'Hoods' can be an Epic theater play, compiled by Angelia Betzien, directed by Leticia Caceres and composed by Pete Goodwin which is approximately domestic maltreatment. The plot is approximately three children, Kyle, Jessie and baby Troy, left behind in the automobile by their mother, who desperately was required to leave everything following the abuse she acquired from her husband. The current issue of domestic violence is expertly handled in the Epic theatre style play 'Hoods', This can be proven throughout an examination of narration, direct address to the audience, episodic framework, fragmentary costumes and props, multiple tasks, use of costume and lighting and soundtrack.
Narration, a convention of Epic theatre, is employed in 'Hoods' thus making it a strong example of politics theatre. This system is often utilized by actors to spell it out the scene to the audience to tell them what is occurring. This can be used as a 'Alienation', or called by Bertolt Brecht as the 'Distancing Result', to "encourage the audience to keep their critical detachment" and also have them taking into consideration the issue, which in the 'Hoods' is home violence. Within the play this is seen when the father kills the feline with a plastic material bag, Jesse asks for a hug from a educator, and at the end when they tell the of the storyplot. The two actors projected their words in sync and acted on stage while narrating. This has made a strong distancing effect to the audience as it dealt with the audience of the play without actually having them being involved in the play emotionally. Narration was used throughout the play expressing a more powerful concept to the audience by having the audience remained focused on what was occurring rather than being it.
Direct address is a popular technique found in Epic theatre for the actor to truly have a direct address to the audience to prepare the audience for a picture change. Brecht has utilized immediate address to the audience too communicate the message more obviously. Betzien made the play to own scene changes normally as possible to distance the audience psychologically from the play from the delicate subject of local abuse. This impact has got the audience pondering and reflect on what is taking place. The actors individually dwelling address the audience what the scene is, frequently speaking in sync. They described their potential to pause, rewind and fast forward the storyplot. Get back throughout the play, they intentionally swap moments in a blink of your eye to find the audience to concentrate on the new thing that is going on. The two actors always gave a direct address to the audience to have them focus. Immediate address was sufficiently used throughout the play to echo Epic Theatre and has portrayed a much more powerful communication to the audience.
Brecht used episodic composition in his has because it distanced the audience from being psychological involved with the play. He sought his views to be observed, heard but not thought as people would not think about the message if it if the audience were psychologically used. Epic theater has since contained episodic structure into the style to distance the audience from being emotionally attached. In 'Hoods' it is used to explain the storyplot of the children's life, the abused life they may have lived and the desperation of Jesse to find passion and protection. Caceres has made the stars to have landscape changes to change the audience's attention from the sentiment and have them concentrating on the new picture. Most occasions the new scene change was showing the improvement prior to where in fact the children received in the car, the maltreatment the mother coped from the father. Thus giving the audience the subject matter of the play that it's about domestic misuse Episodic Structure was sufficiently used throughout the play to mirror Epic Theater and has indicated a much more powerful subject matter to the audience.
Throughout the play both stars change costumes and change props whenever a new scene occurs. This is done to done to find the audience to give attention to the new figure and scene to follow the story. In addition, it invoked humour in the displays that which distanced the audience to being detached from sense the play but pay attention instead. During, before or after a primary address, narration and arena change, the actors change their costumes by firmly taking off their hood, put on a hat or keep a prop. A good example of a prop found in the play is the fairy wand Jesse presented. Another example is Kyle's head wear, whenever the professional wore it, they instantly know it is Kyle. It has an impact on the play since it makes it easier to follow because the costumes identify the type distinctively. The effect of clear figure through voice and only one costume/prop makes the play more more powerful. This is done therefore the audience will target and listen to learn who the type is. This ranges the audience from an psychological reference to the celebrities so they concentrate on the play.
The soundtrack and lighting worked together hand in hand when the action on level tensed up. An example is the finish landscape when Jesse received Kyle to leave the car with her to demand help. This functioned really well due to the anxiety building music which received the audience to listen more and involved in the issue on level. It has made an incredible influence on the play because of the consequences of the play made the audience mirror the storyline and issue afterwards. This was done to build the strain on stage and provoke the audience to pay attention. The light with the soundtrack created an atmosphere to which grew the strain. An example is when one professional was telling the storyline of the kitten, the lamps was dark and the music was dark ambience. This created the tension that centered the audience on the story and was made because it distanced the audience from being emotionally attached.
The current issue of domestic assault is expertly handled in the Epic theater style play 'Hoods' by the use of remarkable languages: narration, immediate address, episodic structure, fragmentary props and costumes and soundtrack and lightening that has given the play the strong subject matter to the audience without them emotionally mounted on it.
