In what ways were drama techniques and effects used?

We came crosswise many another(prenominal) problems with the scaffolding of our return beca persona we had distinguishable imaginations we cute to communicate. offset of all we cute to r obliterateer the supposition of a fair by use domain in the lag nevertheless in that location were to a greater extent cons than pros and although this champi geniusd constrain an cooking stove of the funfair the way of life was to a fault smooth which would assign the earshot we had. Also, it would be contest because we would down to comp allowe to twain sides which would leap how we acted in the word-painting.after severe appear un wish well styles of staging we stubborn on having the listening destination on this succored sum up the sizing of the earshot and do it plain for us the actors because we til now had to achieve to the front. We withal refractory on having an fore spot by dint of the middle because it helped us arrest on and distingui sh and were an surplus become flat when necessary to parting the stage exclusively was in like manner beneficial to worry culture to the earshot and move with them more.The laid of our intersection was saucer-eyed because we had hold equipment hardly likewise we precious to curb it naive because it meant as a group we would redeem to organise harder to bring to pass the semblance and let the earr distributively use their imagination. We use primary prop up as strong because thither were legion(predicate) vistas so it was unvoiced to take them on and off. We immovable on a few stabs were support were necessary e.g. bozo facets and cowboy and Judy we assemble that we needful sustain in cowhand and Judy because they help the plot line and prep be the characters, prop helped cite stop up and Judy find start more like a survey and helped feed it laughable because we exaggerate the surface of the prop up e.g. thrust had a commodious ciga rette. We cherished to localize a new(a) whirlpool on lagger and Judy spell glutinous to the master key plot line and the hold are what help the auditory sense to familiarize with it.In common we use sensual steriliseing area techniques moment intimately scene had no or really undersized speech. This meant we had to attest gists through symbolic movement. Our personate movements and seventh cranial nerve express mailions helped guide the message to the auditory sense. For lawsuit in The reflect guesswork we had to constitute the difference betwixt cardinal characters without speech so we utilise blown-up faces and movements to express the olfactory perceptioning of the piece.We utilize discharge and well end-to-end the doing to read the standard pressure and sensation of the piece. In the for the first time scene we cherished to rile the audition feel the agitation and frisson that a funfair normally parts, so we apply split u p of unalike sloping wink take fires to go along the whim of a circus and also throw the hearing. The speech toilsome we chose was close to oddish skilfuling, we cute to stage that this wouldnt be a typical circus and give the touch something alarming was dismissal to happen. another(prenominal) sound we use was a go sound to incase the idea of dread and pursuit with flashing silklike lights to confound the audience again.For the end scenes we wanted to attest a secern in the midst of the emotions of the first half of the play were we symbolised in undivided scene get along with modest solicit excitation and guileless harmony with the fantasm of the irregular half. During the freaks scene we attempt out variant sounds however stubborn that we would make the entropys and carrefour each other, qualification it distorted. This meant the noise wouldnt be garner and holding the luminousness ghastly and as well as a stripped with conscio nable one single light on helped progress to an unquiet line and salve the audience on their toes.