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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, $ 46.95
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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, $ 45.95
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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, $ 30.95
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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, $ 33.95
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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, $ 47.95
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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, $ 156.95
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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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Sophocles's Plays, 2005.
A cross comparison of Sophocles's plays, "Antigone" and "Oedipus the King".
998 words (approx. 4.0 pages), 0 sources, $ 35.95
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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, $ 85.95
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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, $ 39.95
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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, $ 38.95
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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, $ 67.95
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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, $ 32.95
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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, $ 76.95
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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, $ 24.95
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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, $ 77.95
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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, $ 36.95
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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, $ 45.95
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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, $ 64.95
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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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