Answer:
Movie audience is worldwide, coming from various backgrounds and age ranges. Movies are available nearly everywhere, and the target audience is much broader and universal. The Theatre audience is focused on the local population and their interests and background. The target audience must be adapted for the specific play, interested in the production, and be able to afford the ticket. Play audience has more intention and is more participating in the experience.
Explanation:
Movies are distributed worldwide and in today’s world, they can be seen almost anywhere – from airplanes, over computers, to cinemas. Movies can be translated easily and there is a chance someone from across the globe will watch a certain movie. <u>The audience for movies is much broader and more global, so when making a movie the director should consider how will it be portrayed worldwide in different contexts and on different screens</u>. They can be adapted to be shown to all age groups, all language groups, and all cultures. The movie audience is also not as active as the theatre audience – the production team and the actors do not witness the reaction right away. Also, the movie stays available for a long period, and when developing it one should consider how will it be portrayed to the audience in a few years. Therefore, <u>the audience for the movie is global, broad, and more passive.</u>
Play is presented to the local audience, in one certain theatre for a short period. There are not many plays that are distributed in other countries and it is harder to translate a play. <u>So the audience for the play is the local audience and the director should consider who is living in proximity to the theatre when developing the idea.</u> The play shown in the US will have to be limited to the experience of the US audience, while the French audience will have different demands and understand different cultural contexts. Also, <u>people who go today to the theatre are considered more well-off and invested in the play</u> – you can’t just accidentally catch the play on TV, you have to intentionally buy the ticket for it. So the developing team should consider how to attract people to go and buy the tickets more easily. <u>The expensive plays will be shown to the more high-standing audience, and small, local theaters will attract a more niche audience</u>. The audience can react immediately – whether they laugh or leave the theatre affects the momentary experience of the play. Plays are shown only for a certain period, so the play should be adapted limited to the present day and age. <u>Therefore, the director must consider which theatre the play is performed in, who can watch them play, what exact message and marketing should they use. The audience for plays is usually more mature, more invested, immediately participating, and from the specific local context.</u>
-From a article I have read.-
As a literary genre, a memoir (from the French: mémoire from the Latin memoria, meaning "memory"), or a reminiscence, forms a subclass of autobiography – although the terms 'memoir' and 'autobiography' are today almost interchangeable. The author of a memoir may be referred to as a memoirist.
***Nature of Memoirs***
Memoirs may appear less structured and less encompassing than formal autobiographical works as they are usually about part of a life rather than the chronological telling of a life from childhood to adulthood/old age. Traditionally, memoirs usually dealt with public matters, rather than personal, and many older memoirs contain little or no information about the writer, and are almost entirely concerned with other people. They tended to be written by politicians or people in court society, later joined by military leaders and businessmen, and often dealt exclusively with the writer's careers rather than their private life. Modern expectations have changed this, even for heads of government. Like most autobiographies, memoirs are generally written from the first person point of view.
Gore Vidal, in his own memoir Palimpsest, gave a personal definition: "a memoir is how one remembers one's own life, while an autobiography is history, requiring research, dates, facts double-checked." It is more about what can be gleaned from a section of one's life than about the outcome of the life as a whole.
Contemporary practices of writing memoirs for recreational, family or therapeutic purposes are sometimes referred to as legacy writing or personal history. Such products may be assisted by professional or amateur genealogists, or by ghostwriters.
***Types of Memoir***
Memoirs have often been written by politicians or military leaders as a way to record and publish an account of their public exploits. In the eighteenth century, "scandalous memoirs", allegedly factual but largely invented, were written (mostly anonymously) by prostitutes or libertines: these were widely read in France for their vulgar details and gossip. In another vein, the pagan rhetor Libanius framed his life memoir as one of his orations, not the public kind, but the literary kind that would be read aloud in the privacy of one's study. This kind of memoir refers to the idea in ancient Greece and Rome, that memoirs were like "memos," pieces of unfinished and unpublished writing which a writer might use as a memory aid to make a more finished document later on.
Women writers have been prominent amongst those combining the memoir form with historical non-fiction writing. Examples include Jung Chang's Wild Swans. Maxine Hong Kingston's book The Woman Warrior is an example of a memoir that combines factual material with fictional material as it tells the author's story and the story of her family.
Some professional contemporary writers such as David Sedaris and Augusten Burroughs have specialised in writing amusing essays in the form of memoirs. To some extent this is an extension of the tradition of newspaper columnists' regular accounts of their lives. (Cf. the work of James Thurber which often has a strong memoir-like content).
Another category of memoir is the eyewitness account of history by onlookers to major events or particular eras; Slave narratives (e.g. the memoirs of Frederick Douglass) fall into this category as do those by Primo Levi and Elie Wiesel.
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Answer:
give more of the story otherwise no one will know what is correct or not
