Create a newspaper that the Gods might have read. You will need to include popular sections just like a real newspaper: sports, world news, local news, entertainment, comics, advice column, etc. Make sure that the contents of your newspaper reflect all your knowledge of Greek Mythology and The Odyssey.
Imagine if Odysseus had kept a blog. In these posts, Odysseus vividly describes life in war, life on the boat, and life during his many adventures. Write a blog of AT LEAST 6 entries, using the proper format. Each post should be at least one page in length.
Create a Board Game
Create a board game based on The Odyssey. You are the judge for this assignment; you make the rules. Your game must include a title, a board, game pieces, illustrations, and an instruction booklet to go with it. The game should be playable and relate to the story in more ways than just place-names and characters.
Create a cruise travel brochure based on Odysseus’ travels. This brochure should be colorful, creative, and written to entice travelers to spend their money on your cruise. Use lots of descriptive language that will encourage would-be cruisers to take your cruise!
After being separated for 15 years, Una comes looking for Ray at his workplace after discovering his picture in a magazine. They once had an illicit relationship, and have been suffering the consequences ever since. What transpires next is a series of chilling twists and turns as details of their sordid past begin to unravel. Blackbird is essentially a 75-minute duologue between two tormented souls, in an extremely filthy and under-maintained office pantry, which Ray calls a “pigsty”. This intense confrontation, being the focal point of the entire play, situates itself in a confined space. The claustrophobia is evident in the beginning of the play, when Ray keeps finding excuses to leave the pantry. Director Tracie Pang’s artistic directions add a dimension of compelling realism, that would have been otherwise missing from the near-claustrophobic confrontation taking place onstage. The minimalist set design by Nicholas Li (with just a dim fluorescent tube light, a dispensing machine, a clogged litter bin, a few lockers, one table and four chairs) echoes Ray’s repressed life. The barbed wire lining the top of the set is a fitting reminder of the entrapment Una felt throughout her entire life. The subtle use of sound by Darren Ng (constant buzzing sound of a dully running office) also contributes to the mellow tone of the play. The most sublime scene in the play fully transports the audience to relive that fateful moment of elopement 15 years ago. The interplay between actors, set, lights and sound is at its best. Darren Ng’s sound design (seagulls on a beach, a bell tolling midnight) balances perfectly with the action onstage, teasing out the nuances during that scene. The projection of symbolic images on the pantry windows also creates a stunning effect. It is no surprise that David Harrower’s script has received the critical acclaim it has. The beauty of the script lies in its emotive capture of the juvenile mindset. The lines written for Una’s flashback of her younger days (the yearning thoughts, the defence mechanism, the way a young girl would see the world) is spot-on and succinct. I am impressed by how Harrower slowly teases the audience by choosing to reveal morsels of new information about their past as the plot unfolds, thus ensuring that the audience is constantly engaged. Every line of dialogue between Una and Ray is wrought with a dark emotion which blurs the boundaries between right and wrong. The audience plunges deep into the damaged and disturbed psyches of Harrower’s two characters who seek for answers but arrive at none. Like most plays dealing with illicit affairs, Blackbird leaves the audience questioning: Who is the culprit? Who is the victim? Is there necessarily a clear-cut right and wrong in their relationship? It is Una who discovered Ray’s whereabouts and sought him out, but to what purpose: Revenge, reconciliation or resolution? Augusto Boal, the founder of Theatre of the Oppressed, sees theatre as “the passionate combat of two human beings on a platform” (Boal, 1995). Boal’s approach attempts to substitute passivity with empowerment (monologue with dialogue). Monologue creates a relationship of oppressor versus oppressed, as the person talking forces his counterpart into listening. All relationships could tend to become a monologue, a man and a woman, one of them tends to become the actor and the other one, the spectator. Human relationship should be a dialogue but one of them somet>GET ANSWER