A NOVEL IS CULTURE STAGED AND A STAGE Vol.1 © 2020 ISBN978-976-965404-9-7
Dr. William Anderson Gittens D.D.
CEO & Managing Director, Author -Devgro Media Arts Services Publishing®2015
A NOVEL IS CULTURE STAGED AND A STAGE Vol.1 © 2020 ISBN978-976-965404-9-7
William Anderson Gittens
Author, Cinematographer Dip.Com., Arts. B.A. Media Arts Specialists’ License Cultural Practitioner, Publisher, Doctoral Student of Divinity, D.D. CEO,Editor in Chief of Devgro Media Arts Services Publishing®2015 ISBN978-976-965404-9-7
Figuratively and symbolically speaking the world is a stage. It is reported that sometime between the period 1564-1616 William Shakespeare made the telling point that "All the world's a stage." I am sure that scholars would differ on the exact meaning opinions and interpretations regarding this expression.
This expression whether Culture Is Staged and A Stage or not it’s a fact that historically Photographs that capture staged or artificially constructed scenes made only for the purpose of photography. While this type of image-making became well-known in the 1980s through the work of artists such as Cindy Sherman and Jeff Wall, staged compositions—which have alternatively been called “tableau photographs”—have been created since the beginnings of photography. For example, 19th-century photographers such as Oscar Gustav Rejlander and Henry Peach Robinson staged classical or biblical scenes with actors. Also, some of the major inspirations for 1980s staged photographic imagery were 1920s and '30s staged portraits created by Marcel Duchamp and Claude Cahun.
The constructed image usually applies to scenes or objects which are deliberately set up for the camera, but more recently this has also applied to digitally constructed and manipulated images.
according to Ruth Katz, Ruth Ha Cohen To put it somewhat differently, whereas the practical level is a stage in the natural development of art.The assessment of its theoretical significance requires hindsight; the theoretical level consummates, as it were the historicity on momentary achievements granting to some fundamental and lasting influence.
As an Author, License Cultural Practitioner and Doctoral Student to contextualised and being metaphoric and at the same time combining the technique Mise-en-scène allows me to posit whether Culture Is Staged or not. All things being equal I wish to insert the term creative license since it would not be used in a humorous or pejorative sense nor to provide an excuse for careless or superficial writing but as a pretext to analyse freedom of cultural practitioners.What is uniquely interesting about this phrase global citizens are the conduits whereby careers flow.
That said it is reported that they are 12,000 career practitioners colonising the world the same way actors navigate the nine performance space on the theatre stage.
According to Ruth Katz, Ruth Ha Cohen To put it somewhat differently, whereas the practical level is a stage in the natural development of art. The assessment of its theoretical significance requires hindsight; the theoretical level consummates, as it were the historicity on momentary achievements granting to some fundamental and lasting influence.
In the scheme of things just as a costume is the distinctive style of dress of an individual or group that reflects class, gender, and are part of the protocols of theatre actors wear costumes on stage. Ironically clothing/uniforms according to Wikipedia, is a uniform which means a set of standard clothing global citizens’ wear in this context clothing/uniforms can be deemed a costume.
Just as there is the director thereby collaborates with a team of creative individuals and other staff to coordinate research and work on all the aspects of the production which includes the Technical and the Performance aspects. The technical aspects include: stagecraft, costume design, theatrical properties (props), lighting design, set design and sound design for the production.
In this context theoretically, representatively and literally culture will carry the caricature and the same principles of the director. Historically what is considered a caricature the key difference between caricature and drawing a portrait of someone is the intentional distortion of the subject in caricature. But in this environment where poetic license is leverage allows me the freedom to depart from the facts of a matter or from the conventional rules of language in this context since I am-speaking and writing in order to create that affect and effect in this text.
Culture is construed as an ethos, humanities, philosophy, nation, traditions, customs, race, ethnicity, value, principle, belief, ideology, and or even a way of life.
Culture is one of the main goals of education policy in Kenya and because of the aforesaid declaration it is logical to rationalise culture as a representation of a system. Therefore logically speaking there is an aesthetic awareness about Culture as to whether its alterations enhance or detract from the total effect of implementing policies and protocols and in this environment. Culture is the director that governs the stage somewhat like a film director controls a film's artistic and dramatic aspects and visualises the screenplay (or script) while guiding the technical crew and actors in the fulfilment ... in this context.
As a student of film and a Media Arts Specialist it should be noted that “This entire scenery and properties of a stage play, such as this text has to do with from French mise en scène, literally "setting on the stage," from mise (13c.). from the" 1830,
This explanation makes the case since the policies of Culture amplifies character emotion or the dominant mood, which has physical, social, psychological, emotional, economic significance in the precincts of all societies just like in film.
Directors of Culture present the guiding principles and values that underpin cultural policy, methodology to monitor impact of cultural policy research, evaluation globally and implementing goals that reflects the vision of its Director.
Likewise one of the most important decisions made by the production designer and director is deciding whether to shoot on location or on set.
Similarly, governments, businesses, and individuals worldwide responded differently to the economic crisis that following the Lehmann Brothers's collapse in 2008. In many countries, government response had consequences for the cultural sector. Some governments, such as the Canadian and French, almost immediately opted for increased support to the cultural sector as a means to re-invigorate economies both locally and regionally. Other governments, e.g those of the Netherlands and United Kingdom, made severe cuts to cultural budgets, arguing that public funds could no longer sustain previous support levels. While these approaches must be seen as being relative to each government's pre-crisis traditions for cultural support, they clearly reflect that little consensus exists amongst governments as to the role, economic importance, and potential impact of the cultural industries
The main distinction between the two is that décor and props must be taken into consideration when shooting on set. However, shooting on set is more commonly done than shooting on location as a result of it proving to be more cost effective.
Lighting in this setting has to do with Culture is used interchangeably by the director will ensure that symbolically there is Critical light. It is characterized as “critical" because it should show deficiencies.
The lighting which I am referring here has to do with symbolism. In this context cultural practitioners who have light are symbolic of knowledge which are used to mean awareness, knowledge, and understanding. Hence lighting/knowledge has to do with skills citizens posses which are part of the repository of the cultural industries databank used interchangeably.
In a real world critical light occurs only for a few minutes a day, slight irregularities will be visible for only a brief period of time. The appearance of a wall façade in critical light is typically an aesthetic issue and not one of functional performance. The intensity, direction, and quality of a persons intellect/knowledge is equivalent to lighting which can influence an audience's understanding of characters, actions, themes and mood.
A word of caution Light (and shade) can emphasise texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colours are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition.
Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear.For this reason, lighting must be thoroughly planned in advance to ensure its desired effect on an audience. Cinematographers are a large part of this process, as they coordinate the camera and the lighting.
Cultural spaces enable arts and cultural activities and practices within all communities to secure, enhance, and develop affordable and accessible spaces where artists and cultural workers can live, work, and share their work. Space the representation of space affects the reading of a film. Depth, proximity, size and proportions of the places and objects in a film can be manipulated through camera placement and lenses, lighting, set design, effectively determining mood or relationships between elements in the story world.
Composition is the organization of objects, actors and space within the frame. One of the most important concepts with the regard to the composition of a film is maintaining a balance of symmetry. This refers to having an equal distribution of light, colour, and objects and/or figures in a shot. Unbalanced composition can be used to emphasize certain elements of a film that the director wishes to be given particular attention to. This tool works because audiences are more inclined to pay attention to something off balance, as it may seem abnormal. Where the director places a character can also vary depending on the importance of the role.
Costume simply refers to the clothes that characters wear. Using certain colours or designs, costumes in narrative cinema are used to signify characters or to make clear distinctions between characters.
Makeup and hair styles establish time period, reveal character traits and signal changes in character. In acting there is enormous historical and cultural variation in performance styles in the cinema. In the early years of cinema, stage acting and film acting were difficult to differentiate, as most film actors had previously been stage actors and therefore knew no other method of acting. Eventually, early melodramatic styles, clearly indebted to the 19th century theatre, gave way in Western cinema to a relatively naturalistic style. This more naturalistic style of acting is largely influenced by Konstantin Stanislavski's theory of method acting, which involves the actor fully immersing themselves in their character. Filmstock is the choice of black and white or colour, fine-grain or grainy. Aspect ratio:pp.42–44 Aspect ratio is the relation of the width of the rectangular image to its height. Each aspect ratio yields a different way of looking at the world and is basic to the expressive meaning of the film.
Importantly, if Culture Is Staged and A Stage presumably there is improved infrastructure, smart social media email marketing, online registration, payment processes increased revenues from tourism and trade, employment creation and heightened public and public pride.
I suppose like anything else technology is changing the way events are planned today for instance event management software. Added to this there is a school of thought which suggest that Event Planners Practitioners are under immeasurable anxiety to produce cultural engaging events at short notice.
William Anderson Gittens
Author, Cinematographer Dip.Com., Arts. B.A. Media Arts Specialists’ License Cultural Practitioner, Publisher, Doctoral Student of Divinity, D.D. CEO,Editor in Chief of Devgro Media Arts Services Publishing®2015 ISBN978-976-965404-9-7
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