The Corporations Production Target Assignment Example | Topics and Well Written Essays - 1000 words

The Corporations Production Target - Assignment Example In line with the purpose of this memo, the beer making process in the application is attached as well as the modified process recommended thereon. Before the main issue is handled, an introduction is done regarding the cause of the problem and then the explanation follows in the inclusion of the recommendations. Saccharine Beers Corporation deals in the production and marketing of malted beers. Currently, the plant supplies the beer market with six million bottles of malted beer on a daily basis, which translates into half a million bottles of beer every hour. The capacity of the plant can slightly be increased to about three hundred bottles of beer every hour in a high season. On a low season, the Corporation reduces production up to a hundred thousand bottles every hour. The low season’s production is set so low, to ensure that production caters for just plant costs than to produce without market sensitivity. During the current high season, the plant expanded its production capacity to hit half a million bottles of beer. Production increments were in line with the increased market coverage and promotional strategies embarked in the recent past. Positive results have been confirmed by the Sales Department, with an all-time high sales record being posted. Enthusiasm within the Corporation’s operations has prompted future projections currently made to illustrate a capacity outstretch, both by demand and production. At Saccharine Beers, the production of malted beers is simplified to enable a process that is as close to the natural brewing process as possible. As illustrated in the flowchart, five main production stages are involved in the entire beer making process. For hygiene regulations compliance, the corporation simplifies the process as much as possible for quality assurance (Cobbett, 22). The main processes are briefly discussed, stating the problem involved and strengths.

Mr. Smiths case in an ethical, legal and moral perspective Essay

Mr. Smiths case in an ethical, legal and moral perspective - Essay Example From this paper, it is clear that the mental health act allows that the service provider can make decisions on behalf of the patient provided that it is proven that the patient is mentally incapable to make choices. For this reason, a discussion between the involved parties resulted to an agreed decision.To conclude the task, it is clear that there are situations where the legal and ethical guidelines interact to help an individual to make a decision. At the same point, there are similarly clear variances between law and ethics that results to dilemmas. The practitioner, therefore, needs to be aware of the resemblances and the variances and in what way they affect the decisions made. It is necessary to remember the theories and moral principles that guide the moral obligations to be taken. Law is a key consideration when effecting any decision and must be considered in all ways. Law is different from the moral principles because it is enforceable in a law court while moral decisions are not backed by any enforcement authority (Benbassat&Baumal, 2012).It is also necessary to set up methods that guide the decision-making process to hasten the process and save time which is key when it comes to saving a life. Having mentioned all the above, I believe that if all health practitioners have diverse information concerning the different case they are faced with in their daily practice as a dilemma, they will be in a better position to deliver quality services to the patients at any time.

Data Envelopment Analysis Essay Example | Topics and Well Written Essays - 1500 words

Data Envelopment Analysis - Essay Example Their job involves selecting the efficient player for the match out of the whole team. Coaches tend to have problems in choosing the first eleven players to field for crucial football matches. Most football teams have more than twenty players yet; only fourteen players—eleven active players and three substitutes take up the slots. To beat this dilemma, the coaching staffs have come up with various strategies that help them to determine the finest players for the crucial matches facing the teams. For a player, good performance in the preference list for the coaching staff means that he is able to deliver for the team. The overall performance for any team relies solely on the effort of each player because a win for any football team, is an ultimate goal for any football team in the world. The Castrol EDGE index is the latest common technology that analyses and ranks each player’s performance in a football match. The ranking system is a creation of Castrol, which initially was to rank the players at the Men’s club association football under the sponsorship of FIFA. The system considers the duration for the players actions and the power of the opposition team. Currently, the Castrol EDGE index is used to rank the performance of all the footballer players participating in the top five Europe’s leagues in the football season, 12-month period. To build the Castrol Index Ranking, the first step involves finding the â€Å"Castrol Index Score† for every player in each tournament, league, or Championship league match. The second step is to weigh the Castrol Index Score to get the â€Å"Castrol Ranking Points†. The final step, the cumulative points, earned in each match played in the tournament or 90 the divided by the total number of minutes the player played multiply league. The Castrol Index Ranking = {(90 x the Total Castrol Ranking Points) / Total minutes played} During the UEFA EURO 2012, for each player, the Castrol EDGE Ind ex considered every save; pass, tackle, and shot to determine the effect of such actions on the respective team’s probability to either score or concede a goal. The number of points that a player receives depends on the zone of the action within the pitch. So are the number of points awarded for blocked shots, intercessions, and tackles. As for attempts to score, the Castrol EDGE index points to the attacking player but penalizes the goalkeeper conceding the goal. Deductions results for the fouls that arise. Table 1 The Table beside shows the top ten Players of the UEFA EURO 2012 according to the Castrol EDGE index ranking. The ranking scales down the magnitude of prowess the football player ever displayed during the UEFA EURO 2012 event alongside the rest of the players. The ranking also determines a player’s ability to perform in the game of football, and further helps to estimate the market value of a football player during the inter-clubs transfer window. The coach ing staffs around the world easily rely on the Castrol EDGE index to prepare line-ups for various matches ahead of their football teams. Good rankings for a player tend to boost the confidence in the coaching staffs for their players, a fact that can be justified since each player earns a point for every complete action during the football match, which also reflects the player’s ability

The Opera Singer As An Actor Music Essay

The Opera Singer As An Actor Music Essay In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice singing technique, musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singers performance? Evolving from the main research question, the following sub questions were formulated: What is a good voice within classical voice training methods? How can musicality contribute to an opera singers performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singers performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singers performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeà «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesà ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of A Good Voice, Musicianship and Acting Ability in terms applicable to the Singer-Actors optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinis Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The good voice can be defined as the ability of the opera singer to project the voice in a way that its heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The self-amplified singing voice as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodys need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word vibration of the voice refers to The function of the vibrator is to set the column of still air in the throat and also that in the windpipe in vibration. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word resonance can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voic e. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) In popular usage, art or serious music as opposed popular music The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term voice box of human sound box as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The good voice as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs dont include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). Sà ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who dont often claim to have discovered some long-lost piece of wisdom. This wisdom is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singers development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performers range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic. The fundamental tone of the human voice is the huh sound. According to Christy this sound should be considered the basic reference to vowel placing because the uh sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the uh sound as the primal sound: Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babys cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babys cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babys first word, mama [mÉâ„ ¢mÉâ„ ¢]. Mama is the first word spoken by babies throughout the whole world. In Korea the word is ama, with the vowel preceding the consonant. (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the huh sound in a short repetitive sequence (as if laughing), or a long relaxed sustained huh (like a sigh). He also suggests sliding the huh up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voices natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that they are pure. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these pure vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing say, it becomes sayee or kind becomes kieend. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the self-amplified singing voice. This is a voice produced with a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) Musicianship is the science of music and interpretation . A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singers act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composers interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are. Thus, the keys must be studied by the singer in order to express and keep the interpretation on trac k. The two requirements for interpretation include the fidelity to the composers intent and that it must contain an essentially creative element of the interpreters own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a persons own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career. Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actor Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actors performance. When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortions (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishment (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; but of their skill in acting there is hardly any mention to be found anywhere (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actor (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and the surprising persistence of melodramatic effects and gestural overstatement (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition of gestural overstatement may be (erroneously) assumed to be the only acting required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosened (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDs, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechts epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitude (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singers natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a

A Sociological Approach To The Simpsons :: essays research papers

I’m going to start off by saying that until now I never actually thought there was a difference in the way those cartoon characters (the Simpsons) were approached, depending on their gender (not that I watched them too often or anything). First of all I’ll have to break the characters in two groups, because you cannot compare old people with children. So the first group will be composed of Lisa and Bart (the children) and the second one of Marge and Homer (the parents). Just by taking a glance at the show you see that it portrays the typical image of the â€Å"traditional American family† of the last decade: mom stays home to cook, clean and take care of the kids, while the husband provides for the family. The little boy is very violent doing a lot of â€Å"cool† things, and of course never studies, while the little girl is very quiet and smart. There are certain traces of stereotypes in almost all the activities in which the characters engage and that seems to be meant in a funny way. For example, in one episode, Lisa and Bart are taken hostages by a prison escapist in a zeppelin. Using a computer inside the zeppelin you could write on an electronic board outside the zeppelin. Lisa discovers that and writes a message to let everybody know that they are in there and in the middle of it she puts these flashing red hearts... I wonder if they would have done that if Bart were the one writing the message! This other time Bart gets himself a fake ID, rents a car and goes away for spring break with some friends (he of course lies to his parents); meanwhile Lisa stays home and has fun by going to work with her dad. What’s the message here? ‘Boys go off and do crazy things, but girls must stay home, close to the family.’ Bart is always the one who has all the adventures and does all the exciting funny things and Lisa is the smart quiet one always getting him out of trouble. She never holds any grudges, while Bart is mean to her most of the times and always gets his revenge; in other words ‘girls, you be silent, boys have the right to do anything.’ But enough of the youngsters, lets talk about the adults too. As I’ve said before, Marge is a housewife; she never directly disagrees with Hommie, her husband, and she’s always the one spoiling the children.

Effects of Equality in “Harrison Bergeron”

Kyle Chandler Professor T. Payne English 1102 4 February 2013 Effects of equality in â€Å"Harrison Bergeron† â€Å"Harrison Bergeron,† written by Kurt Vonnegut focuses on the idea of physical and mental equality, which is controlled by the government in the year 2081; the strong are forced to wear handicaps which hinder their abilities, the intellectual are forced to be unintelligent due to a radio transmitter that won’t allow the individual to think. Vonnegut uses satirical tone and places this story in the future, to show how total equality would not work.Not only does total equality sound absurd it removes the ability for individuals to be different. Individuality means having a quality that separates one individual from another. This means that by having total equality, there is a loss of individuality. In Kurt Vonnegut’s story â€Å"Harrison Bergeron†, Vonnegut’s satirical, dystopian society in which everyone is average, presents the id ea that handicaps that constitute equality also eliminates individuality, along with self-worth. Throughout â€Å"Harrison Bergeron† every member of society is equal. With the use of handicaps no person can be above average intellect, strength or even appeal.Vonnegut uses word choice that promotes this society is a satire creation early in the story. â€Å"The Year Was 2081, and everybody was finally equal† (Vonnegut 7). By throwing in the adjective ‘finally’, Vonnegut claims that it should have happened sooner, yet as the story goes on it becomes obvious that nothing is attractive about total equality. He opens the second paragraph by introducing the two main characters, George and Hazel. Vonnegut also promotes his satire when the main characters keep losing train of thought due to the fact that George has a handicap that keeps him from thinking too much and Hazel is of average intelligence. There were tears on Hazel’s cheeks, but she’d forg otten for the moment what they were about† (Vonnegut 7). Having the ability to cry and then no longer remembering the reasoning for it is not only below average intelligence, but also inhumane. By showing that the Hazel does not even have the intelligence to remember something that brings enough emotion to produce tears, Vonnegut presents how these handicaps could not possibly be an improvement to the future because to be truly equal you have to be the same as the least intelligent, least strong, and least attractive.He also uses a mocking tone when referring to George’s son Harrison. In the story George starts to think â€Å"about his abnormal son who [is] in jail† but cannot think about it long due to the mental handicap (9). The author uses the word ‘abnormal’ satirically because Harrison â€Å"is a genius and an athlete† and way above average in every manner(10). The use of satire in Vonnegut’s story promotes that handicaps eliminat e individuality by making each character the same. By creating total equality in this society, it abolishes the self-worth of the individuals.People gain self-worth by having a quality about them that makes them superior to others, whether it is their intelligence, a hobby they are good at, or a skill they have acquired. In â€Å"Harrison Bergeron† it is no longer possible to have superior qualities and Vonnegut shows this when the main characters are watching a dance recital on television. Hazel states that the dance was â€Å"nice† yet in reality â€Å"they weren’t really very good – no better than anyone else would have been, anyway† (8). This shows that even if the dancers were talented they could not be proud of their talents or display it due to the handicaps.With no reason for individuals to be proud of themselves there is no longer a need for humans to grow. This normality not only ruins dancing as an art but also ruins all other forms of a rt too. When the musicians play in â€Å"Harrison Bergeron† it is average until the protagonist Harrison, comes in and â€Å"strip[s] them of their handicaps† for a short amount of time (12). The ability to be expressive and different is one of the sole reasons behind art when it comes to musicians and dancers. Artists lose all self-worth that comes with their talent when they can no longer express it.What is the point in developing a skill, if the handicap on it is just going to be increased? Similarly the individual’s absence of self-worth is mainly due to the vacancy of individuality. Handicaps controlling peoples mental and physical ability removes individuality for every human being. With individuality being a character quality that distinguishes them from others, people no longer have the any qualities that separate them from others. Vonnegut shows this with the main character George, even though â€Å"his intelligence [is] way above normal,† George has â€Å"a little mental handicap in his ear† (7).Instead of having his intelligence which sets him apart from the normal members of society, the oppressive society that yearns for equality has diminished his individuality. Throughout the whole story there is only one hopeful scene in which individuality is achieved. Harrison Bergeron, the outcast who breaks the law by not using handicaps when he is incredibly intelligent, strong, and good looking, breaks out of jail and gives the audience a small glimpse of hope. He goes on public television and exclaims that he is â€Å"the new emperor† and that he is â€Å"a greater ruler than any man who ever lived† (12).Even though Harrison is a bad guy towards other characters, he stands for good in the story because he is the only character with individuality and the ability to remove equality. This glimpse of hope does not last long though because the Handicapper General, the head of the police force, comes in and kill s George. The satirical tone in Kurt Vonnegut’s story â€Å"Harrison Bergeron† demonstrates that handicaps throughout the story are not actually an improvement, because they remove the individual’s ability to distinguish themselves from others.The restrictions that are placed on people hinder their intellect, strength, and appeal, keeping everyone equal but at the same time, displaying a lack of freedom, self-worth, and individuality. Vonnegut’s satire tone also exaggerates the idea of equality being a good thing, showing that total equality violates human rights. By setting â€Å"Harrison Bergeron† in the future, Vonnegut shows how total equality would be undesirable to the audience. Works Cited Vonnegut, Kurt, Jr. â€Å"Harrison Bergeron† 1961. Welcome to the Monkey House. New York: Dial Trade Paper Backs, 2010. 7-14. Print.

Humans & ability Essay

Humans’ most important ability is our ability to communicate through spoken language. The ability of humans to speak makes us stand out in the animal kingdom, according to many philosophers and scientists. It is just natural for humans to desire to know how we developed the ability of using language in communicating. This paper focuses on how the human language evolved. Through the comparative studies of the apes with the human language, it provided information to humans when the necessity for the language structure was developed. INTRODUCTION Study of Primates Communication Abilities. Since the ‘homo sapiens’ have been considered as the human’s cousin, the language of the apes have been studied. Some believes that the human language evolved earlier than them. The American Sign Language or ASL has been taught to a number of apes. Different approaches were also used from 1970s for some species of apes to be trained and taught disciplines of communication. Comparison of the Primate and Human Communication Abilities. Human children’s development of their language was compared to the studies made on different forms of primates. It was evident on human children that their development comes slowly as they grow older. Children in the earliest age start with a single word utterance. At fifteen months old of a child, utterance of two words comes easier. Protosyntatic structures in the language development of children come next with longer word utterances. At this stage, noun phrases were observed in the language structure too. This kind of language development on children is comparatively the same with many primates studied from 1970s to present. CONCLUSION The ability of primates to communicate with protolanguage may be a sign that apes can actually understand, learn, and communicate. However, in many instances where primates were trained and disciplined, it is also important to consider that none of the subjects were able to be taught to verbally speak. Moreover, primate language studies have never showed any language exhibitions from the primates in the wild. The protolanguage development on the human children may be a similarity on both but the primates lack the gestural complex in humans. Therefore, this comparison shows that the humans have the natural linguistic ability and the primates do not. WORKS CITED William O’Grady, et al. (1997). Contemporary Linguistics: An Introduction, 5th edition. New York : Adison Wesley Longman. Pg. 586. Savage-Rumbaugh, S. , Shanker, S. , & Taylor, T. (1998). Apes, Language and the Human Mind. New York: Oxford University Press. Deacon, T. W. (1989). The Neural Circuitry Underlying Primate Calls and Human Language. Human evolution, 4, 367-401.