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Philadelphia Dance Theater, 2006.
This paper examines the theaters and dance companies in Philadelphia.
1,015 words (approx. 4.1 pages), 5 sources, MLA, AU$ 52.95
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Abstract
The paper discusses how the state of Philadelphia has more than thirty dynamic and successful dance companies and theaters. The paper describes these theaters that include modern ballet, jazz, tap dancing, modern dance forms, flamenco, African-American, Indian and other types of folk and ethnic dance forms. The paper also provides some background about the Dance Theatre of Pennsylvania and the Philadelphia Theater Company. The writer concludes that the Philadelphia Theater Company has throughout the years provided a veritable showcase for displaying the vicarious talents of many young dancers of the area and in some certain cases, siblings and their parents too.
From the Paper
"It is an interesting fact that the state of Philadelphia has more than thirty excellent and dynamic Dance Companies, and theaters as well, and some of the nations' oldest dance theaters are in existence in the state today. These theaters are based in Philadelphia, and they tour globally. For example, the Pennsylvania Ballet is today celebrating its fortieth year of existence, and the Group Motion Dance Company and the Philadelphia Dance Company are today preparing for their thirty fifth anniversaries. Although all these theaters and dance companies have been growing through a number of changes over the years, its artistic view point is as strong as it ever was. However, it must be noted that the newer and later hip hop dance companies are thriving in Philadelphia as well, and one reason for this is the nurturing type of nature of the Philadelphia Dance Community as such. (Group Motion Press Room, Kick up your Heels)
The Philadelphia Dance Theater includes modern ballet, jazz, tap dancing, modern dance forms, flamenco, African American, Indian, and other types of folk and ethnic dance forms. Philadanco, or the Philadelphia Dance Company, is already at the performing end of another ballet named the 'Horse's Mouth', and this is also reputed to be a first arte performance by Philadelphia's young artistes. This year's performance of the 'Nutcracker' by the Philadelphia Dance Theater, just like its previous ones, would allow families during the Holiday Season a few hours together to enjoy, uninterruptedly, the magical world created for them by the choreographers and the directors and the performers of the play. (Group Motion Press Room, Kick up your Heels) The Dance Theater of Pennsylvania today is more than twenty seven years old, and it still continues its traditional practice of staging beautiful and timeless ballet productions. The 2005 to 2006 season is under way today, and this is the season in which the Nutcracker is generally staged."
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Oscar Wilde's "The Importance of Being Earnest", 2006.
This paper describes and analyzes Oscar Wilde's play "The Importance of Being Earnest".
1,935 words (approx. 7.7 pages), 4 sources, MLA, AU$ 90.95
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Abstract
This paper explains that Oscar Wilde's comic play "The Importance of Being Earnest" is a satiric look at aspects of British society, notably the influence of social class and rigid stratification. The author points out that the play toys with the dual meaning of the sound of Ernest: How important it is to be earnest, meaning sincere, and how important it is to be named Ernest. The paper relates that Wilde develops an inverted parody of the stock romantic situation in which the lovers' devotion alone and not their names have meaning; the play abounds in inversions of romantic cliches found in epigrams and certain conversational exchanges, which are structured on the basis of a reversal of expectations. Includes many quotations.
From the Paper
"To say that Jack is manipulating reality is to say that he is manipulating his own reality, for the play does not deal in what we would call objective reality. This is a world that does not exist, with people who operate on their own logic. Reality for Jack is always something of a blur because he has no idea who he really is. In this sense, his entire life is an appearance rather than a reality until he learns through a series of coincidences at the end of the play who he really is--he is Algy's older brother--and what his name is--his name really is Ernest."
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"The Eumenides" by Aeschylus, 2006.
This paper analyzes and summarizes Aeschylus' play "The Eumenides".
1,980 words (approx. 7.9 pages), 1 source, MLA, AU$ 91.95
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Abstract
This paper explains that, in the play "The Eumenides", Aeschylus,
while using many tragic elements to move the plot to its conclusion, nonetheless employs the unique feature of a positive ending, which is not contrived but rather well constructed from the elements throughout the play. The author points out that Aeschylus uses consistent symbolism and does not change the characters or the symbols in the story; instead, the changes occur from within and very gradually. The paper relates that the evolution of the play echoes the evolution within the depicted society during which conflicting forces were at work and the savage practices of the past were being replaced by the civilization of the new paradigm.
Tale of Contents
The Furies
Sacrifice and Redemption
From the Paper
"This is the point where forgiveness rather than revenge comes to the forefront of the play. Athena's argument rests on the new order rather than the old. The emerging civilization is to be based upon understanding, forgiveness and atonement. Indeed, the foregoing events in the play have shown that violence begets violence. Revenge upon revenge is exacted, with never an end to the blood and death of citizens that could otherwise have proved worthy members of society. In the ultimate show of forgiveness and atonement, Athena shows that the Furies can have a place in the new society. This however comes not with a warning, but with an assumption that even the Furies have a sense of justice."
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Shakespeare, 2006.
This paper looks at Shakespeare's semi-autobiographical work "The Tempest".
1,473 words (approx. 5.9 pages), 1 source, MLA, AU$ 71.95
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Abstract
In this article, the writer discusses "The Tempest" by William Shakespeare and discusses traits of Shakespeare himself that are portrayed within the play. Using references to the character, Prospero from the play, the writer examines the identity of the playwright, Shakespeare. The writer suggests what type of person Shakespeare might have been according to actions and attitudes of Prospero. The writer concludes that consciously or not, Shakespeare compared himself to Prospero, based on Prospero's isolation from society, his magical powers, and his control over others' lives.
From the Paper
"Shakespeare's true identity remains a mystery for most scholars and historians. However, the playwright's knowledge of the culture of nobility and monarchy suggest that Shakespeare may have been a member of the British noble court or at least someone close to it. Because writing and acting were not deemed respectable professions for a nobleperson, it is highly likely that Shakespeare was a pen name for someone within the regal realm. Even if Shakespeare was a common writer or actor, he may still have needed a nom de plume to cover up his true identity. Therefore, Shakespeare led a double life much like that of Prospero. Although Shakespeare was not exiled on an island, he was symbolically living in exile from his community. Like Prospero, Shakespeare might have been a former nobleman."
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Roman Theatre, 2006.
This paper discusses Roman theatre and its history.
1,461 words (approx. 5.8 pages), 6 sources, MLA, AU$ 71.95
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Abstract
This paper discusses Roman theatre and explains that it was vastly influenced by the Greek theatre although they have many differences. The paper provides an outline of the general history of Roman theatre and discusses how the Roman theatre gives us an insight on the Romans and their culture. The paper relates that it has played an important part in the beginning and evolution of the European theatre.
From the Paper
"The Roman theatre faced some problems in the beginning due to the fact that the audience was distracted by other events. The first performance of Hecyra was a ruin because the audience was distracted by the boxers and the rope dancer. The second performance was again a disaster as people heard of a rumor that a "gladiatorial display was about to take place" (W. Beare, p.165). The stage was a wooden one and some people hold the view that at a time the Romans had created a revolving stage. This is not considered as an authentic historical record of the history of Roman theatre. The actors and their dressing rooms were located behind the stage."
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"Tartuffe" by Moliere, 2006.
An analysis of the different ways that the play "Tartuffe" may be presented to different audiences.
846 words (approx. 3.4 pages), 3 sources, MLA, AU$ 44.95
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Abstract
The essay discusses the play "Tartuffe" and how it would often play to different parts of the audience based on social differences. It describes how the actors might play to different parts of the theater, for instance, which would not necessarily be indicated by the text and also the way different subject matter is included for different groups in the theater.
From the Paper
"The foolishness of Orgon contrasts with the deviousness of Tartuffe, and the latter character dominates the play even when not on stage because the other characters all act in response to him and his machinations. Indeed, Tartuffe does not appear physically until the third act, but his presence is felt from the beginning as other characters talk about him, behave as he would have them behave, and show themselves ready to submit their will to his. By the time Tartuffe actually appears, the audience has a strong image of him. This image is not entirely favorable."
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Baz Lurman's Film "Romeo and Juliet", 2006.
This paper compares the 1996 film version of Baz Lurman's "Romeo and Juliet" with William Shakespeare's original version of this romantic tragedy.
775 words (approx. 3.1 pages), 3 sources, MLA, AU$ 40.95
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Abstract
This paper explains that, while Baz Lurman's "Romeo and Juliet" presents the main theme of the play as a conflict between the bad values of the older generation and the disaffected but still hopeful younger generation, Shakespeare's play evolves more as a tale of fate and the fragile nature of love. The author points out that the film's images stem from a modern sense of alienation, an idea underlined in the overall design of the film, in which a Pluralist or post-modern pastiche of Hispanic, contemporary and some Renaissance images creates a sense of confusion mirrored in the lovers' own difficulties in finding meaning in their world. The paper relates that, although the themes of youthful alienation exist in both versions but are more present in Lurman's cinematic re-telling, Shakespeare, as is consistent with the Renaissance era, takes the example of the lovers to reflect upon the 'chance' nature of romance.
From the Paper
"The unavoidability of fate was an important idea of the Renaissance era during which Shakespeare wrote. Also important, well into the Baroque era was the question of how much respect and deference a child owed his or her parents in terms of selecting a marital partner. Shakespeare sides with the lovers in their passion, but clearly shows how Romeo and Juliet's love upsets the rulership of Verona, and how society is harmed as well as helped. Good aspects to society, such as the kind prince, and Juliet's more loving father and mother are upset when Juliet decides to eschew parental care."
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Gender and Identity Formation, 2006.
This paper studies gender and identity formation in Robinson's "Housekeeping" and Baldwin's "Blues for Mister Charlie".
3,105 words (approx. 12.4 pages), 2 sources, MLA, AU$ 132.95
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Abstract
In this article, the writer discusses that both the novel "Housekeeping" by Marilynn Robinson and the play "Blues for Mister Charlie" by James Baldwin deal with coming of age identity, conflicts amongst marginalized peoples and long-simmering community conflicts that come to a boil after the homecoming of one of the protagonists. The writer describes how Robinson's text is framed around the coming of age of young women growing up in rural Idaho in the mid-1900s. The girls experience a crisis of feminine identity after they are deprived of their mother, who commits suicide at the beginning of the book. The writer also looks at "Blues for Mister Charlie", that deals with the Black experience of isolation in America. The play centers on the difficulty of young Black people, men and women, who must force their lives and souls to conform to the norms of the White 'Mister Charlie.'
From the Paper
"For Black women, however, Baldwin has slightly less concern in terms of how the norms of their identities are formulated, even though women have a powerful stage presence over the course of the play. Thus Baldwin tends to reduce the importance of the Black female experience of marginalization in America for the Black community as a whole. It is how Black men formulate their new identities within oppressive structures that the author claims as his play's main concern. Continually, "Blues for Mister Charlie" stresses the commonality of all Black oppression and the investiture Black men and women have in creating a positive Black masculine ideal.
The play was written in response to the Emmett Till lynching of real life, a lynching spawned by a Northern Black youngster whistling at a White Southern women. Finding a way to create Black male sexuality in a way that is empowering, and will not bring the wrath of society down upon its head is Baldwin's concern."
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"Red Azalea: Life and Love in China", 2006.
A review of "Red Azalea: Life and Love in China" by Anchee Min.
1,105 words (approx. 4.4 pages), 1 source, MLA, AU$ 56.95
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Abstract
This paper introduces, discusses and analyzes the book "Red Azalea: Life and Love in China" by Anchee Min. According to this paper, the book is based on "Red Azalea" a film Anchee Min worked on at a film studio in China. This paper tells us that "Red Azalea" is the story of the "perfect" Chinese woman - a woman who was loyal to the Communist Party and its teachings above all else, and that the film "Red Azalea" was written by Chairman Mao's wife, Madame Mao (Jiang Ching).
From the Paper
"The film means different things to the characters that are touched by it. For Min, it represents hope and the ability to make a name and a career for herself, and it represents respect from those around her. It also represents her absence from Yan, who she loves, or at least thinks she loves. Min is touched by the story, but she is more impressed with what being a star will mean to her life and her family. However, because her dream of being a star does not come true, the film also represents the end of Min's dreams, or at least the end of her life with Yan and the beginning of a new life. Min writes, "In the dark I realized that it was a lion's den I had entered. The darkness silenced a roaring cry. The coldness of thoughts froze me. I could hear the sound of my dream's spine breaking" (Min 170). Her dream of happiness seems like it will never come true, but that is not how the story ends. "
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'Antigone', 2006.
This paper discusses the theme of law versus love in Sophocles' play 'Antigone'.
960 words (approx. 3.8 pages), 5 sources, MLA, AU$ 50.95
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Abstract
In this article, the writer studies the play "Antigone" by Sophocles. The writer discusses how the play addresses love as a side effect of being human and a necessary aspect of humanity, but also emphasizes man's reliance on the law for order and justice. The writer looks at the way in which the play reveals how sometimes love and law oppose one another, which in this case results in tragedy. In this paper, the writer describes how the play encourages the reader to view love as central toward determining right from wrong. The writer concludes that the play remains a tragedy, for Antigone is still lost and Creon must suffer terrible guilt and loneliness as a result of Antigone's death.
From the Paper
"Creon attempts to overcome Antigone's assertion that love should dictate mankind's actions throughout the place. He for example, in the play tries to turn Antigone's loyalty, suggesting that Antigone's brothers made her father unhappy and that her brother Polynices was actually a cruel and vicious voluptuary. Too "cowardly" to imprison his own son, Creon suggests that Oedipus let his son join the army, however asserts that Polynices then proceeded to attempt to kill Oedipus. Creon further suggests that Eteocles is no better, a gangster at best also attempted to usurp his father's authority.
Creon establishes one essential fact regarding law in the play, that "society does depend on a central authority for all that law brings is of benefit". His beliefs are valid, but so too are Antigone's that suggest divine law and therefore love should dictate mankind's behavior."
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War and 'Henry V', 2006.
An analysis of the play "Henry V" by William Shakespeare.
1,891 words (approx. 7.6 pages), 1 source, MLA, AU$ 88.95
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Abstract
This paper introduces, discusses, and analyzes the play "Henry V" by William Shakespeare. Specifically it discusses the various meanings of the word war and how Shakespeare uses it throughout the play. Because so much of the play revolves around war and the results of war, war has become a vital word in this play.
From the Paper
"The word war appears often in this play, along with many variations. In this quote from the First Act, Henry shows the audience his desire to go to war and to conquer France. Shakespeare writes, "For we have now no thought in us but France, / Save those to God, that run before our business. / Therefore, let our proportions for these wars / Be soon collected, and all things thought upon / That may with reasonable swiftness add / More feathers to our wings; for, God before, / We'll chide this Dauphin at his father's door. / Therefore let every man now task his thought, / That this fair action may on foot be brought" (Shakespeare I, ii). The King uses the word as "wars," and acts as if the wars are guided by God.
This is an important aspect of the word, for often wars seem to be religiously inspired, or fought on "God's side." The "right" side in any war believes they are fighting for the right cause and the right reason. For example, in World War II, the Allies were fighting against Fascism and Hitler's horrible dictatorship. The Allies were certainly "right," while Hitler and his followers were "wrong."
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"Death of a Salesman" by Arthur Miller, 2006.
A review of the play "Death of a Salesman," by playwright Arthur Miller.
2,349 words (approx. 9.4 pages), 5 sources, MLA, AU$ 106.95
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Abstract
This paper takes a look at the Arthur Miller's play "Death of a Salesman," that has characterized American families in the capitalist economy. The play also highlights the gradual decrease in power of male household heads in the dominantly- patriarchal American society. These issues that are embodied and depicted through the character of Willy Loman and his family.
From the Paper
"This paper discusses how tragedy is personified and depicted in "Death of a Salesman." In the context of the modern and capitalist American society, tragedy is shown through the Willy Loman, whose death was caused by two 'tragedies' in his life. The first depiction of tragedy was his failure to achieve the American Dream for him and his family, as he remained being an insignificant salesman, due to his misguided work ethics and dreams and ideals for his family, particularly his sons, Biff and Happy.
The second depiction of tragedy, meanwhile, was Willy's failure to live up to society's ideal of a successful man and father, which, in the capitalist society, is often equated to being economically able to provide for his family. The failure of his dreams for himself and his family created the tragedy that was Willy Loman, therefore categorizing "Death of a Salesman" by Arthur Miller as a tragic play."
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Drama, 2006.
The drama as a literary form and as a performance art using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer.
1,400 words (approx. 5.6 pages), 0 sources, AU$ 68.95
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Abstract
Using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer, this paper shows how the underlying impetus for drama has from the first been the depiction of conflict. The paper reveals how dramas developed from a religious festival and then became a celebration in itself. Drama, as a literary form and a performance art, involves human beings acting out their inner emotions in a public way and interacting with one another over emotions, ideas, and situations.
From the Paper
"All of these elements are presented in the epic poem, while in a drama, many of these elements would only be mentioned or would be left as knowledge the audience already has because they know the story. Drama is more selective, more concise, and more focused on the dramatic situation than on the sweep of a large-scale story. The dramatic situation in this one scene has shifts and turns even in the short time covered. Priam takes a ransom with him consisting of twelve robes, twelve cloaks, twelve blankets, twelve capes and shirts, ten bars of gold, two tripods, four cauldrons, and a Thracian cup. Priam arrives and immediately grasps Achilleus by the knees, telling of his grief and of the need for Achilleus to be compassionate and to return the body of Hektor. For his part, Achilleus speaks of his won victory by reminding Priam of all that the latter has lost, but he also shows that he is fully aware that the gods have guided Priam to this place and that he must return Hektor to his father. The tension of the opening is never fully dissipated even as Achilleus shows his hospitality and makes certain promises to Priam about holding off the fighting for twelve days while the Trojans bury the son of their ruler. However, just as it appears that the situation is concluded, the god Hermes comes to Priam and warns him to leave now because if the Greeks find him asleep in the morning, they may decide he is worth more as a ransom and will not allow him to leave as Achilleus has promised."
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"Phaedra" and "Hippolytus", 2006.
This article compares the plays "Hippolytus" by Euripides and "Phaedra" by Racine.
1,342 words (approx. 5.4 pages), 2 sources, MLA, AU$ 66.95
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Abstract
This paper contains a comparison of two dramatic works from different places and different periods of time. The writer claims that although Racine's "Phaedra" takes the myth behind Euripides "Hippolytus" as its inspiration, the 17th century French play does not adopt the theme of the ancient Greek tragedy into its own dramatic construction or in the characters of its main protagonists. The writer focuses attention on contrasts between the two versions and looks at relationships to the gods and the presence of sexual desires in the characters in the works. In this paper, the writer studies the similarities and differences between the two plays and their characters.
From the Paper
"In contrast, Racine focuses on the sexual conflicts within the heart of the title protagonist alone. This reflects the shifting focus of modern drama. Rather than focus on the public conflicts between humanity and the gods, and how to create a more just society, now dramatists such as Racine were more interested in human introspection and how humans dealt with personal conflicts, such as a reconstructed family. Also, all of the characters in Racine are torn apart by desire. Hippolyte in Racine also feels love, although not for Phaedra, his stepmother. The thematic difference between the two versions of the ancient myth is evident, as Euripides' tragedy begins, not with the inner reflections of either Phaedra or her stepson Hippolytus, but with a monologue by Aphrodite. Aphrodite was the Olympian goddess of love. Phaedra honors Aphrodite alone, and spurned the chaste goddess Artemis. In contrast, Phaedra's stepson Hippolytus loves to worship Artemis, the virgin goddess of the hunt and unmarried."
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Ancient Greek Theater, 2006.
A paper on ancient Greek drama, the Greek theater and ancient Greek playwrights.
2,413 words (approx. 9.7 pages), 9 sources, MLA, AU$ 107.95
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Abstract
This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper
"The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
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Henrik Ibsen's "A Doll's House", 2005.
This paper discusses that, in Henrik Ibsen's "A Doll's House", patriarchal femininity is shown to be an inaccurate reflection of humanity.
1,630 words (approx. 6.5 pages), 1 source, MLA, AU$ 78.95
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Abstract
This paper explains that the first theme of Henrik Ibsen's "A Doll's House" is the significance of money within the patriarchal family system, which reinforces the notion of the male being the member of the household in charge of earning and doling out money. The author points out that Nora eventually realizes that she has the same role, which she played in her father's home; she remains an interesting figure-piece to be put on display without receiving true love. The paper relates that Nora's abandonment of her children can be perceived as a sacrifice for their benefit because Nora believes that her false role could rub-off on her children, which will lead them to the same hollow life she has.
From the Paper
"This is what prompts Nora to begin to divulge her secret dealings: she is affronted that another woman would look at her and be fooled by her role as Torvald's "little featherhead." The fact that she tells Mrs. Linde about the loan after this, reveals that she believes her experience in the real, troubling world to be more valuable than the sheltered scope of her life's apparent accomplishments--husband, children, and money. This is how the feminine role begins to crack for Nora: she encounters a woman whom, according to the patriarchal rule of society, she should pity; but instead, she is somehow envious of Mrs. Linde's experience, as well as defensive of her own."
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