Theatre and Plays

How William Shakespeare Developed Evil, Violence and Death in the Play Macbeth

In William Shakespeare life, he wrote many tragedies. Shakespeare didn’t leave anything behind so every one that reads any of his plays then you would have to guess what he was thinking. He uses evil, violence, and death in all of his plays, so I found out that in William Shakespeare play, Macbeth has evil, violence, and death.

Migrating to the North - Paper on the Play 'A Raisan in the Sun' by Lorraine Hansberry: The Harsh Laws Known as the Jim Crow Laws that African Americans Faced in the 19th and 20th Century

During the late 19th century to the middle of the 20th century, many African-Americans were subject to harsh laws known as the Jim Crow laws. These laws limited if not segregated African-Americans entirely from people who are of white background; considering Africa-Americans as second class citizens within the Southern States. As a result, many families migrated to the North, where African-Americans found some of the liberties as their white brethren but still considered as an outsider in total equity. In her play, “A Raisin in the Sun” by Lorraine Hansberry, she gives an example of the life style most African-Americans endured once they had traveled to the north.

Discussing Saki and his Writing Styles as seen in the Short Stories Filboid Studge, the Story of a Mouse That Helped and The Interlopers

Saki, the author of the short stories Filboid Studge, the Story of a Mouse That Helped and The Interlopers, uses many different ways to portray the same ideas. Saki’s short stories have many similarities in their theme and writing styles. For example, Saki is known for torturing his characters, ending the story with an ironic twist that not many readers expect. He also uses different literary terms to show his different ideas about life. In these two short stories, Saki uses irony, imagery, and different settings and moods for each one. Though they are different, Saki’s intent and purpose is similar.

Evidence of Madness in Hamlet by William Shakespeare

The evidence of madness first appeared in act one scene one line 32, it says, “that if again this apparition come/ He may approve our eyes and speak to it.” The emergence of an apparition suggests that this play will deal with unusual events. Since in the real world people denied the exits of ghosts, the readers will have a chance to make a guess between “is the character mad?” and “is this a play about ghost?”

Paper on the Suggestion that Character Desdemona From Othello Suffers at the Hands of a Patriarchal, Male Dominated Society. Or is She a Temptress?

Desdemona is one of the most important characters in ‘Othello,’ not because of what she has done, but what she hasn’t. The simple fact of Desdemona’s innocence from the supposed ‘crime’ (5.2.26) she committed provides a compelling argument for her position as a ‘victim’ of a patriarchal society – she is punished symbolically, when Othello ‘smothers her voice’ according to Ania Loomba, the loss of her voice demonstrating the devastating, inevitable effects of simply being a woman in a man’s society. Certain scenes give the impression of Desdemona playing the ‘strumpet’ with Iago and Cassio, but these, as Loomba suggest, represent merely the ‘contradictions imposed upon her by a racist, patriarchal and bourgeouis society,’ which has a clear definition of the woman’s place in the world and any threat to the man’s rule is extinguished by whatever damning basis it may concoct.

Othello essay

Audience members will perceive a work differently and be drawn to different aspects of a work in accordance with their educational, societal and cultural backgrounds. The revenge tragedy, ‘Othello’, by William Shakespeare reflects the Elizabethan context and values including the role of fate, the importance of honour and the ability to have an ordered state. It is Shakespeare’s depiction of a tragedy instigated by jealousy and the downfall of a tragic hero, which is pivotal to the drama and action of the play. One way this work may be valued is from a psychoanalytical perspective, by an exploration of Othello’s psyche through the shifting patterns of imagery and Iago’s psyche through the irony in his soliloquies. Another way of perceiving this work is from a feminist perspective explored through the ambiguous presentation of women who are depicted through the eyes of male characters and Emilia’s cynical attitude towards the hypocritical nature of men.

In Shakespeare’s production Macbeth several kings, or kings to be, are introduced: Duncan, Macbeth, Sir Edward the Confessor, and Malcolm. Malcolm although only seventeen, is far superior to the rest. His well-rounded character, words of wisdom and ability to make patient, well thought out decisions proves him the best again and again. With the help of his own personal skills and reputation Malcolm is able to take back the throne that should have been his all along.

A Kings Will

The tragedy that is Hamlet is filled with so many unique characters, each with their own quirks that individualize themselves. But one of the least developed, or undeveloped, of all the characters is the one whom makes the entire plot of Hamlet possible. That is the Ghost of Hamlet's father.

This character is very depersonalized, almost to the point of making him a non-character. At the very beginning of the play, Hamlets father is already deceased, leaving the audience to know very little about him as a person. The 'Ghost' as he is referred to in the script, is seen in the first act when he appears before some guards and Horatio, a good friend of Hamlet. Later on, the Ghost comes to Hamlet alone and speaks to him, telling him of how he was secretly murdered by his brother Claudius. He then proceeds to tell Hamlet to exact revenge for him. “Pity me not, but lend thy serious hearing to what I shall unfold”, Hamlets father asks of him before telling him of his death.

Music Design in the Ancient Greek Theatre

In my freshman year at Prairie View A&M, I was cast as a musician for the chorus in a production of Medea by Euripides. I was intrigued by the use of music in the play. As I thought about the origin of music design in the Ancient Greek theatre I began to research the subject and encountered a recording of some music designed for the early Greek theatre. The music was directed by Gregorio Paniagua and the pieces that were performed were the Anakrousis, the Orestes Stasimo and the Premiere Hymne: Delphique A Apollon. At first the music resembled something out of an episode of Star Trek, but as I listened I realized that the music designers for Star Trek were following a formula that was set centuries ago. All songs were equal in intensity and character. What I mean by that is the music in Ancient Greek theatre was a character in itself. The songs started out quietly then peaked later on to arouse the listener’s emotions. The instrumentation was scarce but it said a lot coming in only to point a moment out to the audience.

Discussion of Death of a Salesman by Arthur Miller

Willy Loman is too naïve and superficial to be the hero of a tragedy. To what extent would you agree with this view?

What is a tragic hero?
Willys not a tragic hero- as its someone whose great
Do we feel pity or fear for him (catharsis)?
Flaws in Willy’s character
Views on Biffs occupation
Quotes that support his naivety
The American dream- obsession
Selfless act of dying- brave or foolish
His views on wealth (refer to brother Ben)
How being short of money had impact on his wealth

Willy envisaged a much more successful life for himself, but in reality he was a failure as he tried to attain those unattainable goals. We feel sympathy for his misguided path through life, and disgust for the way he has blindly pursued it, ruining himself and his family in the process.

Willy instilled his sons with the same warped values that have poisoned his own life. In the flashback scenes, when Willy sees his son Biff as a young man, he marvels at his good looks
and popularity, sure that these qualities will equal a remarkable life for Biff.

Samuel Beckett - The Godot Land

Mr. Beckett never fails to keep an appointment with us on the Godot Land, where two tramps are still waiting, on a country road, beneath a tree of crucifixion. Or, nothing happens there. It would be a conventional land, were it not for the fact that it has a cyclical shape of ambiguity and paradox, in all dimensions, spiritual and existential, which renders its landscapes limitless, transcending the specificity imposed by time and space. Where is the Godot Land? Time never tells. Nothing is certain except that it’s Beckett’s legacy to us.