cannot be achieved and the other ‘rights’ are meaningless. Kotler et al. , (2005:446), too acknowledges personnel importance and states that it is a key way for a brand to stand out in the mind of the consumer is through providing top quality service as service is important to customers. Having the right personnel in your store can be an invaluable tool in creating and retaining customer loyalty. Individual help by floor staff, personal shoppers or stylists will enhance the customers experience and perception of the brand.For â€Å"it is here at the customer interface that business is either won or lost†, (Jackson et al. , 2009:84). This idea of the right personnel is central to the store offering in Emporium Kalu. The owners Louise Flanagan and Kate O’Dwyer, right from the beginning were focused on not only providing the custom er with exceptional quality products and brands but also exceptional service, (Louise Flanagan, 2011). This outstanding customer service is delivered through unrivalled, individual styling and advice, personal tailoring on garments, an in-store deposit facility and one to one after hours service if required.Co-owner Louise prides the store on having staff who provide first class, attentive assistance for all customers who walk through their doors, (2011). The consumer and their requirements are valued and are given the upmost consideration. This she believes, in part, is the way forward for independent retailers today. Offering the customer more than just a product but an enjoyable experience and advice they can trust so they feel confident in their clothes too. ConclusionIn order for a fashion retailer to achieve its retail operations objectives a number of considerations need to be taken into account and the customer is central to each. When choosing the ‘right’ produ ct, the target customer needs to be at the core of all decisions. Trends in their choices, spending power and what influences them are fundamental in selecting different collections. The product has to have the ability to satisfy the consumer, (Varley, 2006: Pg. 76). Jackson et al. , (2009: 83), maintains that uniqueness in product, a high level of quality and providing unique product benefits are a â€Å"critical differentiator in fashion†.When choosing a retailer’s location, in order for it to be ‘right’, the customer’s perception of the shopping task and the characteristics of the community and trading area need to be considered. If chosen appropriately, location can be a source of competitive advantage. Getting the quantities of merchandise ‘right’ for a retail organisation is highly dependent on a fashion retailers target audience and they what they require. It is a decision that cannot be made independently and is affected by timi ng and sizing issues.In order for a fashion retailer to succeed with their pricing structure and charge the ‘right’ price, product quality and consumer expectations need to be aligned. This will create loyalty among customers if a retailer can deliver on their pricing structure. The proposed additional ‘right’ of retailing, the right personnel could prove to be key in gaining a competitive advantage in the marketplace today. Offering the customer benfits other than the product like an enhanced in-store experience will aid the fashion retailer to endure the current difficult market conditions.

Community Colleges Essay

Does everyone that attends community colleges know the role of them? Most people don’t know the achievement gaps or knows the importance of them. Many teens today are so excited about attending college the last decision on their mind is commuting. This is because most are ready for the dorm life, freedom, and partying. Education does cross their mind, but other times it isn’t until the hard work kicks in. This also goes for charter schools. Charter schools and community colleges are very beneficial and helpful. The two are very similar when it comes to academic reasons. Today many people work hard to close achievements gaps for people coming from high and low income families who want a better education. Many people face obstacles due to family income. Whether it’s high or low income, children fight for available educational opportunities. Everyone deserves a chance at being successful and achieving goals. It is said to be that people living in poverty won’t have the same benefits as others living on the â€Å"brighter side†. People that live on the brighter side have easier chances at getting successful. This refers back to school system, and how education is involved. (1st link) The education law center stated that the Christie administration has been moving too slow. It is suggested that they build more schools for children in struggling cities. Recently, the state of Department of Education failed to move as quickly as they should, now there are many different ranges of requests for many school repairs and fix other things in some of the poorest cities. Charter schools are very different from schools such as private and public schools. In Newark, children are grouped by ages consisting children five and younger that live in poverty. Schools are trying to help these children. Charter schools are private schools that give everyone a chance. For example, in the book Outliers, KIPP was a middle school that Marita attended. KIPP was a middle school that has a high standard of academic conduct and achievement. The success of this school is continuous with its low-income students. These students end up going to college in overwhelming numbers. (2ndlink) Gladwell has questions children being given the opportunity of getting too much schooling. (book) Gladwell compares that theory to agriculture. Rice paddies are planted multiple times a year and they follow a steady schedule. In other countries, students attend school for countless numbers of days. KIPP is introduced to the same strategy for their students. They attend school from 7a. m until 7p. m. Even on Saturdays and in the Summer they are in school learning. Marita lived in poverty and decided to change her cultural legacy by attending KIPP to better herself. Most if not all of her time is spent going to school and doing homework. This allows Marita to get out of poverty. Her grade level increases tremendously. More than half of the students will graduate, including being the first to do so. (book) Charter schools focus their studies on the children. Compared to community colleges, time is spent on the people more. Universities and public schools do not receive the same attention. New Jersey’s high school students receive less standardized test based on their education system. This made charter schools easier to open. Christopher Cerf, an education commissioner, considers the state options on allowing students who take standardized testing to get into colleges to be substituted for high school proficiency test. Also, he feels that the community college entrance exam and high school test be the same. He believes in this so the test could be based on individual subjects. Cerf is trying a new system where a charter can be in Elizabeth, but children in Newark can attend. Community colleges try to close this gap by allowing the opportunity for anyone to attend. Professors interact with students more at community colleges. For community colleges do not have to have any special talents, income, or anything to attend a community college. People fail to realize they have many benefits attending these schools. These colleges aren’t for anyone of a specific age. Everyone is treated equally. The gaps are being closed because you are worked with unlike other school where you’re more independent. For example, in Outliers, the University of Michigan only enrolled 10% of minorities’ entrance chance, when their chance was just as good as the whites. Also, Christopher Logan dropped out of Montana State because the professor showed no interest in helping him. Charter schools close these gaps by allowing them to learn equally but based on a higher level than the same grades as public schools. Christie wants to replace many of the school contract performances and set specific standards. Focusing more on test results than regulatory compliance. (4th link). In the cities with the most poverty, children fail because they haven’t had anything new. The Urban Hope Act will allow private nonprofit to build new schools in Camden, Trenton, and Newark. This will only happen if they can prove experience in education. No state or other public bond dollars will be used on these schools. They will receive 5% less per student state funding than regular district schools. They do plan on promising to do much better with less. (link 5) In conclusion, enough work is being provided. It doesn’t have to always involve money. The financial issues are slowly but surely taken care of. Attention wise, these bridges are being close with enough time and patience to help children learn in charter schools and others in community colleges. Government needs to expand to allow everyone the same opportunity, instead of allowing high incomed people have certain opportunities and advantages rather than others. It is said that prodigies have a less creative mind than a student with a lower IQ. It is not true that certain people need to be smart enough to succeed in the real world. Hard work, dedication and the right education gives low incomed people the same advantage as everyone else. http://weblib. ucc. edu:2188/iw-search/we/InfoWeb? p_product=NewsBank&p_theme=aggregated5&p_action=doc&p_docid=1449450EEA63BEE0&p_docnum=4&p_queryname=2. http://weblib. ucc. edu:2188/iw-search/we/InfoWeb? p_product=NewsBank&p_theme=aggregated5&p_action=doc&p_docid=1445F9C7B95F9388&p_docnum=5&p_queryname=2 http://weblib. ucc. edu:2188/iw-search/we/InfoWeb? p_product=NewsBank&p_theme=aggregated5&p_action=doc&p_docid=139BE64F7B69B398&p_docnum=4&p_queryname=2 http://weblib. ucc. edu:2188/iw-search/we/InfoWeb? p_product=NewsBank&p_theme=aggregated5&p_action=doc&p_docid=134F1CD19D623F50&p_docnum=7&p_queryname=2 http://weblib. ucc. edu:2188/iw-search/we/InfoWeb? p_product=NewsBank&p_theme=aggregated5&p_action=doc&p_docid=13C7A18781A29440&.

Research Investigation: commedia dell’arte masks Essay

According to italian theatre historians, such as Roberto Tessari, Ferdinando Taviani, and Luciano Pinto, Commedia dell’arte, which literally translated as improvised comedy, developed as a response to the political and economic crisis of the 16th century in Italy and, as a consequence, became the first entirely professional form of theatre [1]. It is believed that the use of mask in commedia dell’atre originated in 1570 with Andrea Calmo, the actor and author who was inspired by the venetian carnivals of the time. She created Pantaloon who is the one of the most famous characters of commedia dell’arte today. She went on to create the spanish captain ‘Il Capitano’. Although her characters were initially unmasked, Andrea wished that the spirit of the Italian carnival ( which celebrates the epiphany [2] ) would be represented in her plays and therefore she introduced the masks and thus created the commedia dell’arte that we know today. [3] The carnival of venice. [1] Records of commedia dell’arte performances date back as early as 1551, where they were acted by professionals outside on temporary stages with costumes and masks. But as it was so popular with the nobles, many performances were also done indoors at court for the amusement of nobles. [4] After it became famous with the nobles the troupes began to move to france where many play writes such as Moliere were inspired to move their written works towards comedy.[5] Commedia dell’arte started to become popular outside Italy in the beginning of the seventeenth century. As the ‘tipo fisso’ (fixed stereotypes) soon became satiric references to the Italian parliament and to the typical Italian person it became one of the most popular comic theatre genres in the 17th and 18th century. [6] There are several reasons for the use of masks in commedia dell’atre. Primarily, as this type of theatre has fixed characters but is essentially improvised, the masks are used so that the audience was able to identify the characters. As commedia dell’arte was performed by different travelling companies, this meant that they would have different costumes, yet the masks would retain all the information needed to recognise a specific character. [7] Also as these performances were mainly on the streets or by the road, there would not really be a stage nor seating for the audience this made it difficult for everyone to see everything from the same angle or height. With the masks, all the audience could observe the emotions or actions that were being portrayed.[8] Commedia dell’arte masks were traditionally made of leather and only covered half of the actor’s face. They were like this so that the actor was able to project his voice and made certain noises that he could not do with a full mask. The masks were made to fit the face of a given actor because he or she would generally act out the same character for his/her entire career. Commedia dell’arte masks tend to have large, broad feature which are distinct to each character. For example on the character Zanni, the nose is very large. It is said that the larger the nose is, the stupider the Zanni represented tends to be. Zanni [2] Zanni [3] As I have said before, commedia dell’arte characters were based on ‘tipo fisso’ (a certain stereotype). Some of them have changed there name or personality over time for example Zanni, who is characterised as short of wit and always without money. Zanni has several masks that represent him which have changed over time with the fashion. Which all mean different things for example the Brighella mask which represents that poor and starving and hopeless side of Zanni and the Pucinella mask which represents the side which is also poor but although he is stupid he is able to outwit many. Many of the characters had a stereotypical opposite for example the stereotypical opposite of Zanni is represented with the well known character Pantalone (Pantaloon) who is typically arrogant and rich and who is always dealing with people who are trying to take his money away from him. Pantalone [4] Although most of the commedia dell’arte characters wore masks, there were few that were never masked. For example Isabella. Who was most famously acted by the famous actress Isabella Andreini. Also the lovers who were mostly the daughters and sons of the old and rich such as Pantalone or The Captain did not wear masks. This is because they were just there to bring the satiric comedy of romance and love to the performance. They were there to make the performance more light. And therefore did not have a specific characteristic apart from being completely in love with their character. [10] Commedia dell’arte masks were useful in the sense that although the the costumes and stage changed in fashion over time, The masks stayed basically the same. In this way the audience could appreciate and recognise the character and still enjoy new ways of the typical story being presented. In many schools such as Jaques Lecoq’s international school of theatre in paris, commedia dell’arte masks are used as a learning instrument for aspiring actors. Jaques Lecoq, was born in 1921 started off as a sports teacher and then moved on to acting with his partner, Gabreielle Cousin. He moved to Italy for eight years in 1948 where he discovered Commedia dell’arte. Together with the sculptor, Amleto Sartori, they developed the neutral mask. When Lecoq moved back to Paris he devoted the remainder of his life to teaching at his school. Jaques Lecoq [5] His school offers several courses that work on understanding and working with the body through the use of masks. His philosophy was that in order to become a good actor, you needed to use the Neutral masks to discover your body, movement, balance and space. He also believed that the typical half masks of commedia dell’arte, played an important role in improvisation and to work on character types therefore he integrated both into his courses [11]. Words 1000 (not including bibliography, notes under images nor titles ) Bibliography: [1] – http://en.wikipedia.org/wiki/Commedia_dell’arte [2] – http://www.religionfacts.com/christianity/holidays/mardi_gras.htm [3] – http://italian.about.com/library/weekly/aa110800a.htm [4] -http://www.tutu-inc.com/thesis/THESIS.htm [5] -http://www.therudemechanicaltheatre.co.uk/talkarchive.htm [6] -http://www.tutu-inc.com/thesis/THESIS.htm [7] – http://www.usq.edu.au/artsworx/schoolresources/androclesandthelion/commedia#Mask [8] – http://wiki.answers.com/Q/What_are_masks_used_for [9] – http://italian.about.com/library/weekly/aa110800a.htm [10] -http://www.delpiano.com/carnival/html [11] – http://www.ecole-jacqueslecoq.com Bibliography of Images: [1] – http://travel.smart-guide.net/venice-carnival [2] – http://tombanwell.blogspot.com/2010/09/zanni-leather-mask.html [3] – http://www.theater-masks.com/commedia-masks/commedia-mask-zanni-1 [4] – http://www.clg-mignet.ac-aix-marseille.fr/mignet/spip.php?article440 [5] – http://www.maghress.com/fr/marochebdo/31832

Important Steps to Marketing Success Essay Example | Topics and Well Written Essays - 750 words

Important Steps to Marketing Success - Essay Example One possibility is renting a billboard that presents a continuing storyline as a traveler goes from one billboard to another, ultimately looking forward to the next billboard and the next part of the story; i.e. Burma Shave from 1925-1963 ("Billboards, 2006), and when the dairy business was in a slump, the GOT MILK logo was used in billboards, magazines, and on television. In the meantime, the product logo becomes familiar. The cost of this type of advertising, however, might be prohibitive. Display signs that encourage the public to search you out might be a less expensive option, but these sales methods also call for a design package that might make it worthwhile to spend a little extra for a well-known designer. After all, if a designer is well-known, he or she must know how to sell an idea. Marketing also could be accomplished with print flyers or broadcast ads by creating a powerful design that demands attention and by developing a mailing list for distribution. Once you have a design, you can create your own flyers. In advertising one thing leads to another. Advertising calls for sales promotion, which requires public relations. Public relations becomes part of personal selling, and the bottom line is direct marketing. How does one marketing decision actually suggest the next step For instance, let us say your company is selling a gadget guaranteed to outperform a similar product. You have registered your trademark, which includes a highly visible logo. In the age of computers a mouse is no longer a small animal; it is an object designed to move you around on the computer screen. Logitech is a highly visible name in the mouse market. But what if you have a voice-activated mouse pointer that reads the information on the screen without having to use a mouse The logo could be a lightning bolt, and the name of the pointer program could be the "Wizard"--shades of Harry Potter. The simpler the logo, the more successful it could be. Look at Nike. Nothing is simpler or more recognizable than the little boomerang. Whatever name you choose for your product, it should connect to your company name. Your particular Wizard is not the only voice-activated pointer program in the marketplace. It is therefore important to bring your company to the attention of the public. There are several ways to make your company name recognizable. One way is to connect to a charity. What if you donated several copies of your new program to a charity such as The Braille Institute This would be followed up with a press release, announcing your gift (Krotz, 2006). Not only would this be of interest to other charities, it might be a useful product for people who have arthritis or are disabled and can't use a regular mouse. If you have a reliable product and customers realize it, word of mouth can do a lot for sales. In this high-tech age, online selling is a necessary activity. Your company should have a website that is easy to navigate. In fact, it should have a voice-activated link in keeping with your new product. As a tie-in to your website, you might set up a booth at a trade show that will allow prospective buyers to try your products. Make sure you have