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"Angels in America", 2005.
This paper discusses "Angels in America" by Tony Kushner (1993), a American postmodern theatrical protest piece.
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
This paper explains that the construction of Tony Kushner's "Angels in America" weaves different forms of modern American culture, such as Jewish assimilation, gay rights, the anti-communism of the past era and the Republican politics of the present, into a singular narrative. The author points out that, through dreams and by combining different parallel stories together on the stage, the play ultimately calls upon the viewer to perceive a larger American truth. The paper relates that Kushner implies that no matter how fragmented Americans may be by their politics, there is a cohesive humanity, which unites America together under the common guiding vision of the same angel.
From the Paper
"The suggestion that America is a seamless fabric of interrelated issues, rather than a patchwork of identities, is first suggested in the opening monologue of the rabbi, who is administering the funeral of an elderly Jewish woman. The rabbi speaks of the assimilation of the Jewish woman's children and the struggles of the woman's ancestors to make it in America. Although the rabbi rather cynically says that in the American melting pot nothing truly melts, the stories of the different characters do intersect, if only in dreams, during the course of the play."
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"Taming of the Shrew", 2004.
An analysis of one of the most memorable and prominent Shakespearean comedies, "Taming of the Shrew".
2,347 words (approx. 9.4 pages), 4 sources, MLA, $ 72.95
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Abstract
This paper discusses Shakespeare's "Taming of the Shrew". The paper examines the play's patriarchic themes, such as the taming of wild women, a man's domineering character and female subjugation. The paper contends that while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The paper claims that the play actually deals with the issue of equality of power. The paper states that this play presents a mockery of wife submission norms in English society of 17th century rather than an approval of the same.
From the Paper
"Kate who was very wild and rarely ever submitted to anyone was dragged into a marriage against her wishes. One wonders then, how and why did she ever let her father take this action if she was actually so outspoken. We must understand that while she didn't have much choice in the case since it was a time when arranged marriage customs were rife her behavior earned her the right and respect that she deserved. This is very clear when we read the betrothal scenes of both Kate and Bianca and compare them to each other. In Kate's betrothal scene, her father Baptista, makes it absolutely clear that he wants Pet to win her daughter's love before he could hope to have her money while in Bianca's betrothal scene, she is objectified as Baptista feels he could hand her over to anyone he found suitable enough. "
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Nahum Tate's "King Lear", 2005.
This paper compares Nahum Tate's "King Lear" with Shakespeare's "King Lear" upon which Tate based his version.
1,910 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper explains that Nahum Tate's idea was to adapt Shakespeare to suit the taste of 18th century restoration theatergoers; thus, Lear no longer dies, Cordelia marries Edgar, the monarchy is restored and order once again reigns. The author points out Lear's suffering, which in Shakespeare's original play denotes the nature of humanity and the tragedy and misunderstanding that often accompany human life is completely lost in Tate's rewritten version, especially in terms of the ending. The paper reveals that the use of language by Tate and by Shakespeare also differs significantly; whereas Shakespeare believes in the reductive power of language in its simplest form, Tate's philosophy leans more towards the elevated forms of language hence the greater effect of Cordelia's simple statement in the Shakespeare play.
From the Paper
"Other significant differences between the two versions include the roles of the specific characters. Edgar, for example, takes the role of Cordelia's suitor from the beginning of Tate's play, whereas in Shakespeare he never pursues the girl, but does become king at the end of the tragedy. His role in both Shakespeare's and Tate's plays is to restore justice, but in different ways. In Shakespeare's play, his role is tragic. Because of the betrayal by his brother, Edmund, who attempted to dishonor him in his father's eyes, Edgar is obliged to disguise himself. He thus pretends to be a demonic madman in order to escape his father's men. As such he also serves as a parallel for King Lear's madness, and gives him somebody to identify with during this difficulty. Edgar thus has a redemptive function here. In Tate's play, his redemptive function is mainly focused upon Cordelia and eventually the kingdom."
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"Pantomime", 2005.
Reversal of roles through language: The dynamic nature of oppression in the play "Pantomime" by Derek Walcott.
857 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
Literature has provided opportunities for readers to have a glimpse of different social realities experienced by people of different cultures and societies all over the world. This opportunity has been extended once again through Derek Walcott's play, "Pantomime." The paper explains that in this satirical play, readers are introduced to the characters of Harry Trewe and Jackson Phillip, master-and-slave tandem of the Castaways Guest House in Tobago, West Indies. It shows how the play is set in a different place and how Walcott confronts the continuous discussion and depiction of the oppression of the black man (Jackson) and the seemingly superior position of the white man (Harry).
From the Paper
"Unlike other depictions of the black man-white man antagonistic relationship, "Pantomime" brought into fore two scenarios within the play: the first act delved into the oppression of Jackson, while the second act focused on the reversal of roles between Jackson and Harry, where Jackson was able to empower and assert himself over Harry. This change became apparent through Walcott's use of language: the change in tone, manner, and message of Jackson's lines marked the transition or change within his personality. Where once he had been a faithful and patient servant to Harry, he had eventually 'metamorphosed' into a powerful individual, and his commanding use of his own vernacular speech signified the control that he has throughout the play. Thus, this paper discusses two phases in which vernacular language was used through Jackson's character as a medium of oppression and power and control."
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Lorca's "Blood Wedding" and Ibsen's "The Master Builder", 2005.
A comparison and contrast of Federico Garcia Lorca's play "Blood Wedding" and Henrik Ibsen's play "The Master Builder".
1,278 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper explains that, while on first impression these two plays seem very different, when we focus on the element of tragedy in both plays, we can see the common themes they share.
From the Paper
""Blood Wedding" by Federico Garcia Lorca is one of the most important plays by the Spanish playwright in 1932 and was inspired by a true story. The play revolves around a wedding which leads to betrayal, elopement, bloodshed and tragedy. The few main characters in the play are Bridegroom, Bride, Leonardo and Bridegroom's mother. Henrik Ibsen's The Master Builder was written much earlier in 1892 and deals with complex personality of Harvald Solness, a famous architect who is scared of change. He doesn't let youth prevail for he feels that if younger men enter the field, they would take over his place. He doesn't want to be replaced and is thus paralyzed by his fear of younger generation. "So that is it, is it? Halvard Solness is to see about retiring now! To make room for younger men!" "
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"Queer Theory" and "The Picture of Dorian Gray", 2004.
An analysis of "Queer Theory" by Annamarie Jagose and "The Picture of Dorian Gray" by Oscar Wilde.
802 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses Annamarie Jagose's book, "Queer Theory" in relation to Dorian Gray's character in "The Picture of Dorian Gray" by Oscar Wilde. The paper contends that Jagose and Wilde's discussion and portrayal of queerness reflects how this concept is associated to an almost utopian mind state, where the individual has no biases, prejudices and malicious intents in life. The paper assesses that according to these books, queerness is a state where equality and ambiguity is accepted and considered the norm.
From the Paper
"What makes the queer concept vital to the study of gays and lesbians, as well as issues of homosexuality and heterosexuality is that it provides a 'gray area' in which no distinctions between male and female and gay and lesbian are found. Queer appeals to the 20th century philosophers and social scientists simply because it offers an avenue through which gender and sex can be discussed without the political inequality often found between male and female genders and the similarly dichotomous relationship between gays and lesbians. As Jagose had asserted, the queer concept was able to transcend the "natural sexuality" framework-that is, "queer's transcendent disregard for dominant systems of gender"-that society had often used as reference in order to fully understand the identity of an individual."
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"The Master Builder", 2005.
Examines themes of guilt and human nature in this play by Henrik Ibsen.
1,045 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
Henrik Ibsen's play "The Master Builder" explores the complexities of the human mind. This paper shows that through the mental processes of the character, Solness, Ibsen illustrates the power of guilt, a force so strong that it alienates him from his world, the people in his life and, more importantly, himself. Guilt manifests itself through fear and confusion and causes him to make several mistakes. Solness never learns who he is and in a final attempt to find himself, he loses everything.
From the Paper
"Here we see how Ibsen is operating from the perspective that our inner, unmet desires possess the ability to make us feel guiltier than our fulfilled desires. As shown through Solness, this psychological force has the power to turn one against oneself if not kept in check. An excellent example of this can be seen in how Solness does not feel guilty for his circumstance with Kaja but does feel guilt over his lust for Hilde. Here we see how Ibsen is focusing on the power of the inner self, emphasizing that it is a formidable force. In fact, it might even be said that the inner world in which ones lives is more realistic than one's actual world."
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Henrik Ibsen's "Doll's House", 2005.
A look at the character relationships in Henrik Ibsen's play "Doll's House".
924 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper describes the relationships between the characters in this play, the consequences of those relationships and why the marriage between Nora and Helmer is ultimately one that is shallow and based on hypocrisy.
From the Paper
"Kristine Linde and Nils Krogstad are apparently two minor characters in Henrik Ibsen's play 'Doll's House'. When we meet them for the very first time, they are both surrounded by unfortunate circumstances. Kristine was Mrs. Linde windowed some ten years ago and finally returning to her town to acquire a job at the bank where Torvald Helmer is the manager. Nils Krogstad is in a subordinate position at the very same back and he is a widower with several children. Kristine and Krogstad had been close acquaintances at one time in the past. This is clear from Kristine's initial reaction at seeing Krogstad at Nora's house and her confession that she knew him."
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"Antigone", 2004.
An analysis of the tragedy of Sophocles' play, "Antigone".
797 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper discusses the play "Antigone" by Sophocles. The paper examines the protagonist, Antigone's tragedy, claiming that it is caused as much by the flaws in her character, as it is by Creon's initial edict and refusal to pay heed to the advice of others. The paper contends that it appears that Antigone's hubris and lack of temperance led her to become a martyr.
From the Paper
"Sophocles' Antigone has been widely interpreted as a play about a young woman's admirable courage of conviction. This rather straightforward interpretation is largely the result of a plot that revolves around Antigone's determination to honor her dead brother by giving him a proper burial, in spite of the King's edict that his corpse should be left to rot. Thus, Antigone's tragic fate is seen as the result of her laudable defiance of an unjust ruling rather than the result of a flaw in her own character. However, on closer analysis, there is ground to argue that Sophocles' purpose was not to create a play on praiseworthy virtues but to highlight the fact that actions motivated by a lack of temperance and hubris inevitably lead to tragic consequences. "
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Love in "The Brute", 2005.
An analysis of the theme of love in Anton Chekhov's "The Brute".
815 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
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Abstract
The paper explains that "The Brute" is about two individuals that have sworn against love only to find them in a passionate kiss at the end. This one-act play is an excellent example of a melodrama operating on the theme that love has a mind and a will of its own and truly does change people. It shows how the characters' dialogue and actions prove that love can blossom in the strangest circumstances. The writer discusses how, through humor, Chekhov demonstrates that love is a force that knows no reason.
From the Paper
"The humor and melodrama in this play revolve solely around the characters' dialogue. In the beginning of the play, Mrs. Popov and Luka carry on a rather civil conversation. For example, Mrs. Popov tells Luka, "My life is done. He is in the grave. I have buried myself alive in this house" (Chekhov 1096). She also declares that her life has been "an empty dream" (1097) and even declares, while looking at a picture of her dead husband, "Till death do us part" (1097). She is even civil to Smirnov when he first appears, telling him that he will "receive you're money the day after tomorrow" (1098). Similarly, Smirnov speaks to Mrs. Popov in a civilized manner. While the characters treat each other with a certain amount of respect, we already have a sense of the melodrama that is taking place. This technique is successful because we are engaged with the play and curious as to how it will end."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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"The Oedipus Trilogy", 2004.
An analysis of the element of tragedy in Sophocles' "Oedipus Trilogy".
1,759 words (approx. 7.0 pages), 8 sources, MLA, $ 56.95
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Abstract
This paper discusses Sophocles, the master of the tragedy and his "Oedipus Trilogy". The paper contends that the "Oedipus Trilogy" is a prime example of the drama presented in ancient Greece. The paper explains that "Oedipus Rex" is a better example of tragedy than "Antigone", not because it is more 'tragic' by the modern definition in any way, but because of the technicalities of the plot, presentation and characterization within the plays.
From the Paper
"Sophocles is considered to be one of the greatest Greek dramatists, and remains among the most renowned playwrights even today. The Greek tragedy is one of the most influential genres of literary and theatrical history on the modern drama and theatre. The theatre of ancient Greece was inspired by the worship of Dionysus, and the performance of plays was considered to be a religious experience for both the actors and the audience. Because of this, the intensity of the Greek theatre was very strong, and the degree to which the plays were taken seriously as a means of influencing and interpreting life was also very high. According to Aristotle, the philosopher credited with creating the definition of a tragedy, "Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its katharsis of such emotions."
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Gregory Hines, 2005.
A tribute to actor, dancer and choreographer, Gregory Hines.
1,228 words (approx. 4.9 pages), 6 sources, MLA, $ 41.95
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Abstract
This paper looks at the life and contributions of Gregory Hines, one of the most highly acclaimed choreographers, dramatic and comic actors, singers and directors of his time. It explains how his childhood and upbringing helped him develop the unique form of tap-dancing which became his trademark. The writer also mentions several of the shows that Hines was involved in.
From the Paper
"The "Pied Piper of modern tap", Gregory Hines, died of liver cancer, on August 9th, 2003, at age 57, in Los Angeles. When he died, "the shock reverberated through a number of worlds (because) he had shone in so many ways" (Jowitt). Gregory Hines was not only a superb dancer, actor, director, and choreographer, but was also a major figure in the revitalization of tap dancing in the late 20th century, in America ("Hines, Gregory"). He was "noted for his virtuosity, rhythm, and expressive style, and was credited with having modernized the form and facilitated its return to motion pictures" ("Hines, Gregory Oliver"). In his honor, the lights of Broadway were dimmed three days after his untimely death (Brennan). It was a memorial to one of the most gifted artists to have ever graced Broadway."
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"Oedipus the King", 2005.
An analysis of Sophocles' play "Oedipus the King."
1,581 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
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Abstract
This paper analyzes the relationship between gods and mortals in Sophocles' Greek tragedy "Oedipus the King". The paper first briefly describes the plot of the tragedy and then analyzes Sophocles' message that the gods merely use the power that they have, and have always had, over Oedipus and indeed over all mortals and that we are all always at the mercy of the gods, for better or for worse.
From the Paper
"The Greek tragedy Oedipus the King by Sophocles has, as its main character, Oedipus, the King of Thebes, a man both blessed and cursed by the gods. As an infant Oedipus is cast out to die by Laius after hearing prophesy that his son will kill him. Here, Laius seeks to control his fate by killing Oedipus before Oedipus kills him. But baby Oedipus already has his own fate cut out for him - he is rescued by a shepherd, grows up, and still (accidentally) kills Laius. First Oedipus seems (since he is allowed to live) to have much favor from the gods in store. True, his ankles have been bound so tightly by his murderous and rejecting father that even after the shepherd unties them, Oedipus's feet, ankles, and legs (the literal meaning in Greek of "Oedipus" is "swollen foot") are damaged, and he grows up to walk with a limp. Still, early on Oedipus seems more blessed than cursed overall. But the gods are fickle in this play, and relationships between gods and mortals are extremely unpredictable. By the end of Oedipus the King, the gods have painfully reminded Oedipus of his mere mortality vis-a-vis them, and thus his basic subservience."
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"A Raisin in the Sun", 2004.
An analysis of the play, "A Raisin in the Sun" by Lorraine Hansberry.
1,401 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
This paper discusses Lorraine Hansberry's play, "A Raisin in the Sun". The paper examines the central theme of the play as it relates to the American dream. It explains how this theme is significant to each character of the play and also contends that the characters represent the spectrum of personalities found in any American society.
From the Paper
"We learn how people can become blinded by their dreams through the character of Walter. Part of Walter's problem is the fact that he feels desperate. He realizes that he is getting older and still has not really achieved anything. He tells his wife, "I'm thirty-five years old; I been married eleven years and I got a boy who sleeps in the living room . . . and all I got to give him is stories about how rich white people live" (Hansberry 2209). In dealing with this realization, Walter tries to find a quick way to make his dream of having lots of money come true. He becomes blinded by desire. This kind of blind dreaming is something that happens to a lot of people. Their desire becomes so strong that they cannot see that risks often outweigh possibilities. "
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Shakespeare, 2004.
An analysis of the literary work of William Shakespeare and the issue of patronage.
1,022 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.
From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."
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Lucille Ball, 2005.
This paper discusses actor Lucille Ball, one of the premier actors in American television and considered the paramount women in the television world.
3,685 words (approx. 14.7 pages), 7 sources, MLA, $ 102.95
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Abstract
The paper explains that Lucille Ball, once regarded as one of the 'B-grade' cine-star, found the new medium of television as the true opportunity to exhibit her expertise of physical comedy. The author points out that "I Love Lucy" was considered unique in that it was one of the first television programs to use live film, utilizing a multiple camera technique before a studio audience and creating a permanency that allowed Ball and her husband, Desi Arnaz, to benefit from re-runs syndication and foreign distribution. The paper relates that Lucille Ball attained four Emmy Awards, a Lifetime Achievement Citation from Kennedy Center and a Presidential Medal of Freedom. She became the first actress to be incorporated into the Hall of Fame of the Television Academy.
From the Paper
"Ball could search out the key to success of televisions and generated a character that the Americans found indispensable. While 'The Lucy Show' was telecasted, Ball was engaged in reformulating the show and starring in yet another series concentrating on the same character. "Here's Lucy" was immediately approved by the networks and became prime time telecast up to 1974. At this moment, Ball found it worthwhile to divert and began performing outside lines of comedy. She was rewarded with enthusiastic reviews for her acting on Broadway in 'Wildcat' of 1961s. With continuance of the success, Ball co-starred Bob Hope for two feature films and acted with Henry Fonda in the critically acclaimed "Yours, Mine and Ours". Thus, the accomplishments of Ball include more than seventy films, hundreds of television appearances and the struggle of running a studio that could succeed in producing major television series like "Mission: Impossible" and "Star Trek", depicting her true understanding of the potentialities of television even prior to the understanding of itself."
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Willy and Walter's American Dream, 2004.
A comparison of Arthur Miller's "Death of a Salesman" and Lorraine Hansberry's "A Raisin in the Sun".
811 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper presents a contrast between the plays, "Death of a Salesman" by Arthur Miller and "A Raisin in the Sun" by Lorraine Hansberry. The paper explains how Willy in "Death of a Salesman" and Walter in "A Raisin in the Sun" share some similarities and major differences. The paper contends that the two men both have a dream that is burning within them and they both try to succeed and fail miserably. The paper concludes that Willy and Walter not only represent the American Dream, they also illustrate that how we face failure and mistakes has a significant impact upon our lives.
From the Paper
"Arthur Miller's play, Death of a Salesman and Lorraine Hansberry's play, A Raisin in the Sun are plays that focus on individuals that fail to achieve their dream. Willy Loman dreams that one day he will be recognized for his exceptional sales ability. Walter Younger hopes to invest money in a liquor store and find his way out of poverty. While both characters share this experience, each man is effected differently by what he gains from his loss. Willy and Walter teach us that dreams are not always easy to reach and if we are so lucky to reach them, they seldom arrive without painful lessons. These men show us that there are two paths in life when it comes to failure--one is fatal and the other is fruitful and it is ultimately up to us to decide which way to go."
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