Bios:Francessca E' Caseadine Duse

'''Francessca E' Caseadine Duse (1870-1904)'''

=Biography: The Story of Francessca E' Caseadine Duse=

Preface:
This illustration is a caseography about a specific person. It does not intend or by any means project a bias perception of any human subjects outside of the character being portrayed. Any statements made herein are done so on a case by case basis and do not immediately initiate inquiry unto any persons outside of the caseography.

Born in what is now present day Honduras, the man known as Francessca E'Caseadine Duse has made many contributions and advances in the screenwriting industry. Duse has written short stories and other types of works based upon his unique Mayan / Inca-Aztec and African heritage, which incorporates a cauldron of writing styles and worldly influences. Born on November 3rd, 1870, Duse was in a fairly rich household that carried a heavy inclination of Indo-Greek literature and was very politically orientated. In 1919, he was awarded a prestigious prize for peace-keeping by means of his estate; he passed in 1904 at the age of 34.

Background:
His parents were lineal people; his mother, Mariane Papelera was Chicano (of Latino and African descent) while his father, Josephina Perez Duse was of native Mestizo and Italiana heritage. His mother was an artist and sculptress who modeled for her own self-portraits and statuettes. His father owned a winery, vineyard and coffee field in the mountains, secluded from the rest of the city. When he was fourteen years of age, Francessca attended a private school and studied acting with an emphasis in drama. At the school, he was introduced to a female assistant drama instructor named Lisa Alicia Lopes, who taught him at the school until he was nineteen, at which time he went back to the estate and continued his studies until May of 1898 when he eventually married her.

Range of Influence:
The disciplines in which Francessca uses in his productions span across several centuries of literary and dramatic studies; greek tragedies, renaissance plays, asiatic aesthetic reliefs and paintings as well as native cultural and direct social influences. His philosophical tenets are deeply inspired by his home country and meso-american lineage. In his technique, the use of scaffolds that his father used in the vineyards and coffee fields to enrich lighting and stage direction introduced the world to a new era in exhibition and theatrics. His expert audient delivery made him to be known as the founding father of dalance, realism and auricular sciences.

Audient Psychology:
A majority of Duse's works were devoted to Lopes and the signature psychological technique she used to project realism in the theatre. This included a separate layout for the stage from that of the audience as well as a barrage of queries embossed into each type of script. Lopes was a thesbian and loved beautiful people in her productions to serve as models and calibrate the house lighting for the production; if an actor was heavy set, then the scaffolds would be directed to one area; if an actor was of contrast (or a different tone, hue & color), then the scaffolds would offset to another area, etcetera. Duse's definition of the concept of realism is defined "as the assimilation of audient traits and characteristics to depict another era in time or space", so adding personality to each stage presence and property.

Naturalism & Intellectual Properties:
The stage management practice of Duse was revolutionary for its time; it incorporated an almanac, a weather schematic and other instances which would ultimately determine stage direction. The two primary disciplines of his psychological orientation were, the Amplitudinal and Aptitudinal inventory methodologies, both of which are politically orientated in nature and application and which encompassed all of Duse's works and commissioned pieces. Duse's usage of transcribes for his scripts increased the public's awareness of the saderequiem type productions in which Lopes helped to master. Lopes later established a theatrical academy to exercise Duse's teachings after his passing in 1904.

Diversions & Exploits:
As in any school or institution, drama consists of many different means of differentiating its main subjects. A diversion, as defined by Duse is "a vehicle in which drama is used to enhance or detract definitive properties within a scene...". Maintaining the goals of his scripting techniques, Duse uses diversions during querying and emphasized each measure with physical weights; sand bags, tapestry, ambients, performers, layouts, exhibits and scripts themselves were all used by the director in delivery of his works. Exploitation was similar to the diversions but the end results were more intimate. In complimenting Lopes, his exploits were more erogenous than working properties.

Opera, Theatre & Politics:
The saderequiem theme which is dominant of most of Duse's works encompasses a full semester of political ironies and reference of social reform, trade relations, aesthetic recognition, public participation, learning improvement and ethinic cleansing. Most of the stage direction and scripting were commissioned works endorsed by the political party he established and administered under the Duse title of authorship. The scoring and composing of original pieces for each production was under the jurisdiction of Lopes', who used a cascade of stratum styles in each composition to enhance the auriculosity of the theme.

Narcissism & the Seven Basic Disciplines:
The academy of which Lopes founded under the relationship with Duse developed and utilized a process of seven basic theatrical disiciplines in which a production needed to be considered acceptable by exhibition definitions. These schools of reinforcement are the study of:


 * Bureaucracy- The instance in which audient properties are delegated within the script.
 * Realism- The assimilation of audient traits and characteristics to depict another era in time or space
 * Ambiance- The usage of stage properties to create a thematic tapestry used in a piece or work.
 * Naturalism- The instance in which natural conditions and nature is used to substantiate scripted similes.
 * Dalance- The audient compositional property and its intellectual reception.
 * Ostracism- The systematic elimination of characters and circumstance to create script progression.
 * Narcissism- The use of a transcribed exhbition, a semester or its contouritization in sequence as in a tour or circuit.

Example of Duse's Works: 'Antagonist in Honduras'
Duse wrote many political plays which boosted him and his namesake to observable proportions. One of his scripts entitled 'Antagonist in Honduras' showed the variance between politica and domestica affairs. The theme of the play illustrated the lead male as being a dominant figure facing a midlife crisis. It was used as a study guide for student writers and pupils in his school.

Script Working Title: Antagonist in Honduras

Accredited Works: