Role-playing is the changing of one's behaviour to assume a role, either unconsciously to fill a social role, or consciously to act out an adopted role. While the Oxford English Dictionary offers a definition of role-playing as "the changing of one's behaviour to fulfill a social role", in the field of psychology, the term is used more loosely in four senses: To refer to the playing of roles such as in a theatre, or educational setting. Many children participate in a form of role-playing known as make believe, wherein they adopt certain roles such as doctor and act out those roles in character. Sometimes make believe adopts an oppositional nature, resulting in games such as cops and robbers. Historical re-enactment has been practiced by adults for millennia; the ancient Romans, Han Chinese, medieval Europeans all enjoyed organizing events in which everyone pretended to be from an earlier age, entertainment appears to have been the primary purpose of these activities. Within the 20th century historical re-enactment has been pursued as a hobby.
Improvisational theatre dates back to the Commedia dell'Arte tradition of the 16th century. Modern improvisational theatre began in the classroom with the "theatre games" of Viola Spolin and Keith Johnstone in the 1950s. Viola Spolin, one of the founders the famous comedy troupe Second City, insisted that her exercises were games, that they involved role-playing as early as 1946, she judged role-playing in the theatre as rehearsal and actor training, or the playing of the role of actor versus theatre roles, but many now use her games for fun in their own right. A role-playing game is a game in which the participants assume the roles of characters and collaboratively create stories. Participants determine the actions of their characters based on their characterisation, the actions succeed or fail according to a formal system of rules and guidelines. Within the rules, they may improvise freely. Role-playing can be done online in the form of group story creation, involving anywhere from two to several hundred people, utilizing public forums, private message boards, mailing lists and instant-messaging chat clients to build worlds and characters that may last a few hours, or several years.
On forum-based roleplays and standards are set up, such as a minimum word count, character applications, "plotting" boards to increase complexity and depth of story. There are different genres of which one can choose while role-playing, but not limited to, modern, steam punk, historical. Books, movies, or games can be, are, used as a basis for role-plays, with players either assuming the roles of established canon characters or using those the players themselves create to replace—or exist alongside—characters from the book, movie, or game, playing through well-trodden plots as alternative characters, or expanding upon the setting and story outside of its established canon. In psychology, an individual's personality can be conceptualized as a set of expectations about oneself and others and that these add up to role-playing or role-taking. Here, the role is fiction. Role-playing is an important part of a child's psychological development. For example, the instance when a child starts to define "I" and separate him or herself from an adult is the initial condition for and the result of role play.
There are experiments that found role-playing resulted in behavioral change such as the case of smokers who reported negative attitude towards smoking after being asked to pretend to be a person diagnosed with lung cancer. Role-playing may refer to role training where people rehearse situations in preparation for a future performance and to improve their abilities within a role; the most common examples are occupational training role-plays, educational role-play exercises, certain military wargames. One of the first uses of computers was to simulate real-world conditions for participants role-playing the flying of aircraft. Flight simulators used computers to train future pilots; the army began full-time role-playing simulations with soldiers using computers both within full scale training exercises and for training in numerous specific tasks under wartime conditions. Examples include weapon firing, vehicle simulators, control station mock-ups. Role playing may refer to the technique used by researchers studying interpersonal behavior by assigning research participants to particular roles and instructing the participants to act as if a specific set of conditions were true.
This technique of assigning and taking roles in psychological research has a long history. It has been used in the early classic social psychological experiments by Kurt Lewin, Stanley Milgram, Phillip Zimbardo. Herbert Kelman suggested that role-playing might be "the most promising source" of research methods alternative to methods using deception. Acting Costume
The term multiculturalism has a range of meanings within the contexts of sociology, of political philosophy, of colloquial use. In sociology and in everyday usage, it is a synonym for "ethnic pluralism", with the two terms used interchangeably, for example, a cultural pluralism in which various ethnic groups collaborate and enter into a dialogue with one another without having to sacrifice their particular identities, it can describe a mixed ethnic community area where multiple cultural traditions exist or a single country within which they do. Groups associated with an aboriginal or autochthonous ethnic group and foreigner ethnic groups are the focus. In reference to sociology, multiculturalism is the end-state of either a natural or artificial process and occurs on either a large national scale or on a smaller scale within a nation's communities. On a smaller scale this can occur artificially when a jurisdiction is established or expanded by amalgamating areas with two or more different cultures.
On a large scale, it can occur as a result of either legal or illegal migration to and from different jurisdictions around the world. Multiculturalism as a political philosophy involves policies which vary widely, it has been described as as a "cultural mosaic" -- in contrast to a melting pot. In the political philosophy of multiculturalism, ideas are focused on the ways in which societies are either believed to or should, respond to cultural and religious differences, it is associated with "identity politics", "the politics of difference", "the politics of recognition". It is a matter of economic interests and political power. In more recent times political multiculturalist ideologies have been expanding in their use to include and define disadvantaged groups such as African Americans, LGBT, with arguments focusing on ethnic and religious minorities, minority nations, indigenous peoples and the disabled, it is within this context in which the term is most understood and the broadness and scope of the definition, as well as its practical use, has been the subject of serious debate.
Most debates over multiculturalism center around whether or not multiculturalism is the appropriate way to deal with diversity and immigrant integration. The arguments regarding the perceived rights to a multicultural education include the proposition that it acts as a way to demand recognition of aspects of a group's culture subordination and its entire experience in contrast to a melting pot or non-multicultural societies; the term multiculturalism is most used in reference to Western nation-states, which had achieved a de facto single national identity during the 18th and/or 19th centuries. Multiculturalism has been official policy in several Western nations since the 1970s, for reasons that varied from country to country, including the fact that many of the great cities of the Western world are made of a mosaic of cultures; the Canadian government has been described as the instigator of multicultural ideology because of its public emphasis on the social importance of immigration. The Canadian Royal Commission on Bilingualism and Biculturalism is referred to as the origins of modern political awareness of multiculturalism.
In the Western English-speaking countries, multiculturalism as an official national policy started in Canada in 1971, followed by Australia in 1973 where it is maintained today. It was adopted as official policy by most member-states of the European Union. Right-of-center governments in several European states – notably the Netherlands and Denmark – have reversed the national policy and returned to an official monoculturalism. A similar reversal is the subject of debate in the United Kingdom, among others, due to evidence of incipient segregation and anxieties over "home-grown" terrorism. Several heads-of-state or heads-of-government have expressed doubts about the success of multicultural policies: The United Kingdom's ex-Prime Minister David Cameron, German Chancellor Angela Merkel, Australia's ex-prime minister John Howard, Spanish ex-prime minister Jose Maria Aznar and French ex-president Nicolas Sarkozy have voiced concerns about the effectiveness of their multicultural policies for integrating immigrants.
Many nation-states in Africa and the Americas are culturally diverse and are'multicultural' in a descriptive sense. In some, communalism is a major political issue; the policies adopted by these states have parallels with multiculturalist policies in the Western world, but the historical background is different, the goal may be a mono-cultural or mono-ethnic nation-building – for instance in the Malaysian government's attempt to create a'Malaysian race' by 2020. Multiculturalism is seen by its supporters as a fairer system that allows people to express who they are within a society, more tolerant and that adapts better to social issues, they argue that culture is not one definable thing based on one race or religion, but rather the result of multiple factors that change as the world changes. Support for modern multiculturalism stems from the changes in Western societies after World War II, in what Susanne Wessendorf calls the "human rights revolution", in which the horrors of institutionalized racism and ethnic cleansing became impossible to ignore in the wake of the Holocaust.
A fairy tale, wonder tale, magic tale, or Märchen is a folklore genre that takes the form of a short story. Such stories feature entities such as dwarfs, elves, giants, goblins, mermaids, talking animals, unicorns, or witches, magic or enchantments. In most cultures, there is no clear line separating myth from fairy tale. Fairy tales may be distinguished from other folk narratives such as legends and explicit moral tales, including beast fables; the term is used for stories with origins in European tradition and, at least in recent centuries relates to children's literature. In less technical contexts, the term is used to describe something blessed with unusual happiness, as in "fairy-tale ending" or "fairy-tale romance". Colloquially, the term "fairy tale" or "fairy story" can mean any far-fetched story or tall tale. Legends are perceived as real. However, unlike legends and epics, fairy tales do not contain more than superficial references to religion and to actual places and events. Fairy tales occur both in literary form.
Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world. The history of the fairy tale is difficult to trace because only the literary forms can survive. Still, according to researchers at universities in Durham and Lisbon, such stories may date back thousands of years, some to the Bronze Age more than 6,500 years ago. Fairy tales, works derived from fairy tales, are still written today. Folklorists have classified fairy tales in various ways; the Aarne-Thompson classification system and the morphological analysis of Vladimir Propp are among the most notable. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales; some folklorists prefer to use the German term Märchen or "wonder tale" to refer to the genre over fairy tale, a practice given weight by the definition of Thompson in his 1977 edition of The Folktale: "a tale of some length involving a succession of motifs or episodes.
It moves in an unreal world without definite locality or definite creatures and is filled with the marvellous. In this never-never land, humble heroes kill adversaries, succeed to kingdoms and marry princesses." The characters and motifs of fairy tales are simple and archetypal: princesses and goose-girls. Although the fairy tale is a distinct genre within the larger category of folktale, the definition that marks a work as a fairy tale is a source of considerable dispute; the term itself comes from the translation of Madame D'Aulnoy's Conte de fées, first used in her collection in 1697. Common parlance conflates fairy tales with beast fables and other folktales, scholars differ on the degree to which the presence of fairies and/or mythical beings should be taken as a differentiator. Vladimir Propp, in his Morphology of the Folktale, criticized the common distinction between "fairy tales" and "animal tales" on the grounds that many tales contained both fantastic elements and animals. To select works for his analysis, Propp used all Russian folktales classified as a folklore Aarne-Thompson 300-749 – in a cataloguing system that made such a distinction – to gain a clear set of tales.
His own analysis identified fairy tales by their plot elements, but that in itself has been criticized, as the analysis does not lend itself to tales that do not involve a quest, furthermore, the same plot elements are found in non-fairy tale works. Were I asked, what is a fairytale? I should reply, Read Undine:, a fairytale... of all fairytales I know, I think Undine the most beautiful. As Stith Thompson points out, talking animals and the presence of magic seem to be more common to the fairy tale than fairies themselves. However, the mere presence of animals that talk does not make a tale a fairy tale when the animal is a mask on a human face, as in fables. In his essay "On Fairy-Stories", J. R. R. Tolkien agreed with the exclusion of "fairies" from the definition, defining fairy tales as stories about the adventures of men in Faërie, the land of fairies, fairytale princes and princesses, dwarves and not only other magical species but many other marvels. However, the same essay excludes tales that are considered fairy tales, citing as an example The Monkey's Heart, which Andrew Lang included in The Lilac Fairy Book.
Steven Swann Jones identified the presence of magic as the feature by which fairy tales can be distinguished from other sorts of folktales. Davidson and Chaudri identify "transformation" as the key feature of the genre. From a psychological point of view, Jean Chiriac argued for the necessity of the fantastic in these narratives. In terms of aesthetic values, Italo Calvino cited the fairy tale as a prime example of "quickness" in literature, b
Statistic (role-playing games)
A statistic in role-playing games is a piece of data that represents a particular aspect of a fictional character. That piece of data is a integer or, in some cases, a set of dice. For some types of statistics, this value may be accompanied with a descriptive adjective, sometimes called a specialisation or aspect, that either describes how the character developed that particular score or an affinity for a particular use of that statistic. Most games divide their statistics into several categories; the set of categories used in a game system, as well as the precise statistics within each category, vary greatly. The most used types of statistic include: Attributes describe to what extent a character possesses natural, in-born characteristics common to all characters. Advantages and disadvantages are useful or problematic characteristics that are not common to all characters. Powers represent special qualities of the character. In game terms, these grant the character the potential to gain or develop certain advantages or to learn and use certain skills.
Skills represent. Traits are broad areas of expertise, similar to skills, but with a broader and more loosely defined scope, in areas chosen by the player. There is no standard nomenclature for statistics. Many games make use of derived statistics whose values depend on other statistics, which are known as primary or basic statistics. Game-specific concepts such as experience levels, character class and race can be considered statistics. An attribute describes to what extent a character possesses a natural, in-born characteristic common to all characters in the game. Attributes are called statistics, characteristics or abilities. Most RPGs use attributes to describe characters’ physical and mental characteristics, for example their strength or wisdom. Many games include social characteristics as well, for example a character's natural charisma or physical appearance, they influence the chance to succeed in a skill or other tests by addition to a die roll or by determining the number of dice to be thrown.
As a consequence a higher number is better, ranges can be as small as 1–5 or as great as 1–100. In some games, attributes represent linearly increasing ability whereas in others a small increase can represent a major gain in ability; some games work with only a few broad attributes, while others have a greater number of more specific ones. Most games have about 4–10 attributes. Most games try to give all attributes about the same usefulness to a character. Therefore, certain characteristics might be merged, or split into more attributes, or ignored altogether. In many games, a small set of primary attributes control a larger number of derived statistics such as Armor Class or magic points. During character creation, attribute scores are determined either randomly or by distributing character points. In some games, such as World of Warcraft, the base attribute scores are determined by the character’s race and class; because they represent common, in-born characteristics and not learned capabilities, in many games they are fixed for the duration of the game.
However, in some games they can be increased by spending experience points gained during the game, or as part of the process of "levelling up". An advantage is a physical, intellectual, or other enhancement to a character. In contrast, a disadvantage is an adverse effect. Advantages are known as virtues, merits or edges and disadvantages as flaws or hindrances, or by the abbreviation "disads". Many games encourage or force players to take disadvantages for their characters in order to balance their advantages or other "positive" statistics. Disadvantages add flavor to a character that can't be obtained by a list of positive traits. Advantages and disadvantages have a thematic element to them, they provide a direct relationship between how someone wants to role-play their character and a tangible "in-game" enhancement to skill or ability rolls. Systems of advantages and disadvantages are criticized for allowing or encouraging min-maxing, where a player strives to take disadvantages which have little or no tangible effect on play while using the character points gained from those disadvantages to pay for powerful advantages.
Character points are abstract units used in some role-playing games during character creation and development. Early role-playing games such as Dungeons & Dragons assigned random values to a player character's attributes, while allowing each character a fixed number of skills; as a result, characters were at the same time wildly unbalanced in terms of attributes and constrained in terms of skills. Games such as Champions introduced a points-based system of purchasing attributes and skills as a means of improving game balance and flexibility; these points
Francesca Lia Block
Francesca Lia Block is an American writer of adult and young-adult literature: fiction, short stories and poetry. She is known best for the Weetzie Bat series — named after its first installment and her first novel, which she wrote while a UC Berkeley student, Weetzie Bat, she is known for her use of imagery in describing the city of Los Angeles. One New York Times Book Review critic said, "Block writes about the real Los Angeles better than anyone since Raymond Chandler." She won the Margaret Edwards Award from the American Library Association in 2005 for her contribution in writing for teens. Block was born in Los Angeles to a poet and a painter, their creativity an obvious influence on her writing. Another influence was her childhood love of Greek fairy tales, she left her birth city only to attend UC Berkeley. While best known for her novels, Block is a lifelong writer of poetry, her first two books, Moon Harvest and Season of Green, were small-press illustrated poetry collections, now out of print.
Since she has released several standalone collections of poetry, as well as incorporating poetry and lyrics into many of her novels. Block has stated that she got into writing in a more roundabout way than most others - she did not start out with an editor, but was able to be published by using her connections, she has stated. In 2014, she was named Writer-in-Residence at Pasadena City College. Block is a member of the Authors Guild, Authors League of America, the Writers Guild of America. Block's work has been translated into several different languages, including French, Italian and Japanese, is published around the world. In 2018, it was confirmed that Weetzie Bat would be produced as a feature film, with Justin Kelly attached as director. Block wrote the screenplay for the film. 1996: Baby Be-Bop was nominated for the Lambda Literary Award for Young Adult/Children's Book 2001: Dangerous Angels was inducted into the Gaylactic Spectrum Awards Hall of Fame 2005: American Library Association Margaret A. Edwards Award for "significant and lasting contribution to young adult literature" for the first five Weetzie Bat books.
2009: Weetzie Bat won the Phoenix Award from the Children's Literature Association as the best English-language children's book that did not win a major award when it was published. Standalone novels Official website Francesca Lia Block at the Internet Speculative Fiction Database Francesca Lia Block on IMDb Weetzie Bat Screenplay Reading Save Francesca's Faerie Cottage Francesca Lia Block at Library of Congress Authorities — with 38 catalog records
Game design is the art of applying design and aesthetics to create a game for entertainment or for educational, exercise, or experimental purposes. Elements and principles of game design are applied to other interactions, in the form of gamification. Game design creates goals and challenges to define a board game, card game, dice game, casino game, role-playing game, video game, war game or simulation that produces desirable interactions among its participants and spectators. Academically, game design is part of game studies, while game theory studies strategic decision making. Games have inspired seminal research in the fields of probability, artificial intelligence and optimization theory. Applying game design to itself is a current research topic in metadesign. Sports and board games are known to have existed for at least nine thousand, six thousand, four thousand years. Tabletop games played today whose descent can be traced from ancient times include chess, go, backgammon, mahjong and pick-up sticks.
The rules of these games were not codified until early modern times and their features evolved and changed over time, through the folk process. Given this, these games are not considered to have had a designer or been the result of a design process in the modern sense. After the rise of commercial game publishing in the late 19th century, many games which had evolved via folk processes became commercial properties with custom scoring pads or preprepared material. For example, the similar public domain games Generala and Yatzy led to the commercial game Yahtzee in the mid-1950s. Today, many commercial games, such as Taboo, Pictionary, or Time's Up!, are descended from traditional parlour games. Adapting traditional games to become commercial properties is an example of game design. Many sports, such as soccer and baseball, are the result of folk processes, while others were designed, such as basketball, invented in 1891 by James Naismith. Technological advances have provided new media for games throughout history.
The printing press allowed packs of playing cards, adapted from Mahjong tiles, to be mass-produced, leading to many new card games. Accurate topographic maps produced as lithographs and provided free to Prussian officers helped popularize wargaming. Cheap bookbinding led to mass-produced board games with custom boards. Inexpensive lead figurine casting contributed to the development of miniature wargaming. Cheap custom dice led to poker dice. Flying discs led to Ultimate. Personal computers contributed to the popularity of computer games, leading to the wide availability of video game consoles and video games. Smart phones have led to a proliferation of mobile games; the first games in a new medium are adaptations of older games. Pong, one of the first disseminated video games, adapted table tennis. Games will exploit distinctive properties of a new medium. Adapting older games and creating original games for new media are both examples of game design. Game studies or gaming theory is a discipline that deals with the critical study of games, game design and their role in society and culture.
Prior to the late-twentieth century, the academic study of games was rare and limited to fields such as history and anthropology. As the video game revolution took off in the early 1980s, so did academic interest in games, resulting in a field that draws on diverse methodologies and schools of thought; these influences may be characterized broadly in three ways: the social science approach, the humanities approach, the industry and engineering approach. Broadly speaking, the social scientific approach has concerned itself with the question of "What do games do to people?" Using tools and methods such as surveys, controlled laboratory experiments, ethnography researchers have investigated both the positive and negative impacts that playing games could have on people. More sociologically informed research has sought to move away from simplistic ideas of gaming as either'negative' or'positive', but rather seeking to understand its role and location in the complexities of everyday life. In general terms, the humanities approach has concerned itself with the question of "What meanings are made through games?"
Using tools and methods such as interviews and participant observation, researchers have investigated the various roles that videogames play in people's lives and activities together with the meaning they assign to their experiences. From an industry perspective, a lot of game studies research can be seen as the academic response to the videogame industry's questions regarding the products it creates and sells; the main question this approach deals with can be summarized as "How can we create better games?" with the accompanying "What makes a game good?" "Good" can be taken to mean many different things, including providing an entertaining and an engaging experience, being easy to learn and play, being innovative and having novel experiences. Different approaches to studying this problem have included looking at describing how to design games and extracting guidelines and rules of thumb for making better games Game theory is a study of strategic decision making, it is "the study of mathematical models of conflict and cooperation between intelligent rational decision-makers".
An alternative term suggested "as a more descriptive name for the discipline" is interactive decision theory. The subject first addressed zero-sum games, such that one person's gains equal net losses of the other participant or participan
Stage Fright (1987 film)
Stage Fright is a 1987 Italian slasher film directed by Michael Soavi, starring Barbara Cupisti, David Brandon, Giovanni Lombardo Radice. The plot tells about a group of stage actors and crew locking themselves inside a theater for rehearsal of a musical production, unaware that an escaped mental patient has been locked inside with them. Joe D'Amato served as the film's producer, was co-written by George Eastman under the name Lew Cooper. Late at night inside a theater, a troupe of actors and crew consisting of the director Peter, Mark, Betty, Laurel, Danny and Ferrari are rehearsing a musical about a fictional mass murderer known as the Night Owl; when Alicia sprains her ankle and Betty sneak out of rehearsal for medical assistance, the closest being a mental hospital. When speaking to the psychiatrist, Betty notices an imprisoned patient named Irving Wallace, a former actor gone insane who committed a killing spree. Unbeknownst to any of them, Wallace killed one of the attendants with a syringe and snuck out of the asylum to hide inside Betty's car.
Upon returning, Peter fires Alicia for leaving during the rehearsal. Outside, Betty returns to the car only to be murdered by Wallace with a pickaxe to the mouth. Moments Alicia finds her body and contacts the police; the body is removed and two officers are stationed outside the premises. Meanwhile, Peter creates an idea by altering the play's script; the group reluctantly agrees to stay with the promise of additional cash, Corrine hides the theater's exit key. While changing her costume, Laurel is stalked by a shadowy figure. Brett stays behind to search for his costume, not noticing Wallace who's donning the theater's owl costume behind him. Peter shoots a scene with Corrine. Wallace appears in the owl costume and approaches Corinne before grabbing and strangling her, unbeknownst to the others, he pulls out stabs Corinne several times, killing her, while the others watch in shock. Without the key's whereabouts, the group begins to panic, the killer disconnects the phone lines to prevent them from contacting the officers.
While the group tries to find an escape route, Ferrari is stabbed by Wallace, who hangs his body upon being found by the group. While Peter and Danny leave the group inside a room to search for the killer, Laurel notices Wallace outside trying to open the door and the group barricades it; the killer breaks the window to grab Mark before killing him with a power drill through the door. Peter and Danny return, upon witnessing Mark's murder, they plan to stick together and defend themselves. While the group moves on to the stage, Peter notices the killer up on the upper catwalks and goes after him, while asking the others to corner him too. Laurel leaves Alicia behind after accidentally knocking her out. Peter hacks up the missing Brett with an axe, thinking he was Wallace. Soon, Sybil is pulled into the floor. Danny and Peter grab her arms and try to pull her up. Danny goes down and is killed by Wallace with a chainsaw. Cornering Peter and Laurel, Wallace wounds Laurel and cuts off Peter's arm before the chainsaw runs out of fuel.
The killer takes the axe and decapitates the director. Alicia finds a wounded Laurel hiding in the shower room. While she hides, Wallace stabs her before dragging her body away. Alicia arms herself and searches for the key, only to see Wallace sitting next to the group's bodies placed around the stage and covered with feathers. Underneath the stage, she finds the key and defends herself against Wallace before going up to the catwalks. Just as Wallace corners her, she sprays a fire extinguisher into his face, knocking him over and leaving him hanging onto a loose cable. After the cable is severed and the killer falls, Alicia makes her way to the door, but Wallace attacks again, she dumps a burning bin onto him, igniting him escapes the theater and tells the police about the events. The next morning, Alicia returns to the theater to find her missing watch, just before an unmasked Wallace prepares to attack her. Willy shoots him in the head and he rambles about getting him "right in-between in the eyes" while a disturbed Alicia walks out.
Wallace looks at the camera and smirks having survived from his headshot. Barbara Cupisti as Alicia David Brandon as Peter Mary Sellers as Laurel Robert Gligorov as Danny Jo Ann Smith as Sybil Giovanni Lombardo Radice as Brett Martin Philips as Mark Piero Vida as Ferrari Loredana Parrella as Corinne Ulrike Schwerk as Betty Domenico Fiore as Police Chief Mickey Knox as Old Cop Michele Soavi as Young Cop James Sampson as Willy Clain Parker as Irving Wallace Luigi Montefiori as Masked Irving Wallace AlloCiné's spectators gave at the film 3.8/5 positives critics on 87 reviews. AllMovie awarded the film three out of five stars, writing: "Stage Fright is for the horror audience but they are to enjoy its visually inventive approach to the humdrum slasher subgenre", calling the film "a good example of how style can triumph over substance in a genre effort" and praising Soavi's direction. Stage Fright on IMDb Stage Fright at Rotten Tomatoes