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"The Secret Garden", 2004.
A review of the play "The Secret Garden" by Frances Hodgson Burnett.
1,377 words (approx. 5.5 pages), 2 sources, MLA, AU$ 65.95
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Abstract
This paper examines the main characters of Frances Hodgson Burnett's play, "The Secret Garden", Mary and Colin. The paper describes both characters as victims of their forlorn childhood. The paper explores their growing relationship and illustrates how they manage to help each other achieve self-awareness.
From the Paper
"Writing in the Washington Times about a musical production of the play created from The Secret Garden, Jayne M. Blanchard (2002. P. DO2) noted that the children, Mary and Colin, "are spiritually and physically revived, actually given a reason to soldier on, when they coax back to life a long-neglected private garden." Blanchard found the production overly gloomy and filled with "adult angst." But then again, she thought the death in childbirth of Colin's mother was too Victorian. Unfortunately, while the setting of the book may have been Victorian, The Secret Garden was written thirty years after that era had ended. While Mary and Colin, two children as unlikable as they come, may have been a product of their age, the angst Blanchard mentions certainly sounds modern."
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Sociology, 2004.
An analysis of social structure and interaction - dramaturgy and social construction of reality in a formal work environment
808 words (approx. 3.2 pages), 1 source, MLA, AU$ 40.95
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Abstract
The study of sociology requires that it study the macro and micro aspects of it-that is, human society must be studied based on the social structures existing in the environment and social interaction happening among individuals and groups. To illustrate how sociology works in everyday human life, this paper brings into lucidity how the processes of dramaturgy and social construction of reality is operationalized in a formal workplace environment. For this paper, dramaturgy represents the social interaction among individuals and groups while the social construction of reality puts into context these human interactions into a larger framework, which includes social structures and institutions established in the society.
From the Paper
"Dramaturgy or dramaturgical analysis, developed and introduced by Erving Goffman, is a sociological theory that posits that "social life is like a drama or stage play" (97). By this, Goffman means that individuals follow particular roles and adapt specific "scripts" through which they represent their own selves. Furthermore, this theory states that people maintain a "front stage" and "back stage," concepts that are synonymous with the idea of the public and private selves, respectively. The front stage or the public self is the personality or image that we want to project in public, which often is parallel with the role that the individual assumes in his/her society. The back stage, meanwhile, is the private self that is undisclosed to everyone except for the individual's family and close friends. The back stage self is often shown in the individual's moment of candor."
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Musical Theater, 2005.
Examines the history of musical theater in the United States.
1,371 words (approx. 5.5 pages), 8 sources, MLA, AU$ 63.95
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Abstract
Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper
"Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
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"Waiting for Godot", 2005.
A discussion of religion in Samuel Beckett's play "Waiting for Godot".
3,415 words (approx. 13.7 pages), 7 sources, MLA, AU$ 135.95
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Abstract
"Waiting for Godot" which was written by Samuel Beckett is considered to be his most famous work. This paper focuses on the meaning of the religious themes within the play. One of the key themes found in the play, is a call to action for the Christian audience. It explains that the scene and the players are suggestive of any man and any place. It is meant to be universal in its reach; with each day representing not only a new beginning but a continuation if what came before.
From the Paper
"Nothing is completed because nothing can be completed. The despair in the play , which is never defined as such but which pervades all the lack of action and gives the play its metaphysical color, is the fact that the two tramps cannot wait for Godot, and the corollary fact that he cannot come. The rigorous use of the unities is demanded by the implacable interpretation of human life. The denouement of the play is another beginning ((Fowlie, pp 210-214).
Just the mere fact of the spelling of Godot's name adds to the metaphysical essence of this play. Godot is often seen as being short for God and the fact that these two tramps wait for his coming in reminiscent to waiting for the final coming of God."
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Arthur Miller's "Death of a Salesman".
This paper discusses the play, "Death of a Salesman," by Arthur Miller from the perspective of J. F. Clarke's statement, "The bravest of individuals is the one who obeys his or her conscience."
1,170 words (approx. 4.7 pages), 1 source, MLA, AU$ 56.95
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Abstract
This paper explains that "Death of a Salesman" is a tragic story about a man who is anything but a success; he is a coward because he cannot face his faults and his failures. The author believes that Willy is a coward because he tries to end his life due to his belief that he had so many troubles, and he thinks his family will benefit if he kills himself. The paper concludes that Willy is not a good example of Clarke's statement; he is a liar, does not take charge of his life in a positive manner, is not brave, and does not follow his conscience.
From the Paper
"Clarke's statement about bravery does not apply to everyone, and Willy and his family are good examples of that. Not everyone can be brave, and not everyone can stand up to their failures and their faults. It takes a truly brave person to recognize they have been a failure, and to go on trying to better himself or herself. Willy could not do that, and he even tells Ben that. Ben says, "It's called a cowardly thing, William. Willy: Why? Does it take more guts to stand her the rest of my life ringing up a zero?" Yes, it does take more guts. It takes more guts to face your failures and learn from them. Willy did not have to guts to face his failures, and so, he thinks money is the answer for his family when really he was all they wanted."
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Revenge in ?Hamlet?.
This paper discusses the concept of revenge in William Shakespeare's "Hamlet".
1,745 words (approx. 7.0 pages), 10 sources, MLA, AU$ 79.95
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Abstract
This paper explains that, through the 20th and 21st centuries' psychological and individualistic lens, "Hamlet" often is thought of as a drama primarily about one man's relationship with a dead father and a living and murderous stepfather, but it also can be seen as a play almost completely about the circular economy of revenge, which, during the Elizabethan and Jacobean era, was one of the ways individuals remained connected to the past and the world of the dead. The author believes that the most chilling display of the ideology of revenge is the scene in the graveyard, where Ophelia's corpse is wrestled between her brother and Hamlet. The paper relates that, in Act 4, when Hamlet returns from England, the site of Protestantism, he no longer sees revenge as a positive thing; the Elizabethan audience would have approved of this attitude, which despised revenge and purgatory as anti-humanist, but still acknowledged the need to survive in a bloody, politically uncomfortable, and divided society.
From the Paper
""Hamlet" begins with a Denmark under siege in Scene 2, with the Norwegian Fortinbras demanding revenge for his dead father in the form of restitution of Norwegian lands. Upon meeting the ghost of his dead father, Hamlet vows revenge upon his uncle. He says he will forget all of his studies, even his identity, until this is accomplished. Hamlet does not kill his uncle at prayer, because the revenge will not be full and fitting if Claudius does not suffer in purgatory, calling this hire and salary, rather than true revenge. Laertes vows revenge upon Hamlet, the man who killed his father. Ophelia bedecks herself in flowers and uses the flowers to communicate, through the riddles of her broken mind, to say what she could not say while sane."
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The Danger of Theater, 2004.
An analysis of the danger of theater, according to the ideas of Plato, Artaud, and Boal.
4,106 words (approx. 16.4 pages), 5 sources, MLA, AU$ 154.95
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Abstract
This paper contends that theater can be dangerous on a variety of levels. The paper presents Plato's main concern, that art distracted otherwise reasonable people from using their reason to rule the other faculties. This concern appears to be a prominent feature in the dangers posed by the theater as expounded by Artaud and Boal. Artaud's theater concentrates mainly on the psychological aspect. It places people in touch with the primitive and instinctive to the detriment of reason. While the advantage here is that repressed emotions are revealed to be examined and possibly healed, it is also possible that a permanently broken psyche may result. The paper discusses Boal's theater, on the other hand, that poses a variety of levels in terms of both danger and healing. There is a psychological aspect that may be seen as similar to Artaud's theater. At the psychological level, Boal also addresses the subconscious in terms of dissatisfaction. In extreme cases, this may lead to a breakdown between the desired state and the state of dissatisfaction. The mental and physical aspects of danger are detailed in the paper.
From the Paper
"The theater is probably the medium of art by means of which the most prominent of social sentiments can be depicted. Furthermore the theater lends itself to a variety of forms, including the highly experimental. One of the most recent evolutions in theater has been including the audience in the setting and theme of the play. Indeed, among the most modern thinkers is Augusto Boal, who takes this paradigm a step further in allowing the audience to actively take part in the creation of the very events within the play. The idea that art in whatever form could pose a danger to society and its way of life originates with Plato, whose main concern was with the art of poetry. Plato's thought was embedded in the politics and social structure of his time. According to him, then, the danger of poetry lay in the fact that it could distract citizens from their duties as citizens in the Republic. The role of poetry during Plato's time then was more or less the same as the role of theater today."
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Biff.
This paper discusses the role of Biff, Willy Loman's son, in Arthur Miller's "Death of a Salesman".
1,430 words (approx. 5.7 pages), 1 source, MLA, AU$ 66.95
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Abstract
This paper explains that Biff Loman's dream of escaping the American frontier is just as much a lie and a false American Dream as his father's dream of easy material success and societal approbation through sales. The author points out the brilliance of the scene where Biff comes upon his father with his father's mistress, indicating the materialism of the American Dream even translates into their feelings and fantasies about women. The paper relates that the role of Biff's cousin, Bernard, in contrast to Willy and Biff, is seen as the embodiment of the American Dream because he works hard and makes something of his profession and his life, not needing to 'sell' his success.
From the Paper
"Willy Loman fantasizes that he lives in an America where material success it easy and where anyone can succeed if one is liked. However, in the memorable phrase of another salesman, Loman is liked but not well liked, within corporate America-and that, it is implied, makes all the difference. However, whether one is liked or well liked, it is certain that pure emotion, to Loman's surprise, cannot be translated into long-standing American capital. One must work hard as well, and Willy Loman works hard mainly at being liked in an easy fashion, and encouraging his sons to be admired for sports rather than the gymnastics of the mind and the efforts that yield real financial reward."
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History of Theater, 2005.
A look at the differences in European theater between the 17th and 18th centuries.
1,879 words (approx. 7.5 pages), 5 sources, MLA, AU$ 84.95
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Abstract
This paper examines the differences in philosophy and style of theater in 17th and 18th centuries in Europe. It looks at how the changes in economics, society, and ruling powers impacted the way playwrights expressed themselves and, in turn, brought these ideas to the stage. It concludes that theater became popularized by the end of the 18th century.
From the Paper
"This quote from the Jacobean era tragedy of Shakespeare perfectly sums up the characterization of the drama that was to follow the Shakespearean era of theater in 17th century England and France as well. During the courtly years of theater of the Restoration period in England, and in France, drama was "caviar for the general," not for the common people. From the raucous Elizabethan style theater in the open, the shift in theatrical content was no longer designed to "please the million" and this did not change until the rise of the middle class in the 18th century. The audiences then again shifted, from the 17th century courtly audience that giggled with the satire and intellectual in-jokes of the actors to the broader, more inclusive audiences that witnessed dramas with more common and expansive themes."
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"Raisin in the Sun", 2005.
The social and economic conditions depicted in Lorraine Hansberry's "A Raisin in the Sun".
1,987 words (approx. 7.9 pages), 10 sources, MLA, AU$ 88.95
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Abstract
Lorraine Hansberry's play, "A Raisin in the Sun," is considered a powerful drama because it exemplifies the social and economic status of many African-Americans families after the war and before the civil rights movement. It explains that Martin Luther King and other African-American leaders have not yet surfaced, so the social climate still consists of racism in many forms. Housing discrimination was a serious issue and becomes a major focus in the play as the Youngers attempt to rise above their lower class status. It discusses how the play is also significant to literature because one of predominant themes is the American Dream. This paper explores how these issues operate together to emphasize the African-American plight during this era.
From the Paper
"David Cooper notes that A Raisin in the Sun "manages to recover and sustain ethical idealism amid conditions, personal and societal, that would make fatalistic surrender understandable. It does so without sentimentality and in spite of the unresolved conflicts and uncertainties that are left over at the play's end" (Cooper). It is the quality of daring to dream amidst difficult conditions that make the play a success. Cooper notes that while the play is about "distress, futility, and tragedy" (Cooper), it is also about "hope and pride and what kind of conviction and commitment it takes to bring hope out of hopelessness, courage out of fear, and idealism out of fatalism" (Cooper). As the play progresses, we will see how this is true. Despite what the Youngers face, they never completely give up. Jeanne-Marie Miller states, "Hansberry's artistic vision was optimistic; she believed firmly that people could 'impose the reason for life on life.' She knew the tensions implicit in being born black and female, and never accepted the notion that either characteristic was limiting" (Miller 2202). An observation of the characters in the play reveals this aspect of Hansberry's vision. She blends the failures and successes together masterfully to illustrate her point."
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?Peter Pan? and ?Everyman?, 2005.
A comparative analysis of the themes of loss in J. M. Barrie's "Peter Pan" and the anonymous medieval morality play, "Everyman".
1,405 words (approx. 5.6 pages), 5 sources, MLA, AU$ 65.95
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Abstract
This paper examines how both the narratives of "Peter Pan" and "Everyman" revolve around themes of loss and how the losses in both J.M. Barrie's famous children's tale and the medieval morality allegory are both physical and psychological in their nature. It looks at how the "Everyman" of the medieval loses his physical life and sense of emotional and social security in his friends, family, and his worldly goods. In comparison, it shows how, in Barrie's "Peter Pan," the title character experiences, first, the loss of his shadow, which is temporary, and then loses Wendy, the Lost Boys ,and the other Darling children.
From the Paper
"Neither of these tales is depressing, however, because along with loss, both heroes gain something back. But while "Everyman," is stripped bare of his old life and illusions, which are replaced with a truer understanding of the divine, Peter's refusal to grow merely results in him recapturing his youth by associating with the next generation of Darling children. Peter refuses to lose his old illusions, refuses to grow up and lose his old life and childhood appearance, and thus refuses to validate the conventional adult journey of life, learning, and life's termination, as reflected in "Everyman.""
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"Death of a Salesman".
This paper discusses Arthur Miller's play, "Death of a Salesman," in which Miller demonstrates that the heart and spirit of the average man can be the source for theatrical tragedy.
1,375 words (approx. 5.5 pages), 0 sources, AU$ 63.95
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Abstract
This paper explains Arthur Miller emphasizes that his play was about an average person by the way he names the central character "Willy Loman," which is pronounced "low man". The author points out Willy's tragic flaw: he has lived a simple life, raised a family, bought and paid for a home, but he didn't feel he had "accomplished something." The paper relates that, at the end of the play, Willy gets in his car, speeds off ,and kills himself in a crash; his friend Charley says, "A salesman has got to dream ... it comes with the territory."
From the Paper
"Later in the scene, Willy shows more emphasis on superficial appearances as the way a man should define himself as a success: he sees it as important to be popular. He comments that the boys' Uncle Charley is liked, but not well liked. Willy is so blinded by superficial traits that in a flashback he tells Biff it's OK if he isn't a hard-working student and barely manages to graduate from high school because he's a football star, and popular, and has been offered three different athletic scholarships for college. A classmate of Biff's, Bernard, tries to get him to study, since he has to take important tests the next week, and Biff blows Bernard's concerns off. Willy says about Bernard."
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"Oedipus Rex" and "Death of a Salesman", 2004.
An analysis of fate, insanity, and the tragic lives of Oedipus in "Oedipus Rex" by Sophocles and Willy Loman in "Death of a Salesman" by Arthur Miller.
846 words (approx. 3.4 pages), 4 sources, MLA, AU$ 42.95
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Abstract
Considered as fine works of literature that demonstrate the tragic lives of humanity amidst its flaws and weaknesses, the plays "Oedipus Rex" by Sophocles and "Death of a Salesman" by Arthur Miller aptly reflect, through their protagonist characters, their belief in fate and resulting tragic lives that marked their downfall to insanity and, later, towards death. This paper discusses these three significant concepts: fate, insanity, and tragedy, which are relevant to the main point in both of these plays.
From the Paper
"Similarly, Willy Loman in Miller's famous contemporary play illustrates the modern American who depended heavily on fate-in American culture, it is synonymous with the concept of "American dream." Willy's beliefs that he and his sons, Biff and Happy, are destined to have a life of economic success, just because they have the 'proper social connections' and personality that will endear them to many people, and in fact, towards having a lucky and prosperous life. Willy's obsession to achieve the American dream by relying on pure charisma alone resulted also to his downfall: not only did he fail in his career as a salesman, but his sons also failed to realize their dreams in life, in the belief that their father's promise of an economically successful life will come true (Ardolino, 1998:2). Like Oedipus, Willy's belief in his fate as a successful salesman led to his indolence, which led to his family's increased fall towards poverty, causing him to commit suicide."
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"Lysistrata", 2004.
An analysis of Sparta versus Athens in Aristophanes's play, "Lysistrata".
929 words (approx. 3.7 pages), 1 source, MLA, AU$ 47.95
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Abstract
This paper discusses Ancient Greek culture through a review of the play, "Lysistrata," by Aristophanes. The paper examines issues of war and highlights the greater importance this Greek dramatist gives to the women of Greece in contrast to the war histories of Thucydides and Herodotus, outlining particularly the harsh effects of war upon women.
From the Paper
"On its surface, Aristophanes' "Lysistrata" seems to be a comedic send-up of the value and emphasis the male Greek populations of Sparta and Athens placed on war, in contrast to the women of both city-states. And structurally, and particularly in its first scenes, where the women of the play collude, debate and decide to withhold sexual favors until peace is restored, this does seem to be the case. The greater importance this Greek dramatist gives to the women of Greece, in contrast to the histories of war of Thucydides and Herodotus, highlights the particularly harsh effects of war upon women. Unlike men, women cannot fight and can only watch their beloved husbands and sons fight one another until they die. This also underlines the negative aspects of war and conflict-even for the valorous, death is the result, even if glorious leaders like Pericles eulogize them in great funeral orations."
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Plays Compared, 2005.
A comparison of two plays, Racine's version of "Phaedra" and Lillian Hellman's play, "The Children's Hour".
1,421 words (approx. 5.7 pages), 2 sources, MLA, AU$ 66.95
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Abstract
Two plays written far apart in time and place are Racine's version of "Phaedra" and Lillian Hellman's play "The Children's Hour," which show certain similarities in terms of moral themes. It discusses how both plays reflect on issues of good and evil, guilt and innocence, atonement and forgiveness, and, in both cases, center on a case of what society deems to be a "perverted" love that leads to tragedy.
From the Paper
"The myth of Phaedra, which serves as the starting point for Racine, tells of how Phaedra, the wife of King Theseus, fell in love with Hippolytus, her stepson. She makes her passion known to the young man, and he rejects her. She then revenges herself on him by accusing him of dishonoring her, and this leads to the death of both the young man and Phaedra. Racine uses most of the story from the myth, though he gives that story a somewhat different emphasis as he explores the tragedy of Phaedra and her personality and her obsession."
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The Elizabethan and Jacobean Theater.
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, AU$ 219.95
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Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
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