Analysis Of Virginia Woolf's Orlando

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Virginia Woolf’s Orlando, adapted by Sara Ruhl, explores gender and sexuality as it follows the experiences of a young nobleman, Orlando, who undergoes a sex change. The production took place on May 7th, 2017 at the Glenn Hughes Penthouse Theatre and was directed by School of Drama faculty member L. Zane Jones and assistant director Tatiana Pavela. This paper observes how Nina Williams-Teramacht portrays two characters, an Archduchess Harriet/ Archduke Harry, and a chorus member. As an Archduchess Harriet/Archduke Harry, she portrays a character who is ludicrous and silly. As a chorus member, she portrays a character who is subtle and is the opposite from the Archduchess Harriet/Archduke Harry.
In the play Orlando, Nina Williams-Teramacht
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Her voice projection was extremely important as it brought attention and respect to the audience. She carried a strange and unique sounding voice by alternating the tone of her voice from high to low. The audience can see Williams-Teramacht was passionate about the character(s) she was performing as she brought the script to life. Throughout the scenes, we can see that the actor’s role as Harriet/Harry is very different from the other characters in the play. When Williams-Teramacht’s character as the Archduchess first encounters Annie Willis, who plays the character Orlando, she repeatedly laughs by “Tee-heeing” and “Haw-hawing” after every line. Her character automatically becomes more intriguing as the audience recognizes that Williams-Teramacht plays an amusing and ridiculous …show more content…
An example would be when Williams-Teramacht’s character realizes that Orlando’s ankle strap has become undone and dramatically drops to the floor and grabs on to Orlando’s legs to praise them. The actress also uses various parts of her body, such as opening her legs and wiggling them to try to appeal the actor who played Orlando (which I found very funny). This illustrates the silly things that the actor would do to portray to the audience that her role as an Archduchess has a deep admiration for the protagonist. The actress also involved physical actions when she was not speaking at all. This was seen when she acted as a chorus member. Although there were little dialogues in some scenes as a chorus member, the actress remained in character. In my opinion, Nina Williams-Teramacht played the most enthusiastic chorus member throughout the play.
Prior to her character as the archduchess Harriet, I did not closely pay attention to Williams-Teramacht as a chorus member. However, after her scene with the protagonist of Orlando, I could distinguish her from the other chorus members because of her movements and facial expressions. The actress’s facial expressions can easily be recognized by the audience, especially when she smiled or laughed. Her eyebrows were raised and her cheeks were pulled up and

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