Fiduciary Duties for Directors Essay Example | Topics and Well Written Essays - 1000 words

Fiduciary Duties for Directors - Essay Example 4). The law specifies that some of the fiduciary duties of a director are care, loyalty and good faith. In Charitable Corp v. Sutton, it was explained that directors of corporations would be regarded as agents and trustees who were required by law to act with ‘fidelity and reasonable diligence† (p.6). These three duties also give rise to a fourth, but equally important duty, that of disclosure. Duty of disclosure means that directors are required to disclose full and truthful information when they are communicating with stakeholders. The Delaware Court of Chancery has in the past stated that â€Å"an obligation to the community of interest that sustains the corporation, to exercise judgment in an informed, good faith effort to maximize the corporation’s long term wealth creating capacity† (p.12). Directors of corporations that are facing insolvency owe fiduciary duties to the corporation itself and to shareholder, never to creditors. Duty of Loyalty This fid uciary duty can be traced back to the Guth v Loft case in which the state Supreme Court passed that â€Å"corporate officers and directors are not allowed to use their position of trust and confidence to further their private interests† (p.22). ... It is the way in which a director handles the corporation’s affairs that will determine whether or not his conduct led to a breach in loyalty duty. The Delaware fiduciary law lays out some of the situations in which duty of loyalty may be implicated. Thee include: contracts between the company and directors or other corporations in which the director may have some material interest, dealings between a parent company and a subsidiary, management buy outs, corporate reorganizations or acquisitions which may result in differing interests between the majority and minority stakeholders, insider trading, taking over corporate opportunities and competition by the directors with the company. If directors fail to act when faced with a known duty, they can be charged with violating duty of loyalty (p.24). Duty of Care Directors in corporations are obligated by Delaware law to seek ample information before making any business decision. They are also required to â€Å"act with the requis ite care in making such decisions† (p.32). Although the directors are requires to act with utmost diligence and highest level of due care, they are not obligated to read or to know each and every particular of a contract or any related legal documents. They only need considerable information about a particular situation so as not to make any careless decisions. If the directors are found to have made a decision out of gross negligence, then they can be charged in court for a breach in the duty of care. In order to act diligently, the law in Delaware requires that directors should regularly attend board meetings. They are also required to take their time to review, understand and evaluate all information that they have at their disposal and they should ensure

Against School Essay Example for Free

Against School Essay Against School Gattos opinion on school is extremely intense and straight forward. For the most part I agree with his standing point on the subject of schooling. I agree with his arguments of how we have become a society that completely relies on technology to keep us from being bored, and this notion teaches us to be absent minded rather than creative. I also agree that keeping kids â€Å"locked up† in a building for about seven hours a day gives us no room to grow individually and learn from life experiences. Not only are students the ones in jeopardy because of this confined structure, but the teachers are as well. It’s almost like this narrow minded school system we abide by is just a dark cloud that hovers over us and imprints this idea that there is no other way to do things. When you think about it, school closely resembles what prison is made out to be. A bunch of unhappy people who would rather be anywhere but there. This is NOT what education should be about. We should enjoy learning, not think of it as a chore or something to get over with so that we can move on to the next thing in life. Which is what? More work? We need to focus on training our brains to engage in activities, enjoy the moment, be curious, and to discover new wonders, not new worksheets. I remember being a kid, gazing out the window on a car ride home, letting my imagination run wild, as fast as the car was going. Now whenever I drive for long periods of time, I lean over to look at what my little brother is doing. He’s constantly staring at some sort of computer screen. I even attempt having a conversation with him, asking him if he has any homework he needs help with but all I get in return is the same absent- minded response that I receive every day after school, â€Å"Nope, I already did my homework at school. † I’m always worried that he’s not getting an education, but instead is just receiving a â€Å"schooling†. He never seems engaged in his homework, but is more interested in what video game he can play as soon as he’s done. What ever happened to picking up a book and actually exercising the brain to imagine impossible things such as dragons and fairies? Does the board of education honestly think that they are tricking everyone into thinking that you will learn better off of a simple worksheet rather than actually going out and doing hands on interactions? Why do they restrict us? It’s almost like they emphasis conformity. It’s such a contradicting setting, school is. They put so much pressure on us to be individual and be completely yourself, yet they don’t allow us freedom to do so. I think we all stay so indifferent to the subject that it’s only getting worse. And the more we stay indifferent about it, the more the problem will escalate. It’s a vicious cycle that has to be stopped.

Stanislavskis method of acting

Stanislavskis method of acting Konstantin Stanislavski, (born Konstantin Alekseyev, and sometimes spelt Constantin Stanislavsky), was 14 years old when he first set foot on the stage that his parents owned in 1877. His love of the theatre blossomed throughout his life, leading him to become one of the worlds most influential theatre practitioners to date. His work in the field of theatrical rehearsal techniques made him a household name for drama students worldwide. He published many books and guides designed to give drama students an insight into realism, including An Actor Prepares and Building a Character, which outline various famous rehearsal methods designed to allow an actor to fully relate to their character, to the point that they are not just pretending to be them, but actually living their lives. He argued that the actor should Love the art in yourself, not yourself in the art [1], looking for the emotion within themselves as opposed to the words in the script. Stanislavskis pioneering vision for the theatre was that characters should be believable, and the storyline should focus on the emotion portrayed, engaging the audience through means such as empathy. He argued that anything put forward on the stage should be an accurate account of real life, a thought which derived from his distaste for the melodramatic theatre he had grown up with. However, Stanislavski is one of several famous theatre practitioners, all with a completely different concept of what theatre should be. For example, Bertolt Brecht put forward the theory of Epic Theatre, which taught that the audience should always be alienated from the action onstage, unable to identify with the characters, but rather being left with questions to ask themselves. He believed the audience couldnt possibly empathise with the characters onstage because there were so many individual differences in society itself- society cannot share a common communication system so long as it is split into warring factions (Brecht, 1949, paragraph 55[2]). Brecht wanted the audience to leave the theatre debating their morals. Another prestigious theatrical practitioner is Antonin Artaud, who argued that any performance should deeply affect the audience. In order to achieve this, he used non-naturalistic lighting and sound to create a disturbing atmosphere. Artaud wished his audience to leave the theatre having changed within themselves. With three such different aims from each practitioner, it is difficult to be sure whether any of them had a particularly valid point. All three theories are widely respected, but each contrasts and challenges the next, meaning that, in order to believe in one of them, you must rule out the others as valid. These conflicting theories became the beginning of the main ideas behind this project. I wanted to know whether there was a solid way to prove whether Stanislavskis theories are affective to the audience in terms of creating a more realistic performance than one with normal rehearsal, or indeed rehearsal methods devised by other practitioners. To be able to determine this, I needed to conduct deeper research into Stanislavskis system. The system itself is deep and intricately detailed, with many different aspects as to what Stanislavski considered a good performance. However, some points are evidently more significant to him than others. According to the online Encyclopaedia Britannia [3], the main features are Given Circumstances and the Magic If, and Emotional Memory. Units and Objectives is also a major feature of the system, so these are the three aspects I chose to refine my research to in order to establish a better understanding of Stanislavskis method of acting. Given Circumstances and the Magic If Stanislavski said that what is important to me is not the truth outside myself, but the truth within myself [4], meaning that anything put forward on the stage must be true. He recognised this idea was a potential issue because all acting is, essentially, a lie. He therefore said that all actors should be as true to themselves as they can while playing a part. The idea behind Given Circumstances is that actors accept that, with the script of a play, they are given a set of circumstances which they must adhere to in order to create the storyline. Given circumstances can relate to either the character or the play itself, and they include things like characters age, gender, social class, and the plays time period, setting and social/historical/political implications. In order for an actor to give a true performance, Stanislavski put a massive emphasis on the importance of research into the given time period or situation so that the performer would truly understand their role. He taught that the research needs to be completed until an actor can fully flesh out his character, and answer any questions given to them about their characters parentage, childhood, and life events, even if these arent mentioned in the script. Once the Given Circumstances had been realised, Stanislavski suggested that the actors utilised a linked aspect of his theory, called the Magic If, in order to deal with them. The Magic If is a technique where the actor asks himself given the circumstances already decided by the playwright, if I was this character, and I was in this situation, how would I react?. In his book An Actor Prepares, Stanislavski talked about the professor using the example of pretending to be a tree. Say to yourself: I am I; but if I were an old oak tree, set in certain surrounding conditions, what would I do? and decide where you are in whatever place affects you most (Stanislavski, 1937, p65[5]). Stanislavski asked that his students allow their imaginations to flourish th rough techniques such as Given Circumstances and the Magic If, to construct deeper, more realistic performances. Emotional Memory Another technique which was born from Stanislavskis belief that acting must be real is Emotional Memory, sometimes known as Affective Memory. Shelley Winters, an example of a famous actress with ultimate belief in the Stanislavski System, said that as an actor you must be willing to act with your scars [6], or in laymans terms, be willing to allow your inner emotions and past experiences to show through. This is essentially the main terms of Emotional Memory, which requires the actor to draw on previous personal experiences which resulted in a similar emotion to which their character is experiencing. Once the actor has identified the experience, they are encouraged to allow the emotion they felt once again take over their mind and body, reinstating the context and mind-set until the emotion is real. The emotion must then seamlessly be applied to the script or character, as Stanislavski felt this would make the performance more believable because the emotion is true to the actor. Pete r Oyston, founding Dean of Drama at the Victorian College of the Arts and regular teacher/director at the Royal Academy of Dramatic Art in London, created a rehearsal method specifically designed to enhance the feelings from memories. He published this, and other methods referring to Stanislavskian techniques, in a DVD documentary called How to use the Stanislavski System (2004). The Emotional Memory section can be viewed on YouTube [7], and teaches the student to remember a time when they personally felt an emotion which shadows or parallels that required from the text. They are encouraged to talk about the situation they are remembering out loud, until the emotion takes over their minds and bodies. Then, they must seamlessly transfer their speech from their own recollections to the script given to them, transferring the emotions at the same time. Units and Objectives One of the most prominent aspects of Stanislavskis method is his idea that any character in any play has a Super-Objective throughout the action; an aim or driving force which sustains throughout the play. Stanislavski taught that this Super-Objective must stay in each actors mind throughout their rehearsal and performance, and that even though it may not be stated, or even obvious, they must take it upon themselves to research and discover it. Once this has been accomplished, he felt that the script could then be broken down into smaller Objectives, which would change several times throughout the piece as the plot deepened. Each Objective must be a verb, in order to be an active objective. He asked actors to split their script into Units and Objectives. Most pieces of drama are split by the playwright into a series of scenes and acts, allowing the action to move in time or setting, but Stanislavski found that an objective could run through and overlap into different scenes, or chang e very suddenly in the middle of an act. He therefore introduced the concept of Units, which are another way of dividing up a play- each unit should contain one objective. The diagram above outlines the intricate detail of the aspects of Units, Objectives, and Super-Objectives. The Throughline of Action is the aim in a characters mind throughout the entirety of the play, which culminates in the Super-Objective. Meanwhile, each character has several different Objectives which are split between the Units the actors devised for the script. These Objectives can take the character to many different places, but their Super-Objective will always remain the same. Furthermore, the Objectives themselves are equally as detailed. Stanislavski said that each Objective could be broken down into the Aim, the Obstacle and the Action. The aim is what the character is trying to achieve in that particular unit. The obstacle is something which stops or restricts them from fulfilling their aim, and the action is the steps the character takes in order to avoid or overcome the obstacle. Stanislavski accepted that it is impossible for a play to achieve a smooth finish where objectives are concerned because often, the action takes place off stage. The characters come and go, and the time changes, so we as an audience cannot witness the whole story. Stanislavski said that in order to overcome this, actors must always be consciously aware of their Super-Objective. A familiar example of this aspect of the Stanislavskian Theory is Shakespeares story of Romeo and Juliet. Romeos Super-Objective is to experience true love. He begins the play with the objective of marrying Rosaline, and this continues to be his objective until the Unit shifts at the Capulet party. Here, Romeos objective becomes to find out more about Juliet, and later becomes to marry her. Towards the end of the party, however, Romeo speaks with Juliets nurse, who tells him that her mother is the Lady of the house -that Juliet is a Capulet(Shakespeare, 1973, p. 910 [8]). This provides the obstacle, since Romeos family, the Montagues, have an ancient feud with the Capulets. Romeo then takes on a new action, which is to overcome the feud between the families, even if it means the couple have to lie about it. Romeo doesnt manage to fully achieve his Super-Objective, because he never experiences the simplicity of love he was looking for- both he and Juliet have to die in order to truly be together. Of all the aspects of Stanislavskis method, these three prove to be the most popular among modern day performers. Having researched the key aspects of Stanislavskis system, I devised a way to be able to assess the effectiveness of them on a live performance by young actors, as this would allow me to establish whether the method does in fact help to produce a more believable performance. I decided to conduct an experiment into the effectiveness of Stanislavskis system. I decided to utilise my contacts at a local youth drama group, which is made up of young actors and actresses aged between 11 and 17 years old. In order for the experiment to be a fair test, I determined to split them equally into two groups, and give each group the same scenario to work with. I planned to leave group one, the control group, to rehearse to their own methods, while conducting group twos rehearsal processes myself, giving them tasks similar to those set by Stanislavski to his own pupils. After the groups had had the same period of time to rehearse, I wanted to invite an audience to watch their performances. The audie nce were to be given a questionnaire after the performances, asking which groups interpretation of the scenario they found more convincing and realistic. I intended to film both sets of rehearsal processes in order to put together a short documentary. The results of the audience questionnaire were intended to ascertain whether Stanislavskis rehearsal methods have a real influence on making modern day performance more realistic. In order for this experiment to work, I firstly had to create an idea. Originally, I devised a script which revolved around the issue of teenage pregnancy, which is a growing concern in todays society. The script included four gender specific characters, and I intended to have both groups perform the same piece; one using Stanislavskis techniques, and the others using generic rehearsal processes. Having written the short play, and talked briefly to the children at the theatre, it became apparent that there was more interest in the workshop than I had expected. Another problem with using a script would have been that the audience would have watched the same piece twice, and would be comparing the actors individual performances as opposed to the believability of the pieces. Since it would have been unfair of me to cast the roles, I instead decided to take a different approach in order to include everyone. I devised a scenario, again based around a teenage pregnancy, that each group wou ld be able to use as the core of their piece of drama. They would then devise the rest of their plays alone. This meant that each group could incorporate a flexible amount of participants, and ensured two unique, original performances. With my idea in mind, I next needed to devise some Stanislavski-based rehearsal techniques for my group to use during their preparation for the production. Keeping the themes of Given Circumstances and the Magic If, Emotional Memory, and Units and Objectives in mind, I devised three rehearsal techniques specifically tailored to Stanislavskis ideals. With these techniques devised, I had to actually carry out the rehearsal and performances. In order to do this, I would need a space, two groups of actors, a party of responsible adults with CRB checks and an audience. I contacted the chairman of the theatre and booked myself a studio performance room for Saturday the 3rd of April. I then sent out letters to the actors involved with the Nonentities Youth Theatre. The letters outlined the project and the experimental side of the day, offered the chance to look at the technical side of theatre, and asked for a response. I received 18 positive responses back, which was many more than the ori ginal 12 participants I had in mind, making the scenario idea far more usable. I then had to split the actors into two different groups, a control group, who would direct themselves, and the experimental group, who I would direct using Stanislavskis methods. The groups needed to be equally weighted with talent, as it was important to make this experiment as fair as possible by not allowing acting ability to throw it. I therefore split the actors into groups myself, aiming to balance the ages in each group while placing responsible actors I could trust to work independently in the control group, and actors open to co-operation and willing to listen in the Stanislavski group. The Independent Variable of this study was whether Stanislavskis methods were applied to rehearsals, and the Dependant Variable was whether the performance was more believable based on the rehearsal method used. My hypothesis was: The techniques used in rehearsal will have an affect on the performance given. I experienced my first problem of the day when the actors arrived in the morning. Shortly before the workshop was to take place, a letter had been sent to all members of the youth theatre outlining the need for a new leader and the cancellation of sessions until another letter was sent out. It became apparent that many of the actors who had wished to be a part of the workshop had assumed that it, too, was cancelled, so the final number of actors I had to work with was just 10. Although I had to adjust the group list, the smaller number of participants made the day as a whole more intimate, and the group sizes more manageable, so I feel it was a beneficial circumstance. Once everybody had signed in, I conducted a brief warm-up, asking all members to think of the way different characters moved and spoke in real life, asking them to act believably, not just as caricatures. I then split up the actors into groups, and chose the two girls who I felt would be most capable of acting the par t of the pregnant teenager. I asked both groups to create a piece of drama focussing around the pregnancy that would last between 10 and 15 minutes, and I gave each group a list of criteria that they must adhere to, including aspects such as using the younger members in the younger roles, including a number of monologues from different characters, and that they must write down the decisions made in early rehearsal. I told the control group that they were allowed to use music, and dramatic techniques such as physical theatre and freeze frames, while the Stanislavski group had to endeavour to make their characters and circumstances applicable to real life, and were told not to use out-of-place techniques like freeze framing. The video was set to record as the groups split up into two different rooms, and I allowed the control group to keep to themselves for the majority of the day, while I worked with the Stanislavski group, asking them to use my previously-prepared rehearsal techniqu es. The first technique I gave them was designed to support Given Circumstances and the Magic If. I asked each group to use the first stages of rehearsal to create mind-maps around the pieces of drama. Whilst the control groups map outlined the storyline, the Stanislavski group were asked to spend an hour and a half fleshing out their characters, and the relationships and links between them. They gave each character a name and an age, they wrote about their beliefs and opinions, and decided upon how their characters met. Each actor developed a detailed history for their character, pulling from personal experience and their imaginations to create steady backgrounds. These are aspects relating to Given Circumstances and the Magic If because they invite the participants to firstly realise the Circumstances the script gives them, and secondly to flesh out their characterisation by putting their characters in different situations through use of the Magic If. The second technique I devised related to Emotion Memory. I used this technique when working with the actress playing the pregnant girl. We applied it to the scene in which she is told that the test is positive. I asked her to think about a time when she felt lost, and perhaps didnt have anybody she could talk to about it because nobody had been in that position before her. She talked of a time when her parents were going through a messy divorce, and she felt cut of from the both of them. She spoke openly and freely, and answered my questions honestly. As time went by, she was drawn further and further into her memory and the emotions that were present at that time, so that when I finally asked her to begin talking from her characters perspective, her acting became real. She didnt need to fake the tears, because she was filled with the emotion her character was filled with. The third technique was designed to compliment Units and Objectives. Once the actors had created their storyline, I asked them to divide it up into scenes, so that it was as close to a normal scripted piece of drama as possible. We talked about each of their characters, and what their Super-Objectives would be. The actors decided upon everyones objectives as a group, which brought a deeper level of understanding to the piece. They decided that the fathers Super-Objective would be to protect his children, while Rosie, the pregnant daughter, aimed to face her future head on. I then asked each actor to divide up the play into their own Units, focussing on the shifts in emotion. This process proved difficult for the younger members of the group, so the group as a whole helped them to identify their Units. There proved a great variety in the amount of Units in the piece for each character; while the pregnant girl had almost one per scene, the father had only two. Furthermore, the switch b etween Units for him came suddenly in the middle of his monologue, which was right at the end of the piece- before then his character had wanted the same thing throughout. I asked the group to physically improvise the scenes they had written about, and to stop the action when they encountered their obstacles. Once they had all found their obstacles, they were asked to continue acting while finding a way to overcome this obstacle- their action. I then asked them if they had noticed the other actors actions in the scene, so that everybody was aware of the decisions their group was making.This in-depth workshop class on Units and Super-Objectives made the young actors aware and knowledgeable in the field, while also allowing them to know their characters inside out by knowing what they want, and how they might go about achieving it. A couple of hours before the performances were scheduled to begin, I took notes on the rehearsal processes of both groups. The control group had included an omniscient narrator who could stop the action and introduce new characters. The narrator sat in the middle of the piece throughout the majority of the action, until the final scene where he became an involved character. A narrator is generally used to create a sense of dramatic irony, where the audience gain knowledge that the characters dont yet know. However, this type of narration is rarely set within the piece itself, more often a voice over or such like. It is also unrealistic that the narrator, who is generally removed from and neutral to the action, suddenly become real life and jump into the scene. The group also used a split-screen technique to enable them to show two different apartments at the same time, which is effective to the audience but unrealistic, as while action is playing out in one space, the characters in t he other must be frozen. This creation of freeze-framing is difficult to hold for long periods of time, and does not occur in a genuine situation. Another technique they used was audience-participation, where one member of their cast sat in the audience until the final moments of the play, where she rose, walked across the stage, took out her mobile and called the police. I concluded that the control group had included various aspects of performance which were designed to make the action more interesting to the audience, and add the element of surprise, but were not designed to look or feel realistic. They had spent only half an hour mind-mapping their decisions, and talked about their other decisions while physically rehearsing. The Stanislavski group spent an hour and a half developing their characters, and another hour developing their storyline, so they ended up with four A3 sheets of paper detailing their entire performance. They used only one location, the teenagers bedroom, so that there was never a set change needed, because it would interrupt the storyline and distract the audience. The groups monologues were delivered to a person, as opposed to the audience, so that the barrier between the audience and the characters stayed strong. Had the actors been talking to the audience, their speeches would have seemed less realistic. After five hours of rehearsal, it was time for the final performances. Each actor had been asked to invite some family members or friends, and members of the theatre came along to participate too. Each audience also included the actors from the other group, making the final audience figure 19 members. I watched the performances, but didnt participate in the questionnaire, as I would have been biased toward the Stanislavski group. I introduced the pieces, and talked about the work the actors had undertaken over the day. The audience werent told which group was the control group, and which group was the Stanislavski group, until both performances had finished, meaning that they couldnt be biased in favour of Stanislavski either. I also asked them to be open minded, and not answer the questionnaire in favour of the production their child was associated with, telling them they were judging my direction, not the individual actors talent. The audience watched the control group first, and w ere given time to fill out their questionnaires while we set up the stage for the Stanislavski group. After both performances had finished, I thanked everybody for taking part and collected in the questionnaires. Having extrapolated my results, it became apparent that there was a general feeling that the Stanislavski production was more believable. When asked was the main storyline believable, 66% of the audience thought that the control groups piece was a dramatised and exaggerated version of real life, while 95% thought that the Stanislavski groups piece could credibly happen in real life. Having worked extensively with the pregnant character from the Stanislavski group, I was pleased that 42% of the audience thought that she portrayed the pregnancy flawlessly, while a further 42% felt that she portrayed it very well, while in the control group, these percentages combined only reached 44%. I asked the audience to rate how believable they felt the overall performances were, and 56% rated the control groups performance at an 8/10 or higher, while 94% rated the Stanislavski performance at an 8/10 or higher. Overall, it is evident that the Stanislavski groups performance was more widely believe d. It is important to note that the effectiveness of the performances given may not be entirely down to the methods of rehearsal used. Although I tried to make the experiment as fair as possible by attempting to make the rehearsal methods the only variable, other extraneous variables may have had an affect on the final results. For example, since there were fewer participants than planned, I had to shuffle the groups a little. This meant that the control group had two of the younger members in their piece, while the Stanislavski group had four older members. The younger members of the theatre are less experienced and therefore dont have as many creative ideas to bring to the mix. It is also apparent that almost half of the audience were family members of the younger actors, meaning that they are liable to vote in favour of their childs piece as they are proud to see them on stage. Although I asked the audience to keep an open mind, they may have been bias towards their family or friends , and this is a factor which could have affected the final results. At the beginning of my project, I asked myself What is Stanislavskis Method of acting, and how far has it influenced modern day performance? Having undertaken a considerable amout of research on Stanislavski and his methods, it became easier for me to define them, and to easily distinguish the difference between his teachings, and those of other practitioners. I found that Stanislavskis method of acting is largely based around the actors own interpretation of the character, aiming to keep the emotion real. I found that Stanislavski wanted the audience to connect with both the storyline and the characters, and he achieved this connection by keeping th acting real, thus allowing the audience to connect empathetically. Having created an experiment to see whether Stanislavski did indeed influence modern day performance, I found that the audience were effected by the group that used the Stanislavskian rehearsal techniques, so much so that one person wrote on the bottom of their questionna ire that their performance actually brought tears to my eyes. While researching, I came across a website [9] where Jeni Whittaker (1999) argues that Stanislavski is rightly called the father of modern theatre, his System of acting became the backbone of twentieth century theatre craft. Nearly all other practitioners use him as a starting point, either to build from or to react against. This substantiates my initial hypothesis that Stanislavski has a major influence on modern day theatre. In conclusion, I feel that Stanislavski has an extended influence on modern day theatre. Audiences of today wish not to be challenged or alienated, but to see characters they can relate to on the stage, and the majority of theatre today follows this teaching, whether the director realises he is adhering to Stanislavskis theory or otherwise. Furthermore, when watching two similar pieces of drama, it became apparent that the audience are more drawn towards that which used Stanislavskis rehearsal techn iques because the characters and storyline were portrayed in a true to life manner. I found that Stanislavski is not only used in theatre, as many famous screen actors choose his methods when getting into character. I feel that the world is exposed to Stanislavskis teachings more than it realises, and therefore the influence of Stanislavski on modern day acting is significantly higher than I believed when I began the project. References: Source unknown, Stanislavski. Brecht (1949). A Short Organum for the Theatre, paragraph 55. Encyclopà ¦dia Britannica (2010). Stanislavsky method. Encyclopà ¦dia Britannica Online; Retrieved February 22, 2010, from: http://www.britannica.com/EBchecked/topic/563178/Stanislavsky-method Source unknown, Stanislavski. Stanislavski (1937). An Actor Prepares, (reprinted 1988) United Kingdom: Methuen Drama LTD. Harry Governick for TheatrGROUP. (1992). An Interview with Shelly Winters; Retrieved February 22, 2010, from http://www.theatrgroup.com/Shelley Peter Oyston, How to use the Stanislavski System DVD(2004). Retrieved (via YouTube) April 12, 2010, from http://www.youtube.com/watch?v=zmhggaEuJj8 Shakespeare (1973). Romeo and Juliet, from The Complete Works of Shakespeare- The Alexander Text. London and Glasgow: Collins. Jeni Whittaker for DramaWorks. Stanislavski through Practice (1999) Retrieved April 13, 2010, from http://www.dramaworks.co.uk/stanislavski.html

Life Lessons in Maya Angelous Graduation Essay -- American Literature

Life Lessons in Maya Angelou's Graduation Throughout life we go through many stepping stones, Maya Angelou's autobiographical essay "Graduation", was about more than just moving on to another grade. The unexpected events that occurred during the ceremony enabled her to graduate from the views of a child to the more experienced and sometimes disenchanting views of an adult. Upon reading the story there is an initial feeling of excitement and hope which was quickly tarnished with the abrupt awareness of human prejudices. The author vividly illustrates a rainbow of significant mood changes she undergoes throughout the story. From the outset of the story there is an overwhelming sense of hope that has enveloped the entire community and school with the upcoming graduation. The communitie's involvement strengthens the authors excitement in her rite of passage. Everyone is preparing for the ceremony and seeking to see how it will affect the lives of those involved. "Only a small percentage would be continuing on to college" (835) and others were just excited for the "glorious release" (834) from school. She felt like she was on top of the world, after all, "the graduating classes themselves were the nobility" (834). It is obvious how much pride she takes in her community by the way she describes her class as "an extended family." (834). The author's school was not the most impressive school compared to the white schools in the area but that could not damper the spirit that was filling the air. Parents who were buying or making new outfits for their graduates made everyone including the author the center of attention. Her "momma launched out on [hers]," (835) and she was swollen with pride that she was going to be a walking mod... ...fe she really knew and felt deep down to the core of her being what the words truly meant. The words had brought back her hope and pride in herself and in her community. What Leavy had said was a fallacy and they could as they have in the past rise above the world's bigotry. Righteousness returned to Angelou and the entire community; "we were on top again."(841). During the essay the author lost her innocence but graduated to a deeper appreciation and clarity of who she is and who she could become. In her school with no visible fences keeping the children within the schoolyard, there were the invisible fences of racism that tried to limit them from reaching their full potential. The author concludes, "I know not what course others may take, but as for me, give me liberty or give me death" (841). Works Cited: Angelou, Maya. 'Graduation.' Cromley 29-39.

Prison Term Policy Recommendation Essay

As a realistic matter, it is smart to sustain a bill that addresses a real concern, creates proper use of resources and effectively addresses the problem for which it was intended. It is known that victims of armed robberies want to see the offenders punished. It is noticeable that the public’s desire is to be safe and protected from being a victim of armed robbery. While on the other hand, the legislature must show caution in legislating across the board sentencing and defend discretion for the judicial system to consider the specific aspects that creates each case. â€Å"Yet advocates of deserved punishment argue that it is not automatically evident how intermediate sanctions compare with either prison or probation in terms of severity, nor is it clears how they compare with one another† (Clear, et. al., 2008). For example placing one offender on intensive probation while ordering another to pay a heavy fine may violate the equal punishment rationale of just deserts. Any recommendation should examine the proposed bill and the Criminal Justice System. Fairness is subjective; in spite of this every society will form a series of regulations through which to defend the individuals and society from damage. If an individual violates one of the regulations dictated by culture, there is usually a consensus of what constitutes a suitable punishment. In the United States, we depend on the Federal Sentencing Guidelines in addition to every state’s adoption of the Model Penal Code. Section 1.02(1) of the Model Penal Code instructions the allocation of punishment as â€Å"to safeguard conduct that is without liability from condemnation as criminal† (culpability), â€Å"to provide fair caution of the nature of the conduct confirmed to represent an offense† (legality) and â€Å"to differentiate on logical basis between serious and minor  offenses† (proportionality) (â€Å"Model Penal Code†, n.d.). Here we are referring to ar med robbery. Considered a felony, armed robbery tends to take a large penalty in the majority states. Among the fundamentals measured in determining if a crime has been committed, one must address the diverse levels of culpability and/ or extenuating factors. Armed robbery can be a violent well designed crime otherwise a clumsy half-witted attempt. Eventually a result of guilt must be made, by a predominance of the proof, with competent lawful protection representation offered to the accused. Only after all these necessities are met can a judge proceed with sentencing. These judges must have discretion in considering the above three aspects and weight them accordingly in order to distribute a sentence that is fair and balanced. While the community may desire a representative to be challenging on crime, the community tends to be sympathetic to media stories of criminals who act out of distraction or need. There has been strong resistance to suggestions that delay individual considerations. Beyond the instant punitive effect, punishment can serve the need of removing dangerous people from the society, serve as deterrence to those inclined to commit a crime and potentially reform criminals into law abiding citizens. These societies have also recognized that in order for any corrective act to have its preferred effect it has to fit the crime. Take for instance the cutting off of a hand for someone caught stealing. Most western societies would regard this punishment as too severe and those societies that adopted this practice have come under scrutiny for these practices. Armed robbery has no doubt been addressed within these judicial systems. Sentencing guidelines should always represent fairness in reliability and proportionality. Also consideration needs to be taken into account as to why new policy efforts are being made for this particular crime. Is there a belief that the accessible laws have displayed omissions or errors that must be addressed? Has there been a failure of the justice system in punishment of armed robberies? Are convicted armed robbers being released from prison too early? Do they cultivate to be repeat offenders? Do these crimes tend to rise into murder or other violent felonies? Are there precise instances where the existing laws have failed to serve justice? To decide the practicability of the bill, the discussion of correctional assets would be applicable. The result of this bill regarding  maximum sentencing (as opposed to mandatory minimum sentencing) doubles the correction time for the person who is convicted in the armed robbery. In each specific case, to evaluate suitable sentence and to weigh the severity of the crime, the bill’s full force is to provide more choices to judges and the sentencing board. This bill may not help enforcing the provisions but may supply more choices for the severe cases which deserve more severe punishment. References Clear, T.; Reisig, M.; Cole, G. (2008), American Corrections. Retrieved from Google Books. Model Penal Code. (n.d.). Retrieved from http://www1.law.umkc.edu/suni/crimlaw/mpc_provisions/mpc1021.htm

foreign essays

foreign essays Sverre sà ¸v diagonalt over senga mens han siklar p puta. Han er i djup sà ¸vn. Buksa er halvvegs p og skjorta er p vranga. Det er ein à ¸lflekk p skjorta. Mora roper fr trappa. du m vakna no, frukost! Sverre vaknar raskt. Han ser forskrekka rundt seg. Augene er raude mens munnen str p vidt gap. Hrfrisyren hans er heilt omforma. Han har eit kvalmande uttrykkje i ansiktet. Han svarar. komme! mens han strekkjer kroppen sin. Han reiser seg og sitter p sengekanten med henda over ansiktet. Snn sitter han ei lita stund mens han stà ¸nner litt mens han mumlar lgt. Komme Og han tar seg p hovudet som han hadde vondt. Mora roper igjen. kommer du?! No blir maten kald. Sverre sitter enda med hovudet mellom beina. jaaaaa! roper han irritert tilbake og reiser seg for g til badet. Han tar av seg kleda han har p seg og bytter dei med noen andre som henger p stolen p rommet hans. Han ser seg i spegelen. Augene liggje p halvglà ¸tt. Han tar p springen og dyppar ansiktet i kaldt vatn. Han tà ¸rker seg i handklede og gr ned trappa for ete sà ¸ndags-frukost med mor og far. Han fiksar seg ein siste gang, der han tà ¸rkar seg i ansiktet og rettar seg opp. Han ser nervà ¸s ut. Han rettar p kleda sine og spaserer ut p kjà ¸kkener der Far og Mor sitter. Han hà ¸yrer radioen str p og at dei diskuterer noko. Han kommer in. Det blir brtt stille. Far og mor slutter snakke. Far snur seg. Litle sà ¸stera hans Hilde sitter der ogs. Sverre sitter seg ned p kjà ¸kkenstolen. Alle tre ser p Sverre. Far - kva er det s feiler deg da? Er du sjuk? Spà ¸r han undrande. ...