Short Story - 707 Words

Before John has the chance to act as a gentleman, I drag my chair out and slide into it, refusing to remove my jacket. Furthermore, I fold my arms and rest them on the table while maintaining the scowl on my face as I glare out the window at nothing in particular. â€Å"Your waitress will be over soon, but can I get you both a drink?† offers the woman. â€Å"Ill have a beer, whatevers on tap,† says John. â€Å"Coke,† I say without emotion. â€Å"Whats wrong with you?† asks John, gaining my full attention as I penetrate my fury upon him. â€Å"Youre kidding, right?† His face fills with bewilderment. I scoff. â€Å"Whats with all the flirting back there?† I stretch my hand behind me to point towards the podium. â€Å"You even asked for her number. Couldnt you have†¦show more content†¦As soon as his glass reaches the table, he gathers it to take a long drink of it, finishing half the glass before returning it to the table. â€Å"Are you ready to order?† she asks. Until now, I havent taken a glimpse at the menu, my appetite vanished the moment we step inside the building. â€Å"Yeah, Ill have a loaded burger and another beer, thanks,† says John, giving me no time to ponder my meal. â€Å"And for you?† asks the woman. Instead of opening the menu, I scan the pictures of burgers on the front. â€Å"If you have a plain burger, that will be fine.† â€Å"With fries?† â€Å"Sure.† I lean back in my chair and watch her graceful hands gather our menus, though I refrain from glancing at her. â€Å"Is this how youre going to be for the rest of the night?† asks John. I refuse to answer him. Instead, I remain staring at the burn mark from a cigarette on the table. â€Å"I said I was sorry, what more do you want?† An explanation from Patsy. â€Å"Please, Eva, talk to me.† â€Å"When are you working next?† I ask with no emotion, drifting my gaze up to greet him once again, though the morose expression remains on my face. â€Å"Tomorrow, why?† I shrug my shoulders. â€Å"No reason, just making conversation.† â€Å"Did you enjoy the garden? You seemed to.† â€Å"Yeah, it was okay.† He gathers his glass the drain the rest of his drink. As he rests it back on the table, I watch the foam glide back down the glass. In the time Ive known John, this is the first time Ive been alone with him.Show MoreRelatedshort story1018 Words   |  5 Pagesï » ¿Short Stories:  Ã‚  Characteristics †¢Short  - Can usually be read in one sitting. †¢Concise:  Ã‚  Information offered in the story is relevant to the tale being told.  Ã‚  This is unlike a novel, where the story can diverge from the main plot †¢Usually tries to leave behind a  single impression  or effect.  Ã‚  Usually, though not always built around one character, place, idea, or act. †¢Because they are concise, writers depend on the reader bringing  personal experiences  and  prior knowledge  to the story. Four MajorRead MoreThe Short Stories Ideas For Writing A Short Story Essay1097 Words   |  5 Pageswriting a short story. Many a time, writers run out of these short story ideas upon exhausting their sources of short story ideas. If you are one of these writers, who have run out of short story ideas, and the deadline you have for coming up with a short story is running out, the short story writing prompts below will surely help you. Additionally, if you are being tormented by the blank Microsoft Word document staring at you because you are not able to come up with the best short story idea, youRead MoreShort Story1804 Words   |  8 PagesShort story: Definition and History. A  short story  like any other term does not have only one definition, it has many definitions, but all of them are similar in a general idea. According to The World Book Encyclopedia (1994, Vol. 12, L-354), â€Å"the short story is a short work of fiction that usually centers around a single incident. Because of its shorter length, the characters and situations are fewer and less complicated than those of a novel.† In the Cambridge Advanced Learner’s DictionaryRead MoreShort Stories648 Words   |  3 Pageswhat the title to the short story is. The short story theme I am going conduct on is â€Å"The Secret Life of Walter Mitty’ by James Thurber (1973). In this short story the literary elements being used is plot and symbols and the theme being full of distractions and disruption. The narrator is giving a third person point of view in sharing the thoughts of the characters. Walter Mitty the daydreamer is very humorous in the different plots of his dr ifting off. In the start of the story the plot, symbols,Read MoreShort Stories1125 Words   |  5 PagesThe themes of short stories are often relevant to real life? To what extent do you agree with this view? In the short stories â€Å"Miss Brill† and â€Å"Frau Brechenmacher attends a wedding† written by Katherine Mansfield, the themes which are relevant to real life in Miss Brill are isolation and appearance versus reality. Likewise Frau Brechenmacher suffers through isolation throughout the story and also male dominance is one of the major themes that are highlighted in the story. These themes areRead MoreShort Story and People1473 Words   |  6 Pagesï » ¿Title: Story Of An Hour Author: Kate Chopin I. On The Elements / Literary Concepts The short story Story Of An Hour is all about the series of emotions that the protagonist, Mrs. Mallard showed to the readers. With the kind of plot of this short story, it actually refers to the moments that Mrs. Mallard knew that all this time, her husband was alive. For the symbol, I like the title of this short story because it actually symbolizes the time where Mrs. Mallard died with joy. And with thatRead MoreShort Story Essay1294 Words   |  6 PagesA short story concentrates on creating a single dynamic effect and is limited in character and situation. It is a language of maximum yet economical effect. Every word must do a job, sometimes several jobs. Short stories are filled with numerous language and sound devices. These language and sound devices create a stronger image of the scenario or the characters within the text, which contribute to the overall pre-designed effect.As it is shown in the metaphor lipstick bleeding gently in CinnamonRead MoreRacism in the Short Stor ies1837 Words   |  7 PagesOften we read stories that tell stories of mixing the grouping may not always be what is legal or what people consider moral at the time. The things that you can learn from someone who is not like you is amazing if people took the time to consider this before judging someone the world as we know it would be a completely different place. The notion to overlook someone because they are not the same race, gender, creed, religion seems to be the way of the world for a long time. Racism is so prevalentRead MoreThe Idol Short Story1728 Words   |  7 PagesThe short stories â€Å"The Idol† by Adolfo Bioy Casares and â€Å"Axolotl† by Julio Cortà ¡zar address the notion of obsession, and the resulting harm that can come from it. Like all addictions, obsession makes one feel overwhelmed, as a single thought comes to continuously intruding our mind, causing the individual to not be able to ignore these thoughts. In â€Å"Axolotl†, the narr ator is drawn upon the axolotls at the Jardin des Plantes aquarium and his fascination towards the axolotls becomes an obsession. InRead MoreGothic Short Story1447 Words   |  6 Pages The End. In the short story, â€Å"Emma Barrett,† the reader follows a search party group searching for a missing girl named Emma deep in a forest in Oregon. The story follows through first person narration by a group member named Holden. This story would be considered a gothic short story because of its use of setting, theme, symbolism, and literary devices used to portray the horror of a missing six-year-old girl. Plot is the literal chronological development of the story, the sequence of events

A History of Theatrical Illumination Essay Example For Students

A History of Theatrical Illumination Essay Lighting as part of the theatrical experience. The evolution of lighting techniques and theatrical structures from candles to bulbs. Electricity: its effects and advantages. Typical lighting devices of the 17th to 19th centuries. Contemporary methods as used in Cirque du Soleils Dralion. Realizations surrounding the practical process that grew into a profound art Theatrical lighting has undergone significant changes from its first utilization to modern application. Illumination is essential to the theatrical experience we are familiar with. When the lights come up, the mood is set. Lighting in a performance context manipulates the audiences attention to focus on what the director has deemed important. When an actor or space is no longer an integral part the lights around them dim, dismissing that component and refocusing on what is lit. This process regularly dominates our experience at the theatre, yet it is often taken for granted. Evidence of innovative devices to maximize, control, and alter light in early theatre illustrates its importance. Artists such as Michelangelo and Leonardo da Vinci were called upon to supervise Italian productions (Cunningham 1998). Technical rehearsals, to allow the technicians to work out problems without actors, began as early as the 1800s. This behind-the-scenes art gained significance rapidly with the refinement of theatre. From daylight shining upon a Greek auditorium to computerized robotic ERSs synchronized with the music of a Broadway show, light has evolved to become one of the most advanced aspects of performance art today. The earliest permanent performance architecture did not include facilities for lighting or stage effects. Theatrical structures were open-air auditoriums and thus the only variation in illumination possible, given the technology, relied on scrupulous timing with the setting sun or the lighting of torches. It was not until the Italian Renaissance that the once outdoor spectacles were given their own enclosed edifices (Cunningham 1998). Until this time candles and torches carried by actors during afternoon garden or courtyard performances helped to suggest place and time of day. A general rule was applied early in the transition to indoor theatre: full illumination when the subject is happy, shade or extinguish light at the first unhappy occurrence (McCandless 1958). This rule was enforced using everyday candles, oil lamps and cressets. Some rudimentary improvements in lighting and effects included crude manipulation of color and the use of reflectors, often made from household or medical implements (Parker Smith 1968). Other manipulation of light included dimming devices. The development of a sloping stage with the addition of footlights was a leap in technology. This combination allowed technicians to direct light towards actors rather then illuminate the entire theatre (Bellman 1967). Placing candles onstage to light scenery also became a regular practice during this time. Some directors were even said to have attached candles to the backs of paper clouds to achieve a desired effect (Parker Smith 1968). During the mid 1700s French and English improvements spread worldwide. Performance lighting was brought behind the proscenium and wing and boarder lights were added (Ridge Aldred 1940). In 1783 kerosene lamps began to replace candles onstage. Soon after gas was used in quantity. Advantages included increased brightness and control of intensity with a newly developed gas-table that allowed lighting to be dimmed (Bowman 1957). The largest disadvantage were the several thousand theatres that burned down between 1800, when gas became mainstream, and the invention of electric light. In 1846 the Paris Opera became the first performance facility to use predominantly electricity (Bellman 1967). Electricity, while safer, was difficult to dim. Technicians manually submerged cables in a solution of salt water to break the current and manipulate intensity. An insulated wire with a metal plate at one end was submerged at the bottom of a non-reactive container; the other wire with a metal weight attached was lowered until the two contacts touched to complete the circuit. The light dimmed as the contacts moved away from one another (McCandless 1958). Sir Henry Irving, of the Lyceum theatre, regularly tested this process before each performance. His practice led to the tradition of dimming the lights before curtain (Hewitt 1952). .uf140335406981a4cf65dc3a7371527de , .uf140335406981a4cf65dc3a7371527de .postImageUrl , .uf140335406981a4cf65dc3a7371527de .centered-text-area { min-height: 80px; position: relative; } .uf140335406981a4cf65dc3a7371527de , .uf140335406981a4cf65dc3a7371527de:hover , .uf140335406981a4cf65dc3a7371527de:visited , .uf140335406981a4cf65dc3a7371527de:active { border:0!important; } .uf140335406981a4cf65dc3a7371527de .clearfix:after { content: ""; display: table; clear: both; } .uf140335406981a4cf65dc3a7371527de { 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; } .uf140335406981a4cf65dc3a7371527de:active , .uf140335406981a4cf65dc3a7371527de:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf140335406981a4cf65dc3a7371527de .centered-text-area { width: 100%; position: relative ; } .uf140335406981a4cf65dc3a7371527de .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf140335406981a4cf65dc3a7371527de .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf140335406981a4cf65dc3a7371527de .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; } .uf140335406981a4cf65dc3a7371527de:hover .ctaButton { background-color: #34495E!important; } .uf140335406981a4cf65dc3a7371527de .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf140335406981a4cf65dc3a7371527de .uf140335406981a4cf65dc3a7371527de-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf140335406981a4cf65dc3a7371527de:after { content: ""; display: block; clear: both; } READ: Communication Systems EssayNew electric systems also diminished the warmth audiences had grown accustomed to with gas lighting. These inconveniences were factors in the development of theatres that specifically accommodated electricity. It wasnt until 1882 in Munich that a theatre was built with electricity in mind (Leacroft 1984). By this time most pre-electricity performance spaces were converted. As had been the case with gas, theatres were responsible for their own power sources. A town theatre often possessed the latest amenities before the general public. This left the theatre owners to create their own gas lines and eventually their own generators for the demanding power requirements of performance lighting (Heffner Selden 1959). The theatre has sought command over light for hundreds of years. The first dimming devices were nothing more then candles and 17th century house hold items. Even at that time inventions were complex. Nicola Sabbattini had a device specifically for showing hell. Let A be the pot in which we pass the piece of torch BC, long enough to let B come out of the top and C remain below the pot. When the time comes to use it, some one must hold part C in his hands, the torch having been lighted at B. When we want the torch to be thrown on the stage, the pot will be rapidly lifted, and the resin will come out of the holes which were made in the paper D, and catching fire will result in a big flame. Thus, the other men will do the same thing from time to time while the trap is open. Sabbattini was responsible for many early developments. He was also credited with being the first to place a doctors basin behind a light source, creating the first reflector-spotlight. A similar design was later used with electric light (Rosenthal Wertenbaker 1972). discovered that by heating a piece of lime to a high temperature with a hydrogen and oxygen flame it became incandescent and produced an intense white light (Sellman 1984). The nature of the light required constant attention of an operator making it useable only is specialized applications. The intense light was a realistic representation of sunlight through a window or the moon in the dead of night. By 1860 the limelight was commonly used as a follow-spot. These gadgets were impressive for their time. Its only natural that we should be producing equally impressive apparatus for the 21st century. Luc Lafortune is a lighting technician and designer for Cirque du Soleil. Lafortune adapted the original lighting configurations for Dralion, Cirques most recent show, for their North American tour. He describes the complex assortment of instruments used to invoke each element of the show. Audience members surround the stage on three sides; a massive tent supported by four towers covers the entire arena. Lighting instruments are mounted on the towers and the scaffolding between them. Some instruments are operated traditionally during the show by a technician at a computerized lightboard. These are stationary lamps focused to particular areas of the stage as well as robotic lamps. Robotic instruments are capable of moving independently during a performance. Although similar lights are responsible for the visual effects associated with rock concerts, these lights are capable of more refined applications and are employed by many ballet companies. An instrument movement is programmed into a computer before performances begin. To allow for slight variations in each show cues are administered to coordinate the timing of performers and lights. A light board operator usually gives these cues, but in a musical performance cues can be programmed into a musical instrument. When a keyboardist or drummer plays a particular combination of notes a lighting instrument moves to the next programmed area. (The performers) are mesmerizing to watch, comments Lafortune. The light is there to compliment them. .u7e13cf7ae5ef4b8cc260e5fad5e8615b , .u7e13cf7ae5ef4b8cc260e5fad5e8615b .postImageUrl , .u7e13cf7ae5ef4b8cc260e5fad5e8615b .centered-text-area { min-height: 80px; position: relative; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b , .u7e13cf7ae5ef4b8cc260e5fad5e8615b:hover , .u7e13cf7ae5ef4b8cc260e5fad5e8615b:visited , .u7e13cf7ae5ef4b8cc260e5fad5e8615b:active { border:0!important; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .clearfix:after { content: ""; display: table; clear: both; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b { 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; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b:active , .u7e13cf7ae5ef4b8cc260e5fad5e8615b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .centered-text-area { width: 100%; position: relative ; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .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; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b:hover .ctaButton { background-color: #34495E!important; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b .u7e13cf7ae5ef4b8cc260e5fad5e8615b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7e13cf7ae5ef4b8cc260e5fad5e8615b:after { content: ""; display: block; clear: both; } READ: Hamlets famous soliloquy EssayYou dont want to know the light is there, changing, you want to feel it as part of a great show. Although at times progression was slow, lighting development experienced two great leaps forward-candlelight to gas and gas to electricity. The practical objects put to use in early instruments is astounding. The simplicity of design combined with the complexity of their effect is perhaps the most interesting elements of dramatic lighting history. When contrasted with the sophisticated, technical instruments of the 21st century a significant evolution is obvious.