Because of this, Will and Carlton go out to the ATM downtown to pay for his lamp. Will foolishly opened Carlton's raft which caused his hurricane lamp to shatter. The episode started with the Banks about to go on a camping trip. He was portrayed by an uncredited Stephen Lang, who also portrayed Miles Quaritch in Avatar, Norman Nordstrom in Don't Breathe, Khalar Zym in Conan the Barbarian, Increase Mather in Salem, Percy "King" Dimplewade in The Nut Job, The Party Crasher in The Hard Way, and Shrike in Mortal Engines. After all, drama, perhaps out of.The Shooter is the main antagonist of the Season 5 episode of The Fresh Prince of Bel-Air entitled "Bullets Over Bel-Air". The performances discussed in this essay ask the audience to bear witness to the human condition through metatheatrical tools both subtle and explicit, depending on the historical moment and limits imposed on the social negotiations with which the playwright can invite the audience to respond. After all, without an audience a play is in some vegetative state bereft of its revolutionary power to transform the lives of its viewers. In her study of Christopher Marlowe's Edward II, Meg Pearson asserts that to "term a spectator a witness is to draw attention to the moments in a play when the viewer engages not only with the play before them but with the contemporary discourses surrounding the judicial practices of the period and the lively debates surrounding the significance and credibility of vision and watching." (1) I am utilizing this interpretation of "witness" as both a noun and a verb. While the writers and performers of both eras take different approaches to metadramatic moments and breaking the fourth wall, their underlying purpose revolves around an ethical charge to provide provocative, uplifting, and life-changing inspiration to an audience that can be disinterested, uninformed, jaded, and/or reluctant about the issue at hand. By focusing on the didactic ethical, social, and political elements of plays in both Renaissance tragedy and postmodern street theater, we can understand how the interactive elements of street theater from political groups such as ACT UP are indebted to and follow the same ideological drive of the more understated interactive elements of Renaissance-era English plays such as Thomas Kyd's The Spanish Tragedy and William Shakespeare's Hamlet in calling audience members to bear witness and respond to the themes explored in the spectacles before them. I begin with this childhood memory to underscore the thrust of my argument about how drama that ruptures the symbolic and physical distance between actor and audience can make viewers agents for positive moral change in their lives and those of others. By blurring the lines between actor and audience, the performance becomes visceral, intimate, and personal in a way that compels the audience to be active agents in the moral drama in which they are now participants. Although the Gospel readings can be uneventful, when imbued with such an interactive element, the Church manages to make parishioners, their voluntarily captive audience, bear witness to the ethical and spiritual elements of the Passion and its central characters. I realized how Mass had the potential to be a transformative event rather than just an hour of contemplation. The guilt I experienced in this performance, however briefly it lasted, was profound.
My fellow parishioners and I were instructed to participate in the reading of the Gospel by reciting the lines of the crowd that called for Barabbas's freedom and condemned Jesus to death by crucifixion.
The first time I realized I was an actor in an interactive drama was during a Palm Sunday Mass the year I was preparing for my First Communion.