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Comparing Ibsen and Strindberg, 2002.
A comparison of dramatic strategies of Henrik Ibsen and August Strindberg, focusing on off-stage events and utterances in the plays - looking at Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie".
2,748 words (approx. 11.0 pages), 7 sources, MLA, $ 82.95
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Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg?s work was brought further into the realm of what will soon be defined as off the off stage than Ibsen?s, with the difference being Strindberg?s better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."
From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In ?A Doll?s House? the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. ?Is that my little lark twittering out there?? (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad?s entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora?s space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald?s room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora?s world."
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Constantin Stanislavski, 2002.
This paper discusses Constantin Stanislavski, the father of modern acting theory, and his technique.
935 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper discusses the modern acting methodology created by Constantin Stanislavski and his follower, another great acting teacher, Uta Hagen. The paper details many elements of Stanislavski?s theory such as the core concept of the ?creative objective?: A character?s objective on the simplest level is what the character wants. The author points out that the modern actor would never go into a play without having an understanding of his or her character?s relationships with other characters.
From the Paper
"The ?magic if? technique essentially places the actor in a situation wherein he or she may use the imagination to develop the appropriate emotions. For example, an actor may have never tried out for the football team, but he is playing a character that has just been cut from the team. The actor may not know what that feels like; but, by employing the ?magic if?, he can place himself in that position. In other words, as the actor prepares he might say to himself: ?It?s as if I walked up to look at the cast list and saw that I?d been cut or not cast.? Through the use of ?if,? an actor can find similar emotions."
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?Othello?, 2002.
A critical analysis of Act III Scene III of William Shakespeare's "Othello".
750 words (approx. 3.0 pages), 1 source, $ 26.95
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Abstract
The paper shows that while the theme of appearance versus reality runs rampant throughout the play of "Othello" as perceptions become reality and imaginary thoughts take form, it is Act 3 Scene 3 of the play that captures this theme in essence. It discusses how the scene is an ideal representation of the manipulation of Iago and presents how he twists words and facts and creates a second reality for Othello that ultimately results in tragedy.
From the Paper
"These words create a bond of trust towards Iago and reveal that Othello is unaware of Iagos deceit. Othello is honest himself and thus considers most people around him to be the same. His naivety and inability to perceive deceit when he sees it shows his lack of understanding of human nature and thus, makes him an easy person to manipulate.
It is in these words that Iago tries to show Othello the truth, as if mocking him for his nearsightedness and trust in people, ?Men should be what they seem; Or those that be not, would they might seem none!? (3.3.128)""
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Willy Loman, 2002.
This paper discusses Arthur Miller?s character Willy Loman from ?Death of a Salesman.?
1,460 words (approx. 5.8 pages), 4 sources, $ 48.95
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Abstract
This paper discusses Miller?s use of Aristotle?s concept of the tragic hero in his construction of the character, Willy Loman, from ?Death of a Salesman.? The paper author thinks that it is true genius of Arthur Miller to create a tragic hero out of a regular ordinary character. The paper author believes that Willy fits the definition of Aristotle?s completely and contains all the features of a man destined to meet failure and misfortune because of his innate flaw.
From the Paper
"Aristotle was of the view that a tragic hero is the one who arouses pity and fear in others. Judging the character of Willy according to this description, we notice that Willy, too, manages to arouse pity and fear in the readers. Pity because people feel sorry for the man who cannot distinguish between reality and disillusionment and therefore constantly suffers from misfortune. On the other hand, the character also arouses fear because while studying his life, readers are suddenly gripped with the fearful realization that this fate could have been theirs, too."
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Heracles, 2002.
A discussion of the character Heracles, often found in Greek literature.
2,345 words (approx. 9.4 pages), 6 sources, MLA, $ 72.95
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Abstract
This paper examines the character Heracles, a popular Greek figure used by both Sophocles and Euripides in their writings. Heracles was a Greek hero who later became a Greek god and is associated with labors, conquering animals and monsters,merriment and violence. It discusses how in Sophocles' "Trachiniae", the story is of the agony of Heracles before his death is told, in Euripides?, "The Heracles", his madness is revealed and in "The Alcestis", he plays a role in bringing an innocent woman back from the dead. It shows how even though both Sophocles and Europides view Heracles as a god and share many similar opinions on him, both writers see Heracles in a different light and portray him in different ways.
From the Paper
"Sophocles? Trachiniae is mainly about Heracles' cruel insensitivity. His mistreatment of his wife Deianira drives her to insane jealousy, which leads her to accidentally kill him. When he brings a mistress home with him in the story, Deianira sends Heracles a robe, which she intends to use to rekindle their love. However, the robe is poisoned and kills him instead. Deianira finds out that Heracles? enemy Nessus used her as his means of revenge."
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"The Beggar?s Opera", 2002.
A review of "The Beggar?s Opera" by John Gay and a discussion of why it has remained popular with theatergoers for so long.
847 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper examines "The Beggar?s Opera" written by John Gay and first performed on 29th January 1728. It tries to ascertain how a play that depicted the society of when it was originally performed still remains popular today. It illustrates how "The Beggar?s Opera" as it was mockingly named, is anything but an opera for it lacks the antiquity, seriousness and most importantly the Italian touch to qualify to be an opera. What it is, is a humorous musical which involves the character periodically busting into song, with the audience finding it hard to restraint their laughter as the play takes as many opportunities to attack the classical opera setting. It concludes that the primary reason why people still enjoy the play is the sad but obvious similarities that were all so obvious in Gay?s world to the present day world and that nothing has really changed.
From the Paper
"A world in which the custodians of public trust turn a blind eye to the pilferages committed by minor thieves to serve as greasing to their grand design. The characters of The Beggar's Opera employ methods of profit making, just as every kind of position holder and scoundrel employed in the 18th century and still do. One can draw distinct parallels between the mischievous behaviors of the 18th century statesmen who had access to other people's money and trust, with the corporate raiders of today."
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?Arcadia?, 2002.
A discussion of Lord Byron?s influence in Tom Stoppard?s play ?Arcadia?.
1,268 words (approx. 5.1 pages), 0 sources, $ 43.95
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Abstract
This paper examines Tom Stoppard?s play ?Arcadia?, which is set in an English country manor house where two levels of action take place-- the action of the present day and the action set in 1809 around a young student of mathematics. In particular it analyzes the influence on the plot of the poet Lord Byron by drawing parallels between his life and the characters in the play. It looks at how Byron?s influence is felt not only on the mathematical side of the play, but also in the continuing debate over the nature of landscape art and how the young girl Thomasina, is a living and dead parallel with Byron?s own, real-life abandoned female child. When Byron fled his pregnant wife, the young girl he produced became a mathematical prodigy herself just like the protagonist in the play.
From the Paper
"The intersection between the beautiful and the perfect in mathematics, between the theoretical and the personal, is perfectly embodied in the character of Lord Byron. Thomasina, the girl being tutored, is an exponent of the geometry of irregular forms, a precursor to the chaos theory being studied by the modern characters in the house. The introduction and variations of small elements and their potential to create great later changes is important in the scheme of the play."
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Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
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Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
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The Theme of Seduction in "Madame Butterfly", 2002.
An exploration of the key relationship in "Madame Butterfly" with a focus on the theme of seduction.
1,324 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper focuses on the theme of seduction in the play ?Madame Butterfly?. The writer concentrates on the complicated relationship between Gallimard and Song. The author indicates that while it appears to be the story of a man being tricked by a woman, it later becomes known that Song is actually a man trying to save himself from the new Chinese communist government. The paper concludes by highlighting how the themes of seduction could be accentuated in a production of the play, through the set, lighting and music.
From the Paper
"In the play the character Gallimard, is seduced by both Song and by his own idea of Song. The seduction of Gallimard is a seduction perpetrated by his own stereotyped ideal of what an Asian woman is and can be for a white man mainly, submissive and by his actual seduction by Song the actor. In the very beginning of the interaction between Gallimard and Song there is the hint of a deception. Song laughs at him when he tells her that she made a convincing butterfly. ?Convincing as a Japanese Women?? she says. (Hwang, 1988 17) Yet, Gallimard must have given her some real indication that he believed that she was a woman, or she was just desperate to win the favor of someone who could give her the information that she needed to save herself".
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?Medea?, 2002.
An analysis of the play "Medea" by ancient Greek writer Euripides.
874 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
This paper examines the character of Medea in the play by the same name by the Greek writer, Euripides. By referring to examples from the text, the paper shows Medea's passion for her love Jason, her will to give up her family and country for him, her loss of status when her love affair does not work out, her misery in her situation and the final tragic murder of her own children.
From the Paper
"Euripides? Medea is considered one of the most evocative plays about women?s rights. It is also one of the most controversial plays till today. The reason for this is probably because Euripides? chose to project Medea as an extremely strong woman who is not afraid to assert herself and chooses rather extreme means of doing so, including infanticide. It is her drastic actions, rather than the underlying principles that probably causes Medea to be a controversial work."
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?Inventing Van Gogh?, 2002.
This essay is a review of Steven Deitz?s ?Inventing Van Gogh? performed at the City Theater in Pittsburgh.
745 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper is a critical review of the play, "Inventing Van Gogh" and starts off with a brief synopsis of the story. It then progresses towards a more detailed analysis highlighting the various positive aspects such as the set and the lighting as well as some negative aspects such as the lack of entertainment value.
From the Paper
"Steven Deitz?s ?Inventing Van Gogh? performed at the City Theater in Pittsburgh was a play offering insight into the nature of art making it enjoyable on an intellectual level but lacking entertainment value. The play did have a message and managed to convey this message effectively, but needed to also make the events of the play interesting to watch to involve the reader in the story."
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?Much Ado About Nothing?, 2002.
This paper is a review of the Pittsburgh Public Theater's performance of Shakespeare's comedy, "Much Ado About Nothing".
760 words (approx. 3.0 pages), 5 sources, MLA, $ 27.95
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Abstract
This essay is a critical review of the Pittsburgh Public Theater's performance of Shakespeare's "Much Ado About Nothing". Many of the positive aspects are highlighted, such as the liveliness and fun of the ensemble and the lighting, atmosphere, music and dancing. At the same time the flaws of the play are also mentioned such as the relationship between Beatrice and Benedick.
From the Paper
"?Much Ado About Nothing? performed at the Pittsburgh Public Theater was a lively and entertaining performance of Shakespeare?s play with this the main feature that stood out. Overall, all the aspects of the play worked together to make this a fun version. The one flaw that was apparent occurred in the relationship between Beatrice and Benedick, the pair never seeming to have enough chemistry together to pull off their relationship of trading insults."
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Shakespeare's "Henry IV" an "Twelfth Night"., 2002.
This paper explores Shakespeare's notion of romantic love, as illustrated by two of his plays.
1,220 words (approx. 4.9 pages), 0 sources, MLA, $ 41.95
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Abstract
The paper shows how Shakespeare links romantic love with power, greed and politics. It starts with an analysis of ?Twelfth Night?, discussing how the entire plot focuses on the love interests of the characters. It looks at Shakespeare?s suggestion that love - only if politically feasible ? is permitted. It looks at the character of Viola and the power issues raised by the fact that she is disguised as a man. The economic compatibility in the final twist of the plot is explored, as are Sebastian?s unromantic motivations for marriage. The paper concludes by looking briefly at the theme of love motivated by politics in ?Henry V?.
From the Paper
"Ah love. It appears to be a rather simple emotion ? at first glance. You find someone you are attracted to physically, then the attraction grows into affection, and the affection grows into love. The two of you marry, and live happily ever after. Right? It would seem that dear Shakespeare couldn?t quite grasp the simpler aspects of love, and marriage, for most of his plays dealing with love are littered with unromantic things like politics, and economic gain. One obvious play is ?Twelfth Night?, and one less obvious play is ?Henry V?; however both show Shakespeare?s tendency to link romantic love with less romantic power, politics and greed."
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Oedipus and Hamlet: Tragic Heroes, 2002.
This paper discusses the features of the tragic hero, comparing and contrasting between is Sophocles? "Oedipus Rex" and Shakespeare's "Hamlet".
1,325 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
The paper begins by looking at the differences between the classical tragic hero and the tragic hero of Shakespearian times. It then moves on to a closer examination of the characteristics of the tragic hero, as illustrated in is Sophocles? ?Oedipus Rex?. A brief outline of the plot is given and the paper explains how this work fits into the category of the mythological tale. The character flaws responsible for the tragic fall in the play are also discussed. Next the paper moves on to Shakespeare?s tragedy, ?Hamlet?, comparing it with the former tragedy in terms of evidence or lack of ?otherworldly forces? to spur on the tragedy and in terms of each plays philosophy concerning fate and free will. The paper concludes by explaining how both of these characters fit the mould of tragic hero.
From the Paper
"Understanding the Tragic Hero begins with an examination of Oedipus Rex. But, while he is the archetype of this particular literary character, Hamlet is, perhaps, the most well developed and psychologically complex of tragic heroes. For the Greeks, all things in life are preordained, which is what makes for the tragedy of Oedipus ? his attempt to make his own destiny. Over the course of time, however, while the form of the tragic hero did not change, the reason for his being tragic did. The social world of the Renaissance had shifted from a philosophy of determinism to one of individualism ? that we all have the choice to accept or deny our relationship with God. This makes Hamlet a tragic hero who is punished not for a flaunting of destiny, but because he is mad. It is the purpose of this paper to examine both Oedipus Rex and Hamlet as tragic heroes who, because of their different social contexts, made for very different men."
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"Volpone", 2002.
A look at disguise, costume and role playing in Ben Jonson?s "Volpone".
1,226 words (approx. 4.9 pages), 0 sources, $ 41.95
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Abstract
Ben Jonson?s "Volpone", first performed in London in 1605, was a highly successful play centering on the theme of greed. The paper shows that "Volpone" is particularly notable for Jonson?s characters? use of disguise, costume and role playing both to advance the action of the story and to visually express Jonson?s ethical beliefs to educate his audience. The paper analyzes the different methods of disguise througout the play.
From the Paper
"Beyond the clues offered by their names, the characters in Volpone engage in role playing throughout the play. None shifts personality and character more influentially than the title character. Driven by his greed and by his love for trickery, Volpone chooses to play his game not with easily-duped victims, but rather with others like himself. Thus, while pretending to be ill for several years, with the community?s knowledge that he has no heir, Volpone accepts the good wishes and gifts of his colleagues, who offer these in the hope that they will gain Volpone?s goodwill for the giver. Mosca?s task is to convince Volpone?s acquaintances that, upon his supposedly-imminent demise, the Fox will leave all of his wealth to one or another of these would-be friends. Voltore, Corbaccio and Corvino in turn are all convinced that Volpone has named each of them as his sole heir."
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?Oedipus Rex?, 2002.
This paper discusses ?Oedipus Rex?, the archetype of tragic drama.
1,310 words (approx. 5.2 pages), 3 sources, MLA, $ 44.95
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Abstract
This paper discusses ?Oedipus Rex? as a religious parable of the dangers of pride. This paper explore the understanding that, ultimately, we are all responsible for our own tragedies and successes because we cannot deny fate. The author believes that this tragic fable delivers a clear message, those who possess fatal flaws are fated to suffer dearly from them.
From the Paper
"Oedipus falls from happiness into misery as the play progresses through what sometimes is translated as "serious action," action that is complete, noble, and poetical. The total effect invokes dismay and horror. In the end comes the anagnorisis: the recognition or uncovering of the error. In the naive form, a hero or heroine recognizes a person or thing previously mistaken in identity, through some scar or mark or other sign (Dawe, n pag). Iphegenia, for example, recognizes her brother as she is about to sacrifice him to the gods. It is the purpose of this paper to discuss how the fear of God?s wrath can make some punish themselves in worse manners than the Gods would actually do."
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"Mrs. Warren's Profession", 2002.
Examaning George Bernard Shaw's 1893 play, "Mrs. Warren's Profession" and why it was then considered controversial.
1,324 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper analyzes Shaws play from an historical and moral perspective. The title of the play refers to Mrs Warren's profession of prostitution. It explains that in the late 1800's when the play was first produced, there was a lot of outcry and calls for its censorship. The plot of the play is explained and examined for what could have been considered offensive in nature. The paper shows how morals have developed and progressed and why the play is no longer considered "shocking".
From the Paper
"From the time when it was written in 1893, George Bernard Shaw's Mrs. Warren's Profession was a problem for the playwright because of censorship. The profession alluded to in the title is prostitution, and Victorians did not like to admit publicly that such a thing existed, let alone allow a play to be performed in which the activity was in some sense celebrated. Modern reaction is very different from what Shaw's contemporaries would write when the play was finally performed in 1902. Early criticism focused more on the subject matter displayed than on the play as a piece of drama, while contemporary criticism turns this around and looks at the play as a play before considering any morality involved in talking about prostitution or treating it less than harshly."
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Time in Theater, 2002.
A look at the theme of time in the play "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf" by Ntozake Shange.
2,036 words (approx. 8.1 pages), 8 sources, MLA, $ 64.95
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Abstract
The paper discusses "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf", a play featuring seven women, and the tales they tell which are all related to different periods in time. The paper examines how the women recount aspects of their lives primarily as memory, showing that they are bound with time to the degree that they are remembering it and acting it out for the audience once more, while being free enough from time to bring all memories into the performance present. The paper also compares other expressionist plays such as "The Lesson" by Eugene Ionesco and "Endgame" by Samuel Beckett to Shange's work.
From the Paper
"Realism and expressionism are matters of point of view and resulting style. Realism looks at the world as it appears objectively, while expressionism is a reaction against current ideas of realism. The inner psychology of the mind is considered a more important reality than the external reality depicted by earlier playwrights, and indeed the inner reality may be the only reality. Expressionist drama is often more theatrical in shaping a reality that exists only on stage as a deliberate representation of the inner mental states of characters. The two trends can exist in some degree at the same time in a given play--The Zoo Story is realistic in some respects but expressionistic in the way it isolates these two individuals in a seeming limbo so that they are not really in a park near a zoo but are instead types battling over mental states, attitudes, and visions of society. Expressionist drama tends to place the individual against a dehumanizing society. This theme can be explored in realist drama as well, but the staging in expressionist drama takes the action from the real world and builds an image of the inner mental state of the individual as a staging ground for the action."
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