After a show, the bow is a sign of gratitude to the audience for watching, listening and appreciating. The excited applause of the audience is an energetic thank you, while the actor`s bow reacts to these thanks in all the ways he deems right: it is the right response to the applause. In addition, a curtain-raiser bow is not only a thank you, but it is also the time for an actor to show their vulnerability. Whether the bow is large and vigorous and shows the pride of the work they did on stage, or unattended and grateful for the audience in front of them, this gesture at the end of the show is the perfect button to finish the performance. Over time, this trend has only developed. This clear moment for an audience to give to those who deserve the respect they deserve can go anywhere, from sitting applause to standing ovations with flowers flying through the air. In fact, flowers came on stage in the 1820s. As calls to the curtain became more fashionable, women`s fashion was also flourishing. The women wore flowers in their hair, and very soon this trend began to develop without the hair. It didn`t take long for women to carry flowers everywhere: so did the theatre. This, of course, led the visitors of the opera to throw flowers on the stage. Although this practice was considered very ridiculous at that time, it became so popular that throwing flowers on the stage at the call of the curtain can be considered an honor for an actor.
A tacit match between the audience and the actor, the curtain of reputation and bow is the time to show points of thanks for the work on stage as well as the audience for the appreciation. For an alien, this may seem a little odd: in every normal human interaction, two people will use their voice to communicate, but in one theater, one man puts his hands together, while the other bends over. What`s going on? We have already taken a small step in history to explain why we applaud, and now we want to go through history, why the actors bow. With this in mind, Red Bull Theater Artistic Director Jesse Berger set out to stage a one-night virtual reading of « Tis Pity She`s a Whore » at the end of March and reunite the cast of the Red Bull production in 2015. « We created this idea in response to a sense of hunger in our community for a way to connect online, » Berger said. « We heard it from our board of directors, artists and viewers who wanted to contact Red Bull, its community and our online mission. » At first, nothing on stage is intrinsically important. The symbolism that is generated is entirely context-based. Visualize a chair in a showroom. In the simplest, it`s a simple piece of furniture. But if it is used as a throne, it becomes a sign of power. For example, if it is physically reversed, it can become a symbol of the fall of the monarchy.
In many ways, a scene is no different from a painting – everything in the frame can be interpreted – but the theatre can constantly change to create other meanings. In August Wilson`s play, Fences, a character named Troy builds a fence around his house at the insistence of his wife Rose. On the surface, it seems to symbolize a barrier to protect the family from the threat of the outside world. But as the game progresses and facts about his behaviour outside the house are revealed, the fence symbolizes a kind of emotional prison shared by man and woman, or the emotional barriers that separate people.