| Papers [1-16] of 1989 :: [Page 1 of 125] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
David Mamet's "Sexual Perversity in Chicago", 2009.
Reviews David Mamet's one-act play "Sexual Perversity in Chicago", written in 1974 .
1,750 words (approx. 7.0 pages), 1 source, MLA, AU$ 73.95
»
Click here to show/hide summary
Abstract
This paper discusses the play "Sexual Perversity in Chicago" by David Mamet, which depicts types of men and women as part of the singles scene in the 1970s in Chicago. The paper describes the plot, the four characters and the stagecraft. In the paper's conclusion, the writer observes that, in the 1970s, this play embodied linguistic drama that has become common today, but it is not very profound and does not break new ground in the way it depicts or understands male-female relationships.
From the Paper
"The men begin and end the play in scenes shaped around the aforementioned macho posturing, with Bernie taking the lead in both cases. However, it is the different pattern seen in Dan that becomes more interesting. Bernie talks one and on about one of his kinkier conquests in the opening scene, while in the last scene, the two men talk lustfully about women they see walking past them along the beach. The progression in the play centers on Dan and Deborah, with Dan being given the most attention as he shows some ability at relating to women."
| |
|
Morality in Drama, 2009.
Compares the morality of Hamlet in William Shakespeare's "Hamlet, Prince of Denmark" to Dr. Faustus in Christopher Marlow's "Dr. Faustus".
1,255 words (approx. 5.0 pages), 2 sources, MLA, AU$ 55.95
»
Click here to show/hide summary
Abstract
This paper explains that Shakespeare's play, "Hamlet, the Prince of Denmark", addresses morality from the viewpoint of a Prince who is not only grieving but also confused. Whereas, while Hamlet is debilitated by uncertainty, Dr. Faustus, in Christopher Marlow's play "Dr. Faustus", is debilitated by the evil to which he has sold his soul to Lucifer. The author compares the themes of death, the possibility of life after death, the supernatural and lethargy, all of which appear in both plays. In its conclusion, the paper notes that Hamlet emerges victorious but tragic as the victim of the various conspiracies that reach their climax at the end of the play whereas Faustus, in the end, emerges defeated in death.
Table of Contents:
Introduction
Indecision, Lethargy, and the Right Thing
Comparative Themes
Conclusion
From the Paper
"As a moral point, this illustrates the illusive and deceptive nature of the devil's promises. Furthermore, Faustus is not only unable to mobilize himself to do something world-changing with his powers despite having the ability to do so; he is particularly unable to make the right decision towards his own redemption. Knowing that his soul is bound for eternal damnation does not motivate him beyond his lethargy. Indeed, it appears that Faustus's lethargy progresses with the progression of time. Eventually his lethargy proves fatal."
| |
|
Star-Crossed Lovers Then and Now, 2009.
This paper provides a comparison of Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story".
1,150 words (approx. 4.6 pages), 5 sources, MLA, AU$ 51.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that both William Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story" take up an old tale, once told by a different author in a different genre, and reconfigure that tale to create a new, artistic vision. The writer maintains that what makes both versions of the 'star crossed lovers' unique is not Shakespeare or Bernstein's storyline, plot or even their characters, but the way these stories are applied or not applied to contemporary situations. The writer discusses that Shakespeare creates a story for all time, while Bernstein creates a story about young people in America who are ostracized from society, have little hope of growing old and find momentary happiness in love rather than a real future. The writer compares the two works and looks at the aspect of music. The writer concludes that it is not the musical aspect of "West Side Story" that makes it stand apart from its original source, but the musical's unapologetic American qualities of theme and characters that makes it of its time, seemingly ripped from the headlines of the past, rather than transcendent of time and place.
From the Paper
"Likewise, Bernstein adopted a previous tale to suit his own purposes, taking what had become Shakespeare's now-classic story of violent, warring lovers who are able to use love as a vehicle of compassion in a cruel and uncaring world. Bernstein did not select a far-off land, as Shakespeare selected Italy to add to the romance of the narrative. Shakespeare's hot-blooded, feuding Italians would have seemed foreign to his original English audience, but Bernstein selects a setting close at hand, that of New York City. Bernstein attempts to show that the sort of compassion evoked by Shakespeare for the young lovers in a never-never land of Italy is relevant to his own viewer's contemporary era and the racial strife of his day. The types of seemingly meaningless violent discord between Italian clans in Shakespeare are parallel to the struggles of Puerto Ricans and Anglos in New York, and ultimately just as empty and brutal in its consequences. Bernstein's evocation of "America," both in the song "America" suggests that the tragedy of Tony and Maria is not simply a sad event of circumstance and mishaps, but also a fundamental betrayal of the American dream of integration and that "everyone free in America.""
|
| Essay # 112672 |
temporarily unavailable
|
|
|
|
Willy and the American Dream, 2009.
A discussion of the failure of Willy in Arthur Miller's play, "Death of a Salesman".
806 words (approx. 3.2 pages), 1 source, MLA, AU$ 37.95
»
Click here to show/hide summary
Abstract
The paper shows how Arthur Miller's play, "Death of a Salesman" epitomizes the failed pursuit of the American Dream. The paper analyzes Willy's character flaws that are his inability to accept reality, his failure to do anything proactive and his refusal to accept responsibility for his life.
From the Paper
"Willy's primary character flaw is his inability to accept reality. He is blind because he cannot see that his life has taken a turn for the worse. Willy has a dream and, while this is not a bad thing, at some point, Willy must realize hat his dream is leading him nowhere. This is something that is too difficult for him to accept, so he avoids thinking about it. This compounds his problem and, as a result, Willy's career goes downhill year after year. For Willy, life is easier living in denial. He believes that one day, he will be a success. He still thinks that he will "knock Howard for a loop, kid. I'll get an advance, and I'll come home with a New York job" (Miller II.1070-1). After he becomes a success, he thinks he will never have to "get behind another wheel" (II.1071) again. While we can admire Willy for never giving up on his dream, we must also feel pity for him because he never saw the truth of his life."
| |
|
Lady Macbeth and Guilt, 2009.
This paper discusses Lady Macbeth's guilt regarding the murder of Duncan in William Shakespeare's play "The Tragedy of Macbeth".
1,293 words (approx. 5.2 pages), 1 source, MLA, AU$ 56.95
»
Click here to show/hide summary
Abstract
In this aticle, the writer points out that in 'The Tragedy of Macbeth', even a modern-day audience is struck by the manipulative efforts of Lady Macbeth, whose scheming appears to drive her husband to commit horrible acts, including murder. The writer discusses that Lady Macbeth's apparent guilt by the end of the play makes some people question how much responsibility Lady Macbeth has for her husband's actions, because she shows more remorse than he does. Rather than suggesting that she is not responsible for her husband's actions, Lady Macbeth's guilty conscience actually helps demonstrate that she was as responsible for Duncan's murder as her husband. The writer concludes that although Lady Macbeth is not physically responsible for Duncan's murder, her actions make it clear that she is morally responsible for his murder, and would even be considered a co-conspirator under today's modern criminal law.
From the Paper
"Of course, if Lady Macbeth had kept her plotting secret, never involving her husband in her plans, then Duncan would not have died. Lady Macbeth did not have the resources to commit the murder herself. It is unclear whether this is due to her lack of physical strength, or to the fact that she knew she would feel remorseful about the act, and maybe felt that indirect involvement would insulate her from her feelings of guilt. Whatever her motivation, it is clear that Lady Macbeth does not feel that she can kill Duncan on her own. Therefore, she begins to coach her husband, persuading him that he must kill Duncan in order to take his place as the king. As soon as Macbeth returns home and tells Lady Macbeth that Duncan is coming, she begins plotting Duncan's death. Macbeth tells his wife that Duncan is coming to spend a night, and then leaving in the morning."
| |
|
The Tragic Past in August Wilson's "Fences", 2009.
An examination of the concept of the tragic past as depicted in August Wilson's play, "Fences."
1,059 words (approx. 4.2 pages), 1 source, MLA, AU$ 48.95
»
Click here to show/hide summary
Abstract
This paper discusses August Wilson's play, "Fences." It specifically discusses the concept that the past is an important player in the present and the future and that when we refuse to accept our past and deal with it constructively, it haunts us in ways that we cannot imagine. The paper examines how "Fences" portrays this concept.
From the Paper
"Troy's disruptive past is seen immediately with Rose. While he stays married to her, he has no respect for her in a way that she deserves. He often chides her for her behavior but his greatest act of disrespect is his affair with Alberta. What makes this affair more reprehensible is how Troy justifies it. He Bono tells that he loves Rose and he knows that she is a "good woman" (1632) but despite that fact, Troy cannot "shake" (1632) Alberta loose. Even when he tells Rose that he is going to father another woman's child, he is cavalier about it, comparing it to a forest. He tells his wife that Alberta gives him a "different idea, a different understanding about problems" (1635). His nonchalant attitude toward an affair after being married for 18 years illustrates his inability to deal with his parents' broken relationship and how it affected him."
| |
|
"Six Characters in Search of an Author", 2009.
An analysis of the play "Six Characters in Search of an Author" by Luigi Pirandello.
1,958 words (approx. 7.8 pages), 2 sources, MLA, AU$ 81.95
»
Click here to show/hide summary
Abstract
The paper highlights the dysfunctional and incomplete nature of the characters and their difficult relationships in Luigi Pirandello's "Six Characters in Search of an Author". The paper shows how these elements parody the experience of writing drama as well as deconstruct family relationships that have appeared in Western drama since the ancient Greeks and Shakespeare. The paper concludes that the deconstruction of belief in the family and the theater challenges the viewer's own beliefs about fiction and about how a 'happy' family is created and recreated.
From the Paper
"At the beginning of the absurdist play "Six Characters in Search of an Author" by the 20th century Italian playwright Luigi Pirandello, the characters of the drama complain to a manager rehearsing another play with 'real' actors that they are incomplete and that the author must finish them before the actors can finish rehearsing the play for performance. These intruders are not actors, they are 'characters' in search of an author, a plot--or at least the right to air what has happened to their family, which is terrible and shameful, they admit. The dysfunctional and incomplete nature of the characters, and their difficult relationships could be said to both parody the experience of writing drama as well as deconstruct family relationships that have appeared in Western drama since the ancient Greeks and Shakespeare."
|
| Essay # 112451 |
temporarily unavailable
|
|
|
|
Playwrights Sam Shepard and Amy Freed, 2009.
Looks at dysfunctional father/son relationships in Sam Shepard's play "Buried Child" and Amy Freed's "Freedomland".
1,590 words (approx. 6.4 pages), 2 sources, MLA, AU$ 68.95
»
Click here to show/hide summary
Abstract
This paper explains that two important contemporary playwrights, Sam Shepard and Amy Freed, investigate liminal and traumatic psychological experiences in their analysis of dysfunctional relationships between fathers and sons. The author points out that Shepard's play "Buried Child" incorporates important allusions to the Oedipus myth; whereas, Amy Freed's "Freedomland" hints at the Biblical myth of the flood.
From the Paper
"The play hints at the need for spiritual regeneration in many ways. Thus, food appears frequently in the text in various forms, as a hint for the need of spiritual nurture. In the present state of things, the corrupted relationship between father and son point to degeneration and corruption. The corpse of the buried child which later is unearthed by Tilden is symbolic for corruption and degeneration. Significantly, Tilden seems to be drawn to the place where the child was buried and keeps digging for something. He first comes back to the house with an armful of corn."
| |
|
Willy Loman's Heroic Tragedy, 2009.
This paper discusses the heroic tragedy of the death of character Willy Loman in Arthur Miller's play "Death of a Salesman".
1,165 words (approx. 4.7 pages), 1 source, MLA, AU$ 52.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Willy Loman, an aging salesman, is the protagonist of the play "Death of a Salesman", but he is also a tragic hero in the drama. The writer discusses that his tragedy does not lie in the fact that he dies at the end of the play, but in the fact that he led such a meaningless and unfulfilled life. The writer maintains that Willy's life is a tragedy, but his death may actually raise him to hero status, because it may bring his family closer together and instill in them a drive to make something of themselves, so they can throw off the legacy of their father. The writer concludes that Willy's death may be the most heroic thing he has ever done, because of the consequences with his family.
From the Paper
"Willy has died in a blaze of glory, utterly convinced he is doing the right thing, and perhaps that has made his last moments happier than they have been in years. He will never know he failed again, and failed his family in the most permanent way. However, there was so much argument, turmoil, and strife in the family, perhaps removing himself was really the thing the family needed. There is a feeling, even though it may be implied, that the family will come together as a result of Willy's death, and that they will survive. There is also a feeling that the two sons will have some impetus to make something of themselves, even if it is because they fear ending up just like their father did."
| |
|
Edward Gordon Craig, 2009.
A paper exploring the influence of Edward Gordon Craig on the design of theatrical productions.
1,581 words (approx. 6.3 pages), 4 sources, MLA, AU$ 66.95
»
Click here to show/hide summary
Abstract
This paper discusses the influence of designer Edward Gordon Craig on theatrical production. The paper explains that Craig was not interested in being faithful to a text; he wanted to create a theater that was based upon visual suggestion, evocation and symbolic representations that disdained literalism and reproductions of reality. The paper also shows how these concepts ran contrary to the prevailing ideas of Craig's day and focuses on the problems involved in Craig's production of 'Hamlet' at the Moscow Art Theatre. The paper concludes that although many of his ideas are radical, they still influence even realist directors to create impressions in the hearts of the audience, rather than just literal representations of a drawing-room reality.
From the Paper
"Theater is an impermanent art, yet the name of Edward Gordon Craig lives on. Not so long ago, the idea of a designer being influential in a theatrical production would have been incomprehensible. Now, in works such as "The Lion King," "Les Miserables" and countless other operas and art-house productions on the commercial and repertory stages all over the world Craig's influence is evident, even if the totality of his radical ideas and ideals have not been embraced by modern theatrical culture. Craig's symbolist vision which attempted to return theater to a series of visual, emotional impressions were ahead of their time, and are perhaps most fully realized in modern deconstructionist theaters that emphasizes gestures over words."
| |
|
The Development of the Globe Theater, 2009.
A look at the Globe Theatre and the part it played in Shakespeare's plays.
1,056 words (approx. 4.2 pages), 4 sources, MLA, AU$ 48.95
»
Click here to show/hide summary
Abstract
This paper discusses the role of the Globe Theatre in Shakespeare's plays. The author describes the layout of the Globe Theatre and explained that, as all of Shakespeare's plays relied upon a highly interactive relationship between the audience and actors, he clearly wrote his plays with an eye upon such a performance space. The paper relates that Elizabethan plays, unlike those of today, were staged in a very minimalist style, with little in the way of scenery. Characters created the scenery with their words rather than the sets, which explains the ornate quality of the language. The paper provides a short history of the Globe Theatre and heralds it as a full-bodied, cut-throat performance space.
From the Paper
"Shakespeare clearly wrote his plays with an eye upon such a performance space. All of his plays rely upon a highly interactive relationship between the audience and actors, as is exemplified in the use of soliloquies, for example, where the actor is often in dialogue with the audience as he shares his thoughts aloud. The beginning of many of Shakespeare's plays, like "Romeo and Juliet," start with fights or quarrels, to settle the noisy audience down. At the Globe, there was no opening of the curtain or dimming of the lights, as in an enclosed theater. There was no artificial light at all, and plays were performed mid-day in the open air."
| |
|
"Henry V" Driving the Leadership Engine, 2009.
This paper looks at William Shakespeare's ideal, motivational king and the management philosophy of Noel M. Tichy in 'The Leadership Engine'.
1,273 words (approx. 5.1 pages), 3 sources, APA, AU$ 56.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that the great, rallying speech William Shakespeare's Henry V makes to his English troops before the decisive battle of Agincourt contains some of Shakespeare's greatest heroic poetry. The writer points out that the great king Henry V in the play and later in the movie based upon Shakespeare's play becomes one of the common soldiers, and also, in his rhetoric elevates the common soldiers to the level of a king. The writer discusses that this form of motivation by teaching leadership, and showing a personal interest in others is not only applicable to a medieval scene of battle, but also to today's organizations, according to the 'Leadership Engine' by Noel M. Tichy. The writer maintains that Tichy's writings are especially applicable to "Henry V" because Tichy suggests that more so than a specific cause, fostering leadership and confidence in leadership is important.
From the Paper
" In Kenneth Branagh's film, Henry V's face is smeared with dirt, and he is no longer the young, attractive, and careless leader of the beginning of the film. That king lead his nation heedlessly into a foolish war, to regain the French territories lost to Henry's predecessors. Despite the fact that the English troops were lesser in number, they proved greater in valor, and against all odds, they triumphed. But because Henry's war is based on a fairly tenuous claim, when the English army realized they were outnumbered, the men were angry and resentful. They had suffered on the long campaign, and they had forgotten what they were fighting for in the first place. Without a sense of mission, most of the men would rather go home. Shakespeare's Henry knew he needed to motivate the English soldiers, restore his legitimacy as a king and leader in their eyes, and give them a common purpose, even if the purpose is only tenuously based in rhetoric. Essentially, in the speech he rolls up his sleeves and acts like a common soldier and appeals to English grit and sense of honor. They have come so far, how can they turn back now, he asks?"
| |
|
Shakespeare's Discourses, 2009.
A review of Shakespeare's discourse on law, mercy and justice in "The Tempest" and "Titus Andronicus".
1,750 words (approx. 7.0 pages), 3 sources, MLA, AU$ 73.95
»
Click here to show/hide summary
Abstract
The paper compares two of Shakespeare's plays, "The Tempest" and "Titus Andronicus", which are very distinct in substance and meaning and which present two different discourses on justice, law and mercy. "The Tempest" is one of Shakespeare's most appreciated works, impressive through its wondrous atmosphere and its profoundness, while "Titus Andronicus", on the other hand, is certainly the most violent of all Shakespearian tragedies, as it is full of atrocities, murders and rapes. The paper focuses on the fact that in both of these plays one of the most important themes is revenge. While in "Titus Andronicus" violence and revenge involve all the characters in a ferocious game of life and death, in "The Tempest", Prospero saves the lives of his treacherous brothers instead of taking vengeance on them.
From the Paper
"Titus was merely being just and merciless in his attempt to recover his honor. An instance of this possible reasoning on his part is given in the terrible act of slaying Lavinia, towards the end of the play. Having been raped through Tamora's conspiracy, the Titus Andronicus' daughter was also mutilated so that she couldn't speak by her aggressors. When Titus Andronicus finds out who the doers are, he gives them their due, cutting their throats in front of his daughter."
| |
|
90493.doc, 2009.
An examination of William Shakespeare's "The Tempest" and its relationship to Elizabethan colonialism.
2,000 words (approx. 8.0 pages), 4 sources, MLA, AU$ 82.95
»
Click here to show/hide summary
Abstract
"The Tempest" is one of William Shakespeare's later plays probably written between 1610 and 1611. The early 1600s were marked by the beginning of the emigration from England and Spain to North America and the paper sets out to examine how the theme of colonization was expressed in the play. This paper contends that Shakespeare's play, "The Tempest," raises issues about the relationship of Europeans with native peoples but does not aim at describing the experience of one particular nation, be it English or Spanish. The paper's main argument is that Shakespeare utilizes the pattern of colonialism seen as a general phenomenon, and the colonialist endeavors of one European nation in particular.
From the Paper
"The literary critics who argue against the theme of colonization in "The Tempest" claim that rationalization (attempting to justify Prospero's cruelty towards Caliban by making the former seem good, and the latter inherently bad), is a technique which works against colonialism in Shakespeare's play because this way, Caliban is given the chance to exhibit a series of qualities which were not associated with savage men such as Caliban. Caliban represents anarchy, uprising and the unwillingness to surrender. These, however, were general traits shared by most of the natives who were faced with colonialism. In this sense, he is a generalized reflection of "the other" in the English imperialists' drive for hegemony overseas (Marshall: 387). Both Skura and Marshall challenge the idea that Prospero and Caliban are actors in the typical European-Native American colonial narrative. The Indian as the bogeyman which fits the Caliban mould does not exist until after 1622 whereas Shakespeare's play was written around 1610 (Marshall: 389). Skura also points at a very interesting detail which has been largely disregarded by critics. Sycorax, Caliban's mother, came from the Old World hence Caliban can only be considered half-native because although he was born on the island, his mother was not (Skura: 50)."
|
|
|
