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Sophocles's Plays, 2005.
A cross comparison of Sophocles's plays, "Antigone" and "Oedipus the King".
998 words (approx. 4.0 pages), 0 sources, AU$ 57.95
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Abstract
This paper looks at how, because of their interconnected plots, the two dramas share much in common in terms of themes and characterization. It looks at the role of Creon; the plot of justice and crime; the character, Tiresias; and other secondary characters.
From the Paper
"In some ways, Creon and Oedipus both act as criminals and prosecutors. Creon commits a crime against divine justice first by forbidding the proper burial of Polynices and then by harshly persecuting Antigone for wanting to bury her brother in the proper manner. One of the central messages of Antigone is therefore that divine justice trumps mundane law. Oedipus breaks a divine law not necessarily by killing his father and marrying his mother, acts he committed without knowing, but by refusing to acknowledge the truth to the detriment of himself and those around him. In the end, justice is served by the gods through the death of his wife and the continuation of the plague. The final word of Oedipus the King, therefore, has more to do with the detriments of pride than with the supremacy of divine justice."
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Theoni V. Aldredge, 2005.
A discussion of Theoni V. Aldredge, one of America's most gifted costume designers.
2,874 words (approx. 11.5 pages), 8 sources, MLA, AU$ 138.95
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Abstract
Theoni V. Aldredge is considered one of America's most gifted costume designers. To date, her stage credits have included "I Can get It For You Wholesale," "Mr. President," "Anyone can Whistle," "A Chorus Line," "Annie," "42nd Street," "Dreamgirls," "Chess," and "The Secret Garden." When designing costumes for a period piece, it is not unusual for Aldredge to alter original fashions to make her designs more palatable for modern audiences. To determine how Aldredge achieves this goal, this paper provides a background and overview of the designer, followed by relevant biographical information. A discussion concerning Aldredge's alteration of original fashions for contemporary audiences is followed by a summary of the research in the conclusion.
From the Paper
Theoni V. Aldredge was born Theoni Athanasiou Vachilioti in Salonika, Greece on August 22, 1932 (Brennan 2004). Aldredge was educated at the American School in Athens and then at the Goodman School of Drama in Chicago. In fact, when it comes to incorporating color into her designs, Aldredge reports that she has a passion for pale lavender: "I use it in every show, often with pale blue and white. These are the colors of my country" (Lampert-Greaux 2002:38). She has designed extensively for stage and film as can be seen from a sampling of her productions at Appendix A. Aldredge's first professional designs were created over a half century ago for the Goodman Theatre in 1950 (Owen 1987). In 1957, Aldredge moved to New York City where she established a long association with Joseph Papp and the New York Shakespeare Festival. Since that time, in New York alone, she had designed over 165 shows by 1987 (Owen 1987)."
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Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, AU$ 64.95
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Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper
"Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
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William Shakespeare?s ?Othello?, 2004.
This paper analyzes the character Iago in William Shakespeare?s play, ?Othello?.
1,105 words (approx. 4.4 pages), 5 sources, APA, AU$ 62.95
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Abstract
This paper explains that Iago, from William Shakespeare?s play, ?Othello,? is probably one of the best evil characters ever created. The author points out that he is an interesting case study because he is proud of his evilness and plans to use it to his utmost abilities to bring Othello down. The paper relates that another aspect about Iago's character that makes him so detestable is that he really has no reasonable excuse to hate Othello so much; he is not crazy, but rather is smart and clever, two characteristics that make him even more dangerous.
From the Paper
"Another characteristic of Iago that is unforgettable is his cleverness throughout the entire play. Iago must know Othello well because he demonstrates that he knows just the right things to say to Othello to spur his anger and jealousy. Robert Heilman claims, ?Wit is Iago?s instrument to compensate for what he does not have. He perversely hates and yet lusts after what he does not have . . . and he undertakes to disparage it, minimize it, debunk it, and destroy it.? Once he knows what it is he wants to do, he has no trouble achieving his goal. Critic Harold Bloom states that Iago?s ruination of Othello is in some ways too subtle for criticism to paraphrase. Iago suggests Desdemona's infidelity by at first not suggesting it, but hovering near and around it.? This is all too true."
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Elizabethan Theater and Drama, 2005.
A discussion of how Elizabethan theater changed how plays were produced.
2,154 words (approx. 8.6 pages), 5 sources, MLA, AU$ 109.95
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Abstract
This paper discusses the many ways that the Elizabethan theater changed drama. It explains that the emergence of Shakespeare and other playwrights turned out to be perfect timing for the new way in which plays were acted out. The structure of the theater during this time changed the relationship between the audience and the actors by bringing them closer together, as well as encouraging the audience to use their imagination. It discusses how the intimate structure of the theater and the fascinating material changed how theater would be perceived and defined forever.
From the Paper
"The Elizabethan stage was different from previous stages because it ?utilized an open platform stage inherited from medieval theater? (Wilson 279). Wilson notes that the theater buildings had a character ?all their own? (Wilson 279). Another significant difference between Elizabethan theaters and earlier theaters was the fact that Elizabethan theaters did not have painted scenery. Because of the nature of how plays were performed, the platform stage had to be a rather neutral playing area ?which could become many different places in quick succession? (279). Because a play?s action moved swiftly, this type of stage was not only convenient but also essential to provide a sense of continuous action as the play progressed."
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"The Crucible", 2004.
A discussion of witch hunts in America through a review of Arthur Miller's play, "The Crucible".
925 words (approx. 3.7 pages), 2 sources, MLA, AU$ 52.95
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Abstract
This paper presents the play, "The Crucible", written by Arthur Miller at the height of the McCarthy period. The paper contends that Miller wrote the play about the Salem Witch Trials in the 17th Century as a parable for what was going on around him. The paper illustrates that, whereas the unfortunate ?witches? in "The Crucible" were actually executed, the ?witches? of the McCarthy era were executed socially, economically, and ideologically.
From the Paper
"Perhaps one of the best accounts of both historical events is found within Arthur Miller?s 1953 play, The Crucible, written in the height of the McCarthy period. At the time of its writing, the United States was entering into a period that is now described virtually universally as ?dark.? In it, a feeling of general threat pervaded the country?a threat, it was believed, in which Communists inside the United States would threaten the national security of the nation (today known as the ?Homeland?). Further, the government sought to convey a sense of urgency and fear, seeking to galvanize public opinion in favor of the immense spending that would support the new ?Cold War?
Against the terrorist?oops, I mean Communist threat."
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, AU$ 123.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare?s ?Oedipus Rex?, ?Macbeth?, ?Romeo and Juliet?, and ?Hamlet?; and from two films, the comedy, ?Pretty Woman?, and tragedy, ?The Path to War?. The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the ?Path to War? and ?Oedipus Rex? are pure tragedy based on circumstances and errors in judgment; whereas, ?Pretty Woman? is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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The Poetry of "Othello", 2004.
Analyzes a poetic passage spoken by the character, Emilia, in Shakespeare's play, "Othello".
700 words (approx. 2.8 pages), 1 source, MLA, AU$ 39.95
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Abstract
This paper examines Act IV, scene iii, of "Othello" by William Shakespeare and analyzes a passage spoken by Emilia to Desdemona. The paper discusses the rhythm, diction, and images in the passage to show how Shakespeare used every available device to make his plays richer and more meaningful.
From the Paper
"The mood and tone of this passage are clear, and the tempo and imagery of the passage clearly help set the mood. The women are unhappy, and there is clearly an unsettling feeling of trouble brewing just below the surface of the speech. Desdemona will betray Othello, and part of that betrayal is born in this speech that typifies the woman's place at the time, and how it created animosity and ultimately tragedy."
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"Long Day's Journey into Night", 2005.
Review and analysis of Eugene O'Neill's famous work from the perspective of several literary critics.
2,563 words (approx. 10.3 pages), 8 sources, MLA, AU$ 125.95
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Abstract
This paper analyzes O'Neill's work and how he tried, by incorporating aspects of everyday life into his writings, to describe the longing and tragedy that is inherently part of the human psyche. The paper looks at how "Long Day's Journey into Night" is a an example of how O'Neill incorporated his own life experiences into his writing in an effort to portray this aspect of life and then looks at how various literary critics have supported or refuted these ideas.
From the Paper
"Winther (1961), one of O?Neill?s earlier critics, suggests that O?Neill deals with tragedy from a universally appealing standpoint. O?Neill according to Winther, deals with the fall of man from prosperity into adversity in a manner ?that is shocking and through causes that lie within man himself in relation to the outward forces o his world? (298). In Long Day?s Journey into Night, O?Neill displays man as brought to disaster by ?forces that are stronger than he is? (298). Mary for example, in his work Long Day?s Journey into Night, struggles for years in a state of inescapable despair. In the work Mary is struggling to conquer forces of life she has no control over. Winther (1961) points out that each character has its flaw or failure, and is also a combination of his inner self and the circumstances of a world that is uncontrollable."
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"Eurydice", 2005.
Analysis of the play, "Eurydice", by Jean Anouilh.
1,027 words (approx. 4.1 pages), 1 source, MLA, AU$ 59.95
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Abstract
This paper introduces and analyzes the play, "Eurydice", by Jean Anouilh. Specifically, it discusses the contrasting idealism and realism in two representative places in the story and whether Eurydice is innocent or not. It examines how the themes of idealism, innocence, and realism intertwine to form the backdrop for a startling group of players, with the innocent and yet worldly Eurydice at the pivot point of the play. It also looks at the underlying meaning the author is attempting to get across to his audience. This tragic story shows how love can affect people and bring out the best and worst in people.
From the Paper
"The play contrasts idealism and realism quite effectively. Idealism shows itself from the start, when the two characters fall in love with each other without knowing a thing about each other. Playwright Anouilh writes, "'I'll never leave you.' 'Will you swear that?'" (Anouilh 66). These two do not know each other, and yet they already are pledging themselves to each other. This is the ultimate in idealism. Here it is shown as young and innocent love that believes anything is possible. The two "children" have not lived enough to understand the difficulties and realism of life, and so, they believe their love is possible, which of course, it is not. Eurydice sees this dimly when she says, "'D'you think you'll make me very unhappy?'" (Anouilh 66). She says it almost as if she does not believe it, and yet, she is worldly enough to know that the idealism of youth is soon replaced by the reality of age, because she was ravaged young, and has lived a hard life. Orpheus embodies the innocence and idealism of the couple, because he will do anything to stay with Eurydice, even abandon his father and consort with the devil. Orpheus is idealism personified, while Eurydice leans toward realism, because her life has actually been more difficult even than Orpheus' life."
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"Othello", 2004.
An analysis of the concepts of strength and weakness in Shakespeare's play, "Othello".
1,374 words (approx. 5.5 pages), 4 sources, MLA, AU$ 73.95
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Abstract
"Othello" by William Shakespeare is a play demonstrating that we all have strengths and weaknesses and that, while the best of us will focus on people?s strengths, the worst of us will not only focus on their weaknesses, but use them in destructive ways. It discusses how, throughout the play, the weakness of jealousy directly or indirectly brings the destruction and downfall of all the major characters, including not only Othello and his bride Desdemona, but Iago, his wife Emilia, Roderigo, and Cassio.
From the Paper
"Othello is particularly vulnerable because, being a Moor, he is somewhat an outsider (Weller, PAGE). He is accepted as a leader in society and as a great military man, but he is aware of his differences. He used them to charm those around him, wooing and winning the beautiful Desdemona and then defending her marriage to others, but the villain of the play, Iago, knows that it can be easy to cast doubt on an outsider, and he uses Othello?s differences to his own perverted and personal advantage."
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Drama, 2004.
This paper discusses the history of drama and the reasons for its survival.
2,055 words (approx. 8.2 pages), 3 sources, MLA, AU$ 104.95
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Abstract
This paper explains that the best dramas contain compelling characters, situations that strike a chord with the viewers, and offer solutions that apply to the ?drama? of the viewers? hectic lives. The author points out that drama has survived for so long, not only because it is an important form of entertainment, but also because it makes the audience feel something. The paper relates that, throughout history, dramas have been engaging, entertaining, and imminently popular; they show people at their very best and at their very worst.
From the Paper
"Drama gradually went out of style in the ancient world, but interest was renewed in medieval times, when church performances grew and were enhanced into outdoor plays. Secular plays were performed during this time, and the dramatic form of comedy regained popularity, too. Interest in all forms of drama continued to surge during the Renaissance, and scholars began to study the many forms of drama, and develop new types. The old dramas of Greece and Rome that had contained a chorus along with the actors were studied and reformed into a new form of entertainment ? opera. Drama continued to spread, and its' popularity paved the way for some of the world's most famous playwrights, including Shakespeare. Queen Elizabeth loved drama, and Shakespeare's work was extremely popular in her court."
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?Death of a Salesman?, 2004.
A look at the portrayal of Willy Loman as the tragic hero in Arthur Miller?s play, "Death of a Salesman".
1,655 words (approx. 6.6 pages), 8 sources, MLA, AU$ 86.95
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Abstract
This paper examines how Arthur Miller?s play, "Death of a Salesman", is an illustration that focuses on the theme of social and personal tragedy and, how, within this theme, the character of Willy Loman emerges as an individual who is misled by false values. It looks at how Willy?s flaw is believing in grandiose dreams and allowing them to blind him to the realities of life. It also shows how the play is considered a success because Miller presents the story of Willy Loman in such a way that it is perceived as a common experience. In other words, Willie is a modern-day tragic hero.
From the Paper
"Biff is a realist that sees things for what they are. He antagonizes his father. Biff?s anger forces Willy to come face to face with the lies with which he has been living. For instance, he places the rubber hose on the table and asks his father if that is supposed to make him feel sorry for Willy. He also forces him to admit that he was not salesman in the store but a clerk. Biff also reveals the lie that Happy was not an assistant manager. He tells his father, ?I never got anywhere because you blew me so full of hot air that I could never stand taking orders from anybody!? (Miller 1108). He also tells Willy that the two of them are a ?dime a dozen? (1109) and no leader for any men. To make it worse, he tells him that he was ?nothing but a hard-working drummer who landed in the ash can like all the rest of them? (1109)."
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Sophocles?s ?Oedipus, the King?, 2004.
This paper analyzes the structure of Sophocles?s, ?Oedipus, the King?.
1,085 words (approx. 4.3 pages), 2 sources, MLA, AU$ 60.95
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Abstract
This paper explains that the play, Sophocles?s ?Oedipus, the King?, has a more episodic structure than a climactic one because of flashbacks and prophecies introduced as episodes throughout. The author points out that the ?rising action? is when Oedipus threatens that he will have Creon killed or exiled for conspiring with Tiresias. The paper contends that tragedy is better as a work to be read than as a drama to be performed and watched on stage. The reason given by the writer is because there is much more to perceive and understand from the reading than in the watching and listening, although visuals and sounds enhance or intensify the underlying messages in the play.
From the Paper
"The setting is Thebes around the fifth century. The "inciting incident" right away turns up with the plague that now afflicts the citizens, whom King Oedipus calls the ?new blood of ancient Cadmus.? Cadmus was the founder of the mythological Thebes. These citizens crowd at the king?s palace for his action on the feared plague, and as was the custom at the time, the king has already sent his brother-in-law, Creon, to consult with the Oracle (or diviner/fortune-teller) at Delphi (Sophocles c 430 BC) for advice and he tells this to the people. Creon returns to relay the Oracle?s message to Oedipus that the plague will end only if the murderer of the former king of Thebes, Lauis, is caught and driven out. The message also says that the murderer is still in Thebes. King Lauis was killed by thieves while on the way to consult an oracle.To pacify the people and bring peace to Thebes, Oedipus promises to find that murderer and drive him out. This part represents the "point of attack".
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Doctor Faustus, 2004.
An examination of Christopher Marlowe's play, "The Tragical History of the Life and Death of Doctor Faustus".
3,014 words (approx. 12.1 pages), 8 sources, MLA, AU$ 143.95
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Abstract
This paper examines how this play illustrates Marlowe?s contribution to Elizabethan drama. It first discusses the play in the context of the Elizabethan period, and then gives a summary of the plot and characters of the play. The writer finally provides a personal analysis of Marlowe's classic drama.
From the Paper
"These translations illustrate an interest traditional verse and, at the same time, demonstrate his ability to improvise upon them. When he was 26 years old, he wrote the play Tamburlaine, whose protagonist is the ?vehicle for the expression for boundless energy and ambition, the impulse to strive constantly upward to absolute power? (Abrams 792). These same characteristics are reflected in Doctor Faustus. M. H. Abrams asserts the English theater had not seen characters like this before. After the success of Tamburlaine, Marlowe lived with fellow playwright Thomas Kyd, who informed the Privy Council in England that Marlowe was guilty of atheism and treason. In May of 1593, Marlowe was stabbed and killed in an argument that took place in the Widow Bull Inn. His short live leaves us to wonder what might have been, especially when we consider the popularity of Shakespeare."
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Henrick Ibsen?s ?A Doll?s House?, 2004.
This paper discusses the relationship of husband and wife, Nora and Torvald, in Henrick Ibsen?s ?A Doll?s House?.
800 words (approx. 3.2 pages), 1 source, MLA, AU$ 46.95
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Abstract
This paper explains that, as Henrick Ibsen?s play, ?A Doll?s House?, progresses, the relationship between Nora and Torvald Helmer changes from that of a well-to-do husband and wife with cheerful children who seem to live the happy marriage life. The author points out that, towards the middle of the play, Nora seems to step away from her fantasy life, observing the fact that she is concerned about what her husband thinks of her. The paper relates that, during the third act, Nora finally opens her eyes to realize that her life with Torvald is over; and, as the play ends, she walks out of her "doll's house" into her new world of dependence, leaving Torvald to raise his three children on his own.
From the Paper
"In the beginning of the play, Nora is a doll in her husband?s eyes. She is a trophy he has won. He wants to keep his trophy pretty, pampered, and kept on a high pedestal. When he talks to his wife, he treats her like a little girl. He feels as if Nora should no nothing about their financial situation or any important issues in the household. It is a man?s job in life to take care of the family. Torvald adores his wife, but treats her like she is not on the same level as him. "Look, Nora, in lots of things, you're still a child. I'm older than you in many ways and I've had a little more experience" (Act 2, pg. 184). He has pet names for her such as skylark, squirrel and featherbrain."
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