Blythe Spirit essay - The set itself also created a feeling...

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Robert England HON 180 – Performance 4 Friday, October 28, 2005 The recent Maine Masque production of Blithe Spirit included a number of special means for placing the audience into the setting of the comedy. All around, the production was very well-built, especially in the areas designed by the Masque. The costumes contributed to the feel of 1940’s Britain; the living beings wore crisp suits and colorful dresses. The spirits, on the other hand, wore only white and off-white, with Elvira wearing a fancy party dress and Ruth wearing a paler version of the dress she wore when she died. The spirits were further differentiated by green-and-white patterned spotlights, implying that they were not normal and that only Charles could see them. Indeed, lighting played an important part of the production, especially the séance portions, when the dim lights created a supernatural feel to the event.
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Unformatted text preview: The set itself also created a feeling of a slightly pre-contemporary time. The large white walls were classical, yet somewhat eerie in the dim light. The double doors at either side were ideal for slamming in someone’s face. The furniture in the room added to the action, from the strangely-acting bay windows to the table that never wants to stay still. The final sub-scene, in which Charles gives his last words to his two dead wives and they begin wreaking havoc on the room, is one of the most amusing in the play, as paintings fall off the walls, lights flicker randomly, and pillows fly about searching for that one particular target, giving the audience one last laugh before exiting. In the end, all these special objects created for the production did a wonderful job of drawing the audience further into the story....
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This essay was uploaded on 04/19/2008 for the course HON 180 taught by Professor Hatlen during the Fall '05 term at University of Maine Orono .

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