Categories for Drama

A critical assessment of 2 pieces of drama around the theme of ‘Space’ Essay

A critical assessment of 2 pieces of drama around the theme of ‘Space’ Essay

In this essay I will be writing about how I performed to pieces of improvised drama based around the subject of ‘space’. One of the pieces had to be done in a realistic style and the other an abstract.

Initial Reaction to Stimulus

When we were first told that are stimulus would be ‘space’, we all sat down I and had what could be called a ‘brain storming’ session. This was to consider how such a broad subject could be perceived in two pieces of drama.

First of all we had to consider how ‘space’ could be identified. There are many kinds of ‘space’, which can be made into forms of drama, and we would need to select one that could produce the most gripping. For this we identified just how space could be used, and came up with the following ideas for realistic or abstract piece (we could the ideas into abstract drama later):

Space, as in ‘the final frontier’, could be used to great effect.

Space and the entire notion of the ‘great beyond’ could be used. Maybe having characters interacting with character not of this planet, maybe contrasting views or morals. Maybe having the outsider coming to earth from space. Using space in this way opens the door to all sorts of personification of space using a science fiction spin. This could be done in some sort of ‘Star Trek’, thought provoking scene involving space.

Personal space, or the lack of it. For a realistic piece, maybe something to do with the prison system or freedom infringements. If we set it in a cell (an area where there is little space), not only would there be a direct physical relation to space but also the characters will be able to show space in there speech and movements.

Taking this idea further, we could show how the lack of space mentally. Instead of the characters talking about space directly, it could be implied indirectly by their psychological flaws. These ‘psychological flaws’ would have been caused by space, either too much of it or not enough.

These are all ideas in their early stages and all need developing. But even at the early stage, the idea of psychological flaws caused by space was very appealing.

For the abstract piece of drama, these initial ideas will have to be developed in an entirely different way. It will need other dramatic techniques to fit the criteria

A surreal piece would allow us to incorporate more style and personalization in to piece. When thinking about abstract and surrealism in drama, the first thing that comes into my head is to have ‘situation’ of drama instead of a continuous story. This would allow us to show the subject matter, space, in a number of different ways.

Freeze-frames could be used while each character explains information about them and their situation (character monologues). This would show to the audience character depth that could not be seen in just a one short scene.

As for the content of this abstract piece, I had some ideas of separate pieces revolving around the subject space. This would allow us to put a lot of imagination in each piece without needing to worry about what would follow it.


For the first piece I worked with the following people:

Alain Branson

Stuart Mulrany

Chris Jones

Hussian Kerian

For the second piece, we decided to split up and work with different. The main reason for this was to keep all the drama fresh with fresh ideas. Although we thought that we were capable of producing another piece drama, tensions were building in the group and we agreed to spilt. For the second piece I worked with:

Alain Branson


The first piece we worked on had a plot that I think was well structured. It allowed character depth and development. The first two lessons after we formed are group were spent on structuring a plot which could show off are acting talents and incorporate the idea of space. First we decided that it should be based around a main character.

An idea that has always interested me was personifying a character subconscious. This might sound a little far fetched but it would give the character more substance and the audience something to relate to. This would not be his conscious or a ‘good’ or ‘bad’ angel but a version of himself that is not usually seen.

With that starting point we went ahead and considered how the space theme would fit into this idea. We thought a family clash about space would put this character in the right frame to create good drama around him. This could be mirrored with a character that is in a way opposite him.

We all thought that it would be a good idea to have a ‘visual conscious’ for him like with the other character. This would allows us to show the differences in these characters and it would fit in with the number of people in are group. How these ‘conscious’ would look actually on stage would be greatly influenced by Stuart, who put in a lot to the actual ‘conscious’ theme.

Taking all this we constructed a story which we split up into scenes. This is the first draft of the scenes and what they would contain:

Scene 1: This scene would contain an argument between the main character and his Dad. It has to be his Dad because I do not believe any of us could pull of a convincing woman. This argument would be about space, and the child’s lack of it. This will end in the character storming out to see his friend. This will show the trouble space has already caused. This will be set in the house.

Scene 2: This would be an interlude where the audience gets some in sight into the relationship between him and his conscience. It will be the main character complaining to himself with the conscience talking around him. This will show how the character relates to something, which in essence, him cannot see or hear. This will be set in the walk between his house and the park.

Scene 3: This will be conversation between the main character and what appears to be his opposite. This conversation will uncover some back round information about each character and will explain their personality faults. It will also set up the events for the next scene that involves criminal activity brought on by conversation. This will show the parallels between two

characters who see and treat space in different ways and how it has effected them. This will be set in a peaceful place, a park

Scene 4: In this scene the two main characters will get involved in major arson. This will result in an explosion off stage and the two running off. This shows what space problems can result in. This will be set in the other end of the park.

Scene 5: This will be like the first scene, with an argument between the Dad and the main character. This will be a lot fiercer than the first and will increase in tension as it progresses. This is the finale of the drama and will bring out all the aspects of space we have been trying to portray. This will be set back in the house.

In terms of evaluating the plot, I am proud of it. I played a big part in crafting it and personally I feel happy with it. Problems with it may be finding enough for the consciences to say and do since they are simply other version of the characters that already present.


We found casting very difficult, particularly a part for Hussian. First of all, we thought it would be best if he had the role of the Dad. But we found a stern sort of character wasn’t suited for him. We then had the idea of changing the Dad to a Mum. But Hussian playing a woman in my opinion, and on previous acting experience, seems to be type cast and contrary to some people opinion he was cast in a role that would highlight his acting talent. The other characters were relatively easy to cast. Here was the final cast list:

Leigh Turner The Dad

Alain Branson Gary (the main character)

Stuart Mulrany Gary conscience

Chris Jones Damien (the character opposite to Gary)

Hussian Kerian Damien conscience


Above is the set we choose to use. It is fairly basic with the stage being split into three sections, one representing the house, one the park and the other the journey in between.

The props were also very simple, with a table and chairs representing the house interior and a bench representing the park.


Area of lighting for scenes 1 and 5

Area of lighting for scenes 2, 3, and 4


The costumes we used were authentic of the parts we played. I played the Dad, so I wore clothes that represented a Dad. I just wore a black T-shirt and jeans, which is what my Dad would wear. Gary wore typical teenage clothes, a bit ‘scurfy’ to help show the difference between him and Damien. Damien will also were typical teenage clothes, but nothing like Gary’s.

The consciences wore suits. This would show how they different from the other characters and yet still an important part of the drama. We would also be able to visual show aspects of there personality. This means Gary’s conscious is good, so he wore a white suit and Damien’s conscious a black suit.


Rehearsal started well with Alain and myself going though the first argument many times. The first argument we thought needed to build in aggression as it went on. We found this hard at the beginning because we found that we got very angry very quickly and needed to take it slower. This was a small problem and was easily overcome.

After we had the basic of this scene, we moved on to the bench scene. This scene was hard to rehearse, and certain members of the cast did not help. Small arguments in the group made rehearsing slow and grinding. Out of all scenes, this one was the one that never really was rehearsed to maximum affect. Chris and Stuart, to major parts in this scene, had moments of inspiration that helped give a fuller picture of are story.

About half way though the rehearsal time the group came to a discussion that the story needed a more conclusive ending. We needed to change the story and keep the scenes the same so it would not interrupt rehearsals too much. We decided that in scene 4 that Gary would die in the explosion and the final argument would be between Damien and the Dad about the blame. This would show the consequences of space and add to the drama. The explosion would be a red strobe light operated of stage and Damien and Gary would be blown on stage, with only Damien getting up and running any.

This means we would have to put in new spin on the final argument so Damien would fit into the ending. We decided that if Damien were to come to see the Dad so it would be Damien trying to explain himself. This would allow Chris to show of his talent (which may not get shown in previous scenes) and allow me to say something different to a different person.

The more rehearsal went on, the more we touched up the scene. Stuart’s contribution to the way consciences move and talk was a big help. Hussian, Alain and Chris’s determination helped finish the scenes kept it all going. Still, I don’t think we really got the park scene nailed.

Piece 2

After we changed groups, the first thing we did was to decide how to make this piece abstract and surreal. Most of these ideas were covered in the ‘Initial Reaction to the Stimulus’. Sam and Alain played a major part in deciding how the play would actually work. We wanted to consider all the ways we could show space in a surreal way so this took quite a bit of time.

Instead of just repeating what I said at the beginning the essay, basically we decided to have pieces of drama (with monologue’s and freeze frames) linked by a tableaux. Admittedly, I would have liked to try something a bit more, well adventurous but this seemed to fit the bill and with the right characterization would create gripping drama.

The pieces of drama would involve to 2 conflicting character. The third person in the group would give a monologue while the others are in a freeze frame. After this the characters would return to a platform at the back of the stage and do a tableau reflecting what has just happened. There were

4 pieces if drama and to save confusion, we named the characters with one name, no matter what scene there in.

Alain Branson Tony (Gangster, Brother, Teacher)

Sam Jordan Harry (Gangster, Dad, Pupil)

Leigh Turner Jack (Barman, Brother, Son)

Scene 1: Jack is arguing with his Dad (Harry) about space. Jack is child that has had his own way most of his and it is only recently that his Dad had not been allowing him to go out. This sparked the argument. His dad is not over protective, but wants the best for his son. Jack is a typical teenager that is over emotional and arrogant.

Sam played the Dad with depth and sternness, just like a real Dad and dominated the scene. I think I played the teenager well, remembering my constant arguing with my folks. The problems with playing a teenager is that in and argument they have limited vocabulary and generally say the same thing over and over. Anyway, I think this was a strong scene that set the standard for the rest of the play.

Scene 2: Harry (a schoolboy) is arguing with his teacher (Mr. Tony) about a detention. Harry has been having a few family problems at home and this has crossed over into his schoolwork. This has lead to Mr. Tony having to give him a detention. The argument consisted of Harry trying to explain the situation to the teacher.

Sam once again pulled of a very good portrayal of character, but due to the nature of the role was not the dominant character. Alain played an excellent teacher character, really showing talent a presence on stage. Once again, teachers are stubborn so not repeating yourself would have been hard, but Alain was very believable.

Scene 3: Tony starts an argument with this brother, Jack. This is over how Jack gets more space and time off of their dad. This is the first time they have had an argument like this one and Tony is unsure how his brother will react. This leads to an argument, which neither of them gain the upper hand until the end, where Jack hits Tony.

Alain was very convincing as the somewhat confused Tony, adjusting to the tone of the argument accordingly. I was not so good. I had trouble adapting to the level of aggression I should use in the argument.

Scene 4: Two rival gangster have an argument over, wait for it, space and end up shooting each other. The two have a violent history and this is the final straw. The initial meeting takes place in a bar where Tony is enjoy a drink with barman. Harry walks in and the argument between the two eventually leads then to a shot out. Once again Sam and Gary where very convincing drawing on there past experience of gangster roles. I really took a minor part in this scene, letting the gangster create the drama. I did show a friendship with Tony, but this was short lived and explored.

This I think was the weakest of the 4 scene and was performed for the wrong reasons (i.e. they were both involved in gangster related drama during the writing stage).


As you can see, we used a very ‘Brecht’ set, with very few props to speak of. This minimalist stage meant we had more space for acting and movement. ‘Brecht’ played a part in designing the stage because we all felt that a performance like this one needed a strong style so it separates it from other abstract pieces. Special lighting was not needed, so full house lights were used.


We all decided to wear suits in all the pieces. This would make it more abstract and they a very versatile to the parts we played (teacher, gangster etc.)


We had many rehearsals, which we managed to fit into a very short time space. We went through every scene in order constantly with very little variation.

I would like to put a lot more detail into this but there was little else we did. We looked at the tableaux and changed them a few times till they represented each scene perfectly. The monologues were rehearsals a lot till everybody knew what everybody what going to say.

Evaluation (of both)

Both the performances went very well and very few mistakes. In comparison the two piece are different but with one on going theme. This is that they all show a single character’s problem with space.

This allowed us to show how different people can react to space. This, however, lead to some of are character sounding the same.

I terms of actual work, I think the last group I worked was dedicated than the first and wanted to get the work done more. As is said earlier, some scenes in the first performance I would have liked to go over a few more times.

This I think can be related to the size of groups. Think you can get more work done if there is a smaller number in your group. You can concentrate more and work more in a complete group.

In terms of plot, I think are first piece was better. This is not that the second piece had no plot, but I think the first performance was more gripping and kept attention better.

Malcomes final speech Essay

Malcomes final speech Essay

In Malcomes final speech he describes Lady Macbeth as a fiend like “queen”. Explain how far you think this description of her is justified

Lady Macbeth is a very essential character to the play. She is singly responsible for the most tragedy and destruction throughout the play. She is very responsible because she is the one who talks to and persuades Macbeth. But she cannot be purely seen as an evil influence for she is a much more complex character then many would think.

We first see Lady Macbeth in act one, scene five when she is reading the letter that Macbeth sent her. When reading the letter, she reads it in an innocent ladylike voice that we will not see much of until later on in the script. As she calmly reads the letter you can see her slowly spiralling towards the more evil sinister way.

The letter is read as if he was writing it to his “Dearest partner of greatness”.

He treats her with a lot of respect as if she is an equal. This would seem to be very awkward to an audience in the Shakespearean era for women were seen to be inferior to men. She decides on Macbeth’s behalf that they are to kill the King Duncan, without Macbeths approval.

The only problem is that she thinks that Macbeth is “too full of th’ milk of human kindness” to commit such an evil task. She then thinks that she had the power to alter Macbeth’s mind like an evil conscience. This makes her more evil than seen so far for she is seen as an evil presence. Lady Macbeth feels that in order to commit the murderous task herself she will need to look for help of evil ghosts and spirits to take her body and do the dirty deeds for her. She suggests strong sentences to “unsex her ” and turn her evil.

“Come to my women’s breasts

And take my milk for gall.”

In Shakespeare’s time the average person in the audience still believed in witches, evil sprits, potions and evil presences, so they would be scared as if it were real. The audience will also look at her in a very strange, different way for she is willing to give up all her femininity for a natural evil. She continues to make obscene comments to hell.

“Come thick night and pull the

In the dunnest smokes of hell.”

She says this because she wants not to be discovered for it will cost her life if she was discovered.

For a stage production I would start with her sitting in darkness on a chair alone with the spot light on her. She would wear a white dress to promote her innocence. The background music would be slow, low and quiet in a solitary tune. As she starts to ponder evil thoughts, I would slowly creep up in tempo and make all the notes more sinister. She would get up and keep her head down as she wanders around the stage reading the letter.

As soon as she finishes reading the letter she will raise her head and start to whisper her lines to the audience making eye contact. The lights would be dim as she goes from side to side on the stage. She will get louder and louder until the servant walks in and after he leaves she will continue walking from side to side getting louder and louder until her husband enters and a red light will fade in as she explains the plot to Macbeth.

The second time we see her is when she is at dinner acting sweet and innocent when at heart she is completely evil and filled with hate and gall. Duncan ironically and innocently speaks of sweet and good air which has a ironic relationship to Lady Macbeths earlier quote

“The dunnest smokes of hell”

in the last scene.

In Act 1, Scene 7 we see Lady Macbeth for the third time. She is alone in the bedroom with Macbeth discussing their hidden sinister plan to kill king Duncan and steal his throne. In this scene we can see again how much influence on Macbeth, Lady Macbeth has. Macbeth decides that he wishes not to conduct in this evil scheme any further, but once again Lady Macbeth bends and twists Macbeths mind to see the opportinity the way she does. An audience would again be surprised to see a women taking more or less complete control over Macbeth. Her character would seem very masculine and the power over Macbeth would seem to be some sort of witch’s spell, again making her seem more evil than she really is.

It would not be surprising to see lady Macbeth fall to even lower levels of murder and in justice for all her goodness and innocence has been completely corrupted by greed, therefore making her nothing more than a victim to her inner evil. Macbeth stands for shining goodness in that moment that he refuses to commit this disruption of the hierarchy for it would not only be a murderous crime, it would also mean that he has turned his back on his God, for the king was seen to be God’s representative on earth. Lady Macbeth uses blackmail to get him to obey her. She starts to accuse him of not loving her and not acting like a real man treats his wife. This is ironic, for she does not treat him as a real husband, but none the less she gets her way through these obscene accusations of him being a coward

“And live a coward in thine own esteem”

The last time we see Lady Macbeth is in Act 5 Scene 1, after all planned has successfully happened. In this scene we can see how the aftermath of the killings has actually affected lady Macbeth. The scene begins with lady Macbeth being analysed by a doctor and his decision is that she is suffering mentally. Lady Macbeth is mentally scared and is sleepwalking in anguish. Lady Macbeth is constantantly rubbing and washing this certain spot in her palm because she (and only she) can see a red “damned spot” of blood. She is conveying images of the murder and she is speaking of the killing of an old man ( King Duncan ).

“Who would have thought the old

man had so much blood in him”

Through sleep walking and being nervous we can see that Lady Macbeth does have a conscious and is liable to greed instead of being this evil monster which the audience has all seen before. The audience for the first time would start to understand and see that all the evil within her was “evil spirits” and the greed assigned to every human being. In this last scene with her, as she fall apart we can see all her greed and wickedness being stripped from her just leaving her an image of pure, innocent child like women. As Lady Macbeth becomes mentality ill and losses all her influence and greed it is as if Macbeth and his wife have swooped feelings and brains. Her obsession with a “damned spot” of blood which she cannot remove from her hand contrasts with her attitude to the blood after Duncan’s murder, when she says:

“A little water cleans us of this deed”

The way an actress would perform this scene would be very different from the way she would act in Act 1 Scene. Her face would be pale and without make-up, and she would wear a white nightdress to suggest return to a vulnerable childlike state. Her voice would be frail and trembling, and some lines, such as

“The Thane of Fife had a wife”

would be spoken like child reciting a nursery rhyme.

Referring back to the title question, I think that Lady Macbeth cannot be fully justified as a “Fiend” for she is a normal women who is corrupted by greed and I am sure that many people in the same situation would be very tempted to do something similar.

Alarm over Dramatic Weakening of Gulf Stream Essay

Alarm over Dramatic Weakening of Gulf Stream Essay

Gulf Stream and the extension it has on Europe is said to be a powerful Atlantic current that has its origin in Gulf of Mexico all the way to Africa across the Atlantic Ocean. It is the one that influences the climate in the North American coast as well as the coast in Europe. It is also used as a source of renewable energy for the generation of power. Gulf Stream is a strong current that usually meets with other ocean currents and rain is formed.

It also transports water in the form of waves and also helps the rivers that drain in the Atlantic Ocean.

It forms rain as the current is able to cool the water that is draining in the Atlantic Ocean thus evaporation takes place and falls in form of rain. Since the current is the one that is controlling the climate in the region that it passes scientists have warned that there is evidence of its weakening.

This means that there are areas that the current will cool thus preventing human activities from taking place. According to George et al 1995, this will lead to reduction of global warming in the future until 2015.

This is evident as the warm water that comes from tropical Atlantic is cold when it gets to the north of Atlantic. This is not to say that the climate will change badly as it might be thought. According to the same source the Gulf Stream is said to have weakened in the past decades and this has been caused by global warming. The strength that the current has, when measured it has been found to slow by 30%. This has made the circulation to slow down and if it remains so the temperatures in some countries are likely to drop like in Britain.

It is also not clear whether the weakening is long term or short term. The reason why temperatures are likely to change is because the current transports heat from regions that are equatorial to the circle of the Arctic. This makes the water in the surface to warm as the current releases the heat as it goes to the north where it is cold. Global warming affects the current by slowing it down. This is because global warming has caused melting of the water in the mountainous regions to melt and makes the water less saline thus cooling cannot take place.

In Paris “Little Ice Age” that started in Europe is as a result of the weakening of the Gulf Stream. This is because there is warm water that enters River Thames and cannot allow it to cool to how it was in the past. This has also changed the weather in the region. The weakening has been explained in the British journal Nature. The Gulf Stream has been blamed because the warm water that it takes from the tropical regions to the coastline in Europe has cause severe weather changes in the regions that it passes through. There is also evidence in the sediment cores from where the Gulf Stream enters.

There are planktons that are evident in these cores and this depends on the isotope that is present in oxygen. The isotope is dependant on the salinity of the water. This is what shows the density of the water in the sea. According to scientists there is evidence that there are changes that are taking place in the Gulf Stream. They say that if the Gulf Stream did not have any influence Britain and Siberia could have the same latitude. In the past Greenland Sea had dense water sinking but since today it meets the Gulf steam currents it warms up and the result is that the water becomes warm.

This has caused the water to become warm and affect the animals that are present in the water. Chimneys are the dense water that used to sink and this has reduced and thus weakening the Gulf Stream current. The ice in the sea is said to be getting thinner and thinner. Other scientists from Cambridge University have confirmed the weakening of the Gulf Stream and that Europe is likely to be cold than in the past. This is because of the fact that the strength at which the current is flowing is slower than in the past. They have also said that the chimneys that were present in the Greenland Sea are no longer there.

It is because of these chimneys that the world is experiencing the climatic changes that are taking place. They have also predicted that the waters are going to remain as they are and that temperature in Britain is going to drop in the next decade. (Taylor, et al, 1992 p. 920) The weakening of these temperatures is going to cause no melting of the snow that falls in countries like Finland and France. This will cause glaciations to begin because there will be an increase in the reflectivity of the planet. The Gulf currents is also said to affect the other currents that it meets as it travels.

There are also some climatic changes that are likely to occur in the future but they are not known. It is also projected that the currents will continue to slow down in the future. Work Cited George, D. G. and A. H. Taylor, UK lake plankton and the Gulf Stream. Nature, 1995, 378, 139 Taylor, A. H. , Colebrook, J. M. , Stephens, J. A. and N. G. Baker, Latitudinal displacements of the Gulf Stream and the abundance of plankton in the north-east Atlantic. J. of the Marine Biological Association of the United Kingdom, 1992, 72, 919-921.

Create Dramatic Tension Essay

Create Dramatic Tension Essay

A view from the bridge, one of Arthur Miller’s first comings when he became interested in the work and lives of large communities of long shore men. Arthur Miller himself worked as a long shore man on New York Brooklyn harbour. This certainly invigorated him into something ‘dangerous and mysterious. ‘ A View from the Bridge originated from a simple story Miller’s friend had told him about. At the time Arthur was active with numerous other projects he hand entitled to do, so he didn’t act upon this piece immediately.

His travels along with many potential ideas combined with his clever knowledge and imaginative understanding would give way to something that would later on become controversial. This play was written in 1955, set in Red Hook in a slum area in New York, its exactly as it sounds, dull, dark and full of unwinding drama behind closed doors. Based in 1940s immigration had been illegal at the time when America had banned it due to heavy immigrant incomings, this made coming into America difficult but not impossible.

A View from the Bridge at first boasts upon a second generation Italian family, consisting of Eddie, his wife Beatrice and her niece Catherine, these three characters living together pleasantly. These characters play an essential role in dialectical amusement. This Italian family would follow the nature of the stereotypical Italian virtues, valuing loyalty, fixated trust, respect and honour. Respect and loyalty are things an Italian family should contain and retain. A clear feature in this play is immigration, which right from the beginning intertwines through to the end.

Starting of with such a young fun loving warm hearted family filled with an easy atmosphere then merged towards difficult and stiff tension between additional characters like Redolfo and Marco who come over to stay from Italy, the family go through hoops of dispute leading to argumentative circles and to a most glum ending. When Beatrice’s cousin’s Marco and Redolfo move into in with the family welcomed by Eddie, things start to submerge. Eddie notices Catherine’s fondness for Redolfo, causing Eddie to become over protective, but not because its his niece but more so because of unmentionable deeper feelings he has for his niece.

This family gets torn apart by jealousy, loss of trust and violence. At the end of the play after psychological and verbal threats from Eddie to Redolpho, Marco at the end of Act one/two lifts a chair above Eddie declaring power, urgency and alarms start to go off. At the end of the play the immigration officers come in and arrest Marco and Redolfo. Tempers start to run up high as Marco swears at Eddie which sets him off. Eddie at the end attempted to kill Marco with a knife which goes by all his morals, but Marco turns Eddies weapon into his nemesis and kills him instead.

Beatrice and Catherine were deeply upset about Eddies death recollecting what they lost forgetting all the trouble he’d brought upon himself. Eddie’s death was appropriate it wasn’t about why he would die more about how he would die. Although Eddie died, in a sense he became successful because he was killed on Catherine’s and Redolfo’s wedding day, so each day they would remember his death and why he died. My first key dramatic moment is when Beatrice says to Eddie ‘you want something else Eddie and you can never have her!

‘ and when she also adds, ‘the truth is not as bad as blood’ indicating that if he doesn’t acknowledge the truth their will be a bloody outcome. When Beatrice says all this its as if she had brought everything that has been hidden for so long out into the wide open. She brings up the hidden agenda that has stayed taboo to her for so long, she’s telling him that she knows that he wants something else and makes it clear she knows its Catherine by concluding ‘and Eddie you can’t have her!

‘ This is a key dramatic moment because this is when Miller lets Beatrice take control and helps the other characters understand why Eddie is doing what he is. Also because it comes as unexpected and to Catherine it would be a shock and would fill her with disgust, she had no idea what Beatrice was saying it hadn’t sunk in to her, she couldn’t believe what she was hearing. This moment delays what’s happening and it starts to focus on Eddie, Beatrice and Catherine.

This horrifies the other characters around and certainly makes the audience reacts with gasp, for the characters had no idea about Eddies feelings but the audience had an idea of it but didn’t expect Beatrice to say what she did and they way she did. This caused dramatic irony because they knew something that the characters didn’t and they were witnessing the build up. This left Eddie in a state uneasiness he swiftly went into denial knowing that inside that Beatrice was speaking the truth. Miller showed us the effects when both Catherine and Eddie both exclaimed ‘B’ and diverted their attention and eyes on her.

Miller created this effect cleverly because just as Eddie was going to confront Marco, Beatrice used this as a last attempt to stop Eddie’s frenzy. Miller showed us a wife telling her husband that she knows that her partner wants someone else, the biggest effect this would have is on Eddie. Also the way he showed us they horror in the raised voices. The audience and characters didn’t suspect Beatrice to confront Eddie like this, since she was torn apart by these 2 sides. Miller runs the tension higher than it already was and straight back down to the confrontation of Eddie and Marco.

Drama Essay: A Review of “Spring Awakening” Essay

Drama Essay: A Review of “Spring Awakening” Essay

I will be reviewing the play titled, “Spring Awakening” by Fred Wedekind. This play was produced by The Department of Performing Arts and Humanities of the School of Liberal Arts at and directed by Robert W. Oppel. I saw the play on March 20th Q Building Theatre. The play was excellent and exceeded all expectations due to the professional way the story was presented.

“Spring Awakening” is a musical concerning teenagers who explore their individual sexuality while living in an oppressive culture.

The setting takes place in a religious, rural town in Germany during the late 19th century. It contains issues of sexuality, religion, and education, but also exposes the barriers between adults and children. Parents are supposedly religious; however, they mistreat their children. In addition, they make puberty more confusing by forbidding their children to ask questions about their sexuality or discuss sex in general. Other topics included shame, gender, and authorities. The play also shows the consequences for rebelling against what society considers moral and acceptable.

There are three main actors playing principle roles. Sinead Fahey, a newcomer to the Theatre at CCBC, played the part of Wendla. Her overall performance was terrific. She sang beautifully, moved gracefully, and gave a strong performance throughout the play. Sinead was well cast and believable in her role. James Baxter, who played the part of Melchior, is a returning performer at CCBC. James played his part well, but seemed slightly reserved in his character. It appeared he was not quite as passionate as he could have been. However, he moved and sang well and still delivered a solid performance. James was fairly well cast and somewhat believable in his role. The character Moritz was played by Christopher H. Zargarbashi. He graduated from Towson University with a degree in acting. Christopher’s performance was excellent and thoroughly entertaining to watch. Christopher was accurate in the way he conveyed Moritz’s intense and nervous personality. He was well cast and extremely believable while playing his part.

The play contains an edgy, noteworthy innovation. Mixing the late 19th century era with modern day features appears fresh and original. For instance, when the performers speak in the play, they are in character during the late 19th century, yet become modern day singers during the musical numbers. Additionally, all the characters in the play dress in the appropriate 19th century attire, whereas the ensemble dresses in modern day clothing. Furthermore, the proper diction is a contrast to the music which exhibits profanity and modern day themes. It is a unique and creative way to express the story. Robert W. Oppel, did an adequate job of directing the play.

This is evident in the way that the performers methodically, yet naturally move. For example, when the characters touch or interact physically, it is not done in an awkward style, but gradual and relaxed. Even when they remove their microphones from their clothing, it is executed in a natural manner. There are many times when the characters remain perfectly still and do not move at all during a scene. It was an amazing and genuine display of talent. Certainly, the theme of “Spring Awakening” could be relevant to anyone. Oppression and topics such as child abuse, rape, suicide, abortion, and homo-sexuality will always exist.

Hence, the play evokes the audience’s empathy by depicting these personal struggles among the youth living in the 19th century. In essence, I definitely enjoyed the play and was thrilled with the overall experience of live theater. I was skeptical at first about whether I would like the story, but was pleasantly surprised and blown away by what I saw. I would highly recommend this play to others, especially young adults and adults who are looking for a mature storyline. I would most certainly say I gained a respect for live theater. I give credit to everyone involved, especially the actors and actresses. They have only one chance to get it right and hold the courage to perform in front of a live audience.

From dependence to independence Essay

From dependence to independence Essay

“A Taste Of Honey” is a twentieth century play set in the 1950s. It is known as a “kitchen-sink” drama and was written by Shelagh Delaney at the age of 18 and was first performed in May 1958. A “kitchen-sink” drama originated in the literature in the 1950s and 1960s. Its aim is to create a true picture of the hard life and troubles of the working class life.

In “A Taste Of Honey” the two main characters are always falling out with each other and the people around them.

The conditions they live in are cramped and poor in bedsits or flats. An example of a “kitchen-sink” drama is in “Look Back In Anger” by John Osborne and “Saturday Night And Sunday Morning” by Alan Sillitoe. Plays and dramas in the fifties were performed for the middle and upper classes but then came the debut “kitchen-sink” drama; “Look Back In Anger”, which was aimed at the working class. A “kitchen-sink” drama play uses everyday common language to reflect the lives of the working class people portrayed.

“A Taste Of Honey” is set in Salford, Manchester. It is about the life and relationship between a young girl, Jo, and her mother, Helen. They move around a lot, and have just moved into a shabby one-bedroomed flat in Salford. Helen is a semi-whore who lives off money which has been given to her by her men friends. Helen also drinks a lot. Jo is fifteen years old and she is very talented in an artistic way and enjoys drawing, but she blames her mother, who she refers to as Helen, for disrupting her education.

Helen and Jo move into a shabby rented flat in Salford and it’s very cramped and small. Jo isn’t happy but Helen doesn’t mind. Jo tries to make the flat look and feel more liveable in by deciding to plant some bulbs. Helen’s not bothered though, and is happy that at least they have a roof over their heads. She has a “what you see is what you get” attitude towards life and lives by a day-to-day basis.

Helen also uses a lot of sarcasm, for example, when Jo is complaining about the flat, Helen replies,

“Everything in it is falling apart, it’s true, and we’ve no heating- but there’s a lovely view of the gasworks.”

Helen is a single parent and there’s no mention of any relatives throughout the play. Single parent families were not accepted in the 1950s and if a couple wasn’t married, it was seen as “living in sin” and frowned upon.

“A Taste Of Honey” is aimed at adults and older teenagers as there is a lot of crude and rude humour and bad language, reflecting their working class lives for example, Helen: “Take your bloody money and get out.”

Peter: “Thank you.”

Helen: “You dirty bastard.”

Also, teenage pregnancies, race and sexuality were big issues in the fifties. Homosexuality was a criminal offence, even if the couple were of a consent age. Many homosexuals were locked up, and underage sex was strongly frowned upon, and abortions were very difficult to obtain. Women had to resort to back-street abortions, which were very dangerous and could be fatal, so that’s why there were a lot of teenage pregnancies.

In the fifties, there were very few black people and they were given low paid jobs in the service industries and hospitals. These three issues are all part of the story. Jo has a teenage pregnancy, Jimmie is black, and Geof is homosexual. There were no equal opportunities, for example, men got paid more than women in exactly the same jobs. Housing conditions in Salford were poor. Most houses were small, cramped and dirty. Many rented bedsits or flats often shared amenities like bathrooms and toilets, and this is the case in “A Taste Of Honey”.

“We share a bathroom with the community and this wallpaper’s contemporary. What more do you want?”

In “A Taste Of Honey”, Jo doesn’t call her mother “mother”. She calls her Helen. This shows that she doesn’t have much respect for her mother and wishes to live her own life, and not to be ruled over by someone who is not a good mother figure. I think Jo is lonely, as she hasn’t settled down in a school yet so she hasn’t had the chance to make any friends. Helen also treats Jo as if she is just something that’s there. She refers to Jo as “she” and “her”.

“Wouldn’t she get on your nerves?”

Helen also drinks a lot, and even though Jo isn’t treated as a real person, she still wishes her mother would stop.

“Drink, drink, drink, that’s all you’re fit for.”

With Jo wanting Helen to stop drinking, I think this shows that Jo is scared, that if the drinking carries on and Helen gets ill or something happens to her, then Jo will be alone.

Helen’s favourite past-times, which Jo disapproves of, are her drinking habits and sleeping around. Helen is not a good mother and she knows this herself, “Have I ever laid claim to being a proper mother?”

Helen hardly knows her daughter. This is made obvious when Jo decides to have a bath in the morning because it’s dark outside, and Helen replies, “Are you afraid of the dark?” whereas in any normal family, the parent would know if their child was afraid of anything with living with them for fifteen years.

Jo hates school. She has been moved from school to school and never settled in any of them, so she can’t be bothered with it, but she is very talented in drawing. When Helen finds some of Jo’s drawings, her only reply is, “I thought you weren’t good at anything.” Helen starts to encourage Jo by saying it’s very good, but then her sarcasm returns when she says, “I think I’ll hang this on the wall somewhere. Now, where will it be least noticeable?”

When we meet Peter, he enters with a cigar in his mouth. He seems very “cocky” and seems the sort of person who doesn’t really care for other people, as he is self-centred. He keeps telling Jo to go away, and tells Helen to “get rid of her”, because he just wants Helen for sex.

Jo doesn’t want to leave the two alone, and keeps interrupting because she is afraid that Peter will get the attention off Helen that Jo has always wanted. Also, Jo knows that Helen will abandon her and go off with new men she meets, as she has done it before.

When Helen goes out the room and Jo is left alone with Peter, she starts to question him. Jo sees some photographs in Peter’s wallet and demands to know who they are of.

“Can I see the other photos?”

She then starts to ask why he’s marrying Helen and asks if he fancies her. “Do you fancy me?” I think she asks this because she knows that her mother is beautiful, and she gets lots of attention off men, so Jo wants to see if she could be just like her. Helen is somewhat an “idol” to Jo, because she always asks people if they think Helen is beautiful, and she wants to be just like her… always getting attention from men. Jo, in a way, is jealous of Helen.

I think Jo is fairly independent for her age, as she is certain about what she wants to do. She wants to leave school and start working as soon as she can. This shows that she acts older than she really is and is mature for her age.

In scene 2, we are introduced to Jo’s boyfriend. In this part of the play, we know him as “Boy”, but later on we find out his name is Jimmie. He is a black sailor in the navy and he asks Jo to marry him. Boy is twenty-two, and Jo lies about her age and tells him she is eighteen. He questions her about what Helen will think about him because he’s a coloured boy.

Boy: “She hasn’t seen me.”

Jo: “And when she does?”

Boy: “She’ll see a coloured boy.”

I think Boy is worried about meeting Jo’s mother, as racial prejudice was a big issue in the fifties. Jo tells him, though, that her mother is not prejudice and will not mind, but at the end of the play when Helen finds out that the baby will be black, she starts to get mad. When she finds out, she says, “Oh don’t be silly Jo. You’ll be giving yourself nightmares.”

She thinks Jo is pulling her leg but she is serious. When she finally realises that it is true, she doesn’t care what people will think of Jo, but what people will think of herself.

“Can you see me wheeling a pram with a… Oh my God, I’ll have to have a drink.”

Boy has to go away for six months, and he reassures her he’ll be back. I think Jo ‘thinks’ she loves Boy, but doesn’t expect him to return, because when he says he is going, Jo says her “Heart’s broke”. Boy offers comfort by saying; “You can lie in bed at night and hear my ship passing down the old canal.” But when Boy starts to flirt with her in a naughty way, she says,

“I may as well be naughty while I’ve got the chance. I’ll probably never see you again. I know it.”

I don’t think that it’s true love between Jo and Boy, as Jo is young and every time they say they love each other, their replies to one another is always “how”, and “why.”

Boy: “I love you.”

Jo: “How do you know?”

Whereas if they really did love each other, they wouldn’t ask for reasons why.

Jo’s friend Geof, is very considerate and caring. We meet Geof in Act 2, Scene 1 after him and Jo have been to the fairground. Geof is a homosexual and he has been kicked out of his flat by the landlady because of this, so he’s been spending time at Jo’s. By this time, it is summer and Jo’s pregnancy is obvious. Helen has moved out after marrying Peter and left Jo alone.

Geof comes into Jo’s flat after the fair and is about to go but Jo literally begs him to stay.

“Geof, don’t go. Don’t go. Geof!”

I think Jo is scared to be alone, that she doesn’t know what she would do alone with the birth getting nearer.

Geof starts looking through Jo’s drawings and criticises them by saying he doesn’t like charcoal and that the drawings are exactly like Jo, with “no design, rhythm or purpose.”

When Geof starts telling Jo that a lot of money will be needed for the baby, she tries to ignore the fact that she’s pregnant and tells Geof to “shut up”, but Geof isn’t saying this to worry her, but to get her prepared and face reality. He cares for her and because Helen doesn’t know about the pregnancy, Geof thinks she has a right to know that she’s going to be a grandmother but Jo objects.

Jo’s relationship with Geof is a love similar to that of a brother and sister, as he is more into looking after her. I think Jo really cares for him too, as she begs him to stay over and she has a laugh with him as well as being flirty at the same time.

Jo: “Do you like beer?”

Geof: “Yes.”

Jo: “Gin?”

Geof: “Yes. Have you got some?”

Jo: “No, but if I had, I’d give it all to you. I’d give everything I had to you.”

When Jo and Geof go to bed, Geof questions Jo about Jimmie.

Geof: “A black boy?”

Jo: “From darkest Africa! A Prince.” She exaggerates as though it was a dream, or a fairytale. Just before they go to bed, Jo laughs and tells Geof, “You’re just like a big sister to me.”

A few months later, Jo and Geof are getting ready for the arrival of the baby and Geof’s making a baby gown while Jo wanders about the room. It is not something that the audience would expect a man or brother to be doing. It would more likely be a sister. I think Jo is nervous because the birth is very near and she is restless. She is very excited when the baby kicks, and tells Geof. Jo always seems to flirt with Geof, playfully putting her arms around him, but when Geof is serious about him and Jo, she backs off.

Geof: “Let me kiss you.”

Jo: “Let go of me. Leave me alone.”

I think this is where Jo becomes more mature and independent, as she knows what she wants.

“I think I’ve had enough. I’m sick of love.”

But then Jo realises that she can’t really cope, that the baby is perhaps more than she can handle and her hormones are getting the better of her.

“I’ll bash its brains out. I’ll kill it. I don’t want this baby, Geof. I don’t want to be a mother.”

She realises that she wants Jimmie back, she misses him so much, and she wants the real father to her baby. “Every Christmas Helen used to go off with some boyfriend or other and leave me all on my own in some sordid digs, but last Christmas I had him.”

Geof thinks he is only welcome in Jo’s flat until she finds her next “Prince” and in my opinion, Geof is hurt.

When Helen comes to see Jo with Peter, Peter is prejudiced against Geof and calls him a “fruit cake parcel.” He is drunk and wants to go to the pub with Helen, and so he starts making his own fun by calling the flat Jo lives in, and calling Jo a “slut.”

Jo’s attitude towards Geof towards the end of the play changes for the better. From the way they both talk to each other you can see they have both grown up. Jo is more open to Geof about her relationship with Helen.

“You know I used to try and hold my mothers hands but she always used to pull them away from me. She had so much love for everyone else but none for me.”

When Jo says that, it actually makes the audience feel sorry for her, and disgusted with Helen, because Jo didn’t have a genuine mother figure. She also tells Geof about how Helen got pregnant with her. She tells him about how she was married to a Puritan, but wanted some fun so she had a “frolic in a hay loft” one afternoon with a “daft” man.

This shows that she feels secure with Geof and more confident with him as she tells him everything that happened and wants him to feel sorry for her and to understand her because she didn’t have a good childhood.

Jo starts to value Geof, as she realises he cares more than Helen. At the end of the play, Helen tries to hint that she wants Geof to leave so she can move back in. she thinks she could look after Jo better than Geof, even after the months she has missed.

“There wouldn’t be much room for two of us on the couch, would there?”

The only hint of love from Helen for Jo throughout the play is when Jo is having contractions and Helen strokes her hair, saying everything will be all right. This is the only time in the play when Helen is shown to be supportive of Jo.

It shows Jo is independent and has matured, because when Helen doesn’t know how to use the stove, Jo tells her, whereas this time last year, it was the other way around.

When Geof leaves, and Helen finds out about the baby being black, she says she’s going for a drink. This part reflects the beginning, when Helen abandons Jo at Christmas. Unfortunately just when Jo needs her mother the most, she leaves her yet again. When she’s out the door, Jo leans against the doorpost, remembering the good times with Geof and smiling to herself, as she recites a rhyme that Geof taught her.

This shows that she is now dependant on herself, and knows she can cope by herself, because she was left alone the year before, and knows she can do it again.

Jo’s “Taste Of Honey” was when she met Jimmie, but in my opinion, I think her “Taste Of Honey” was the time she spent with Geof, because he taught her a lot of things in life, and throughout the play you can see how she has matured, and adopted a more serious attitude towards life.

Creon and Haemon Essay

Creon and Haemon Essay

How would you direct the confrontation between Creon and Haemon in order to achieve your chosen impact for your audience? The scene of confrontation between Creon and Haemon comes when Creon has sentenced Antigone, future bride of Haemon, to be shut up in the cave. I would want to show a contrast between the characters with costume, so that the audience would get a visual representation of their emotions. I would dress Creon in an extravagant red silken robe, with gold trimmings.

This would highlight his status as King, and also the red could signify a bloodthirsty attitude, as Creon is revelling in Antigone’s fate.

Contrastingly, Haemon would be wearing a simple black cotton robe, without any trimmings. This would show that he doesn’t care for superficial extravagance, and black is also a colour of mourning; this would symbolise Haemon’s feelings towards Antigone’s fate. In the opening of this scene, Creon greets Haemon pleasantly. I would direct Creon to grip Haemon’s right hand with both of his own hands, in a friendly, pleading handshake; this would show warmth for Haemon, which is what Creon wishes to express at this point.

He would maintain eye contact and stand with legs shoulder-width apart He would speak in a soft tone, with a slow pace, medium pitch and a relatively low volume, again to give the impression of warmth. In the line ‘we are always comrades, and my love for you is unshaken’, I would direct the actor playing Creon to emphasise the words ‘always’ and ‘unshaken’, stressing these superlatives, in order to exaggerate the positive feelings, diplomatically Haemon’s response would be in kind, reciprocating the respect. He would accept the handshake, and keep eye contact. His vocal qualities would be as those of Haemon.

He would say ‘I know I am your son, Father’, stressing the word ‘Father’ to show respect and also family love. During this exchange, they would both be very close physically, to show that they are, at this point, still emotionally close. The lighting would be a straw wash from above over the stage, of medium intensity: neutral. Creon would be next to a podium, centre-stage-left. Haemon would be centre stage, and the Chorus would be arranged in a semi-circle around them. During Creon’s following speech, I would want the audience to witness a change in Creon’s approach.

The first noticeable change in attitude would be when he says ‘Don’t be taken in/ Boy. Don’t let any woman ensnare you. ‘ His tone would become harsher, and lower almost as if speaking in a whisper. He would also grasp Haemon on the word ‘Boy’, to show the audience that he wants to instil certain sexist values in Haemon, as it is a subject he feels passionately about. Furthermore, he would almost spit the work ‘woman’ and emphasise the word ‘ensnare’ to present acidity to the audience. He would say ‘Don’t be taken in, Boy’ without changing his tone or pace, simply increasing intensity, to show the audience how sincere he is.

He would continue in this manner, speaking in harsh tones. The next change in Creon’s demeanour would come when he says ‘I will do it. And she must die’. Here, he would revert to speaking with authority, assertively. He would stress the modal verbs, ‘will’ and ‘must’ to show that he is completely fixed upon the idea, and is unwavering. This would show the audience his stubbornness. At this point, low-intensity, subtle red uplighting would have slowly faded in, to cast shadows upon Creon’s face to make him seem more imposing and venomous. It would be barely noticeable by the audience at this stage, as it would be slowly and subtly introduced.

Creon would also step back and stand straight at this point, and pause after the line, to highlight its significance to the audience. He would have his hands calmly by his sides. Creon would continue to rant, his volume increasing, and the red uplighting becoming stronger, as the straw wash slowly faded and his hand gestures becoming increasingly evident and expansive. On the line ‘Anarchy, disobedience,’ he would be banging his fists on his podium in anger, to show the audience how passionately he feels about the subject. He would be nearly shouting at this point, and Haemon would recoil slightly, in fear and surprise at Creon’s outburst.

Creon would next shift toward the end of his speech, and I would want my audience to see him bring back subtle persuasion, using the fact that he is Haemon’s father to his advantage: ‘Let it be by a man’s hand, eh son? / Not by a conspiracy of women! ‘. I would want him to go back to speaking in lower tones, almost at a stage-whisper level, as he wants to instil his own sexism, and apparent paranoia regarding women, into Haemon yet again. This repetition would show the audience just how sexist Creon is. I would therefore have the actor emphasise the words ‘man’ ‘son’, ‘conspiracy’ and ‘women’ to show this, and put one arm around Haemon.

The red uplighting would also dim at this point, the straw wash becoming more prominent; this would visually represent the change in tone to the audience. Following the Chorus’ somewhat neutral response, Haemon would reply by at first speaking pleasantries: ‘It’s not for me to say you are wrong’ is quite self-deprecating and is complimentary to Creon. Haemon would therefore speak it in a soft tone, and would physically lower himself by bending knees and back slightly. His volume would be medium at this point, and he would make no hand gestures. The lighting would remain as a straw wash, all red gone at this point.

Haemon would emphasise ‘me’ and ‘you’ to underline the fact he is making a direct comparison between himself and Creon. Haemon would change in approach right on the line ‘But I can sometimes hear people whisper’. The word ‘but’ here is a clear discursive marker in the text, indicating a change. Also, Haemon begins to discuss how ‘people’ see Antigone’s punishment as unjust. He would thus take a step back is if expecting an outburst from Creon, and emphasise words like ‘people’ and ‘whisper’ to show the audience that the character aims to dissociate himself from the views.

He would become more pleading as the speech progresses, ‘let me beg you to have second thoughts’ and ‘I beg you Father’. This is again showing he accepts inferiority, but also makes clear to the audience that he is against his fathers actions. The metaphors regarding the failure of stubborn things would be spoken with a degree of accusation regarding Creon; Haemon would look at Creon when saying ‘inflexible’ and ‘refuses’ to indicate that there refer to Creon.

At the end of the speech he says ‘Take good advice when it is offered. ‘ This is a direct question to Creon, and I would have Haemon on one knee, clasping Creon’s hand at this point, to show his desperation to the audience. In the ensuing stichomythia, I would instruct Creon to increase in volume, pace and raise his voice at the end of each sentence. Also, I would want him to spit phrases like ‘You’re a woman’s mouthpiece! ‘, whilst shaking his arms, palms clawed and facing up to show rage to the audience.

Comparatively, I would instruct Haemon to remain calm, speaking in controlled tones and a steady volume throughout, making few hand gestures. Haemon would instead increase in cold contempt, by sharpening the sound of his vowels at the ends of sentences, and speaking in a low tone, and emphasising certain words. He would emphasise the word ‘demented’, but without raising the volume of his voice a great deal. Also, at the end, when Haemon says ‘… this disgusting spectacle/ In company with a madman, are welcome to it’, I would want him to speak this calmly; without varying his pace.

He would say this emphasising ‘disgusting spectacle’ and ‘madman’ by raising pitch and volume a little. This would show the audience that he feels contempt toward Creon, but is above just shouting. Creon, on the other hand, would be virtually screaming ‘Bring her out, the bitch’, emphasising the word ‘bitch’ by stressing the harsh vowel sound, and gesturing wildly towards the side entrance, as if indicating from where she should be brought. This would show the audience that Creon has lost his composure, and has lost control of his rage.

The lighting would be red uplighting again on Creon only, to cast shadows across his face, whilst a blue gel, to mix with the straw wash, would be coming in from above. Overall, this should all contribute into presenting Haemon into an emotionally controlled, stable character, whereas Creon would appear as quite the opposite; unreasonable, stubborn and emotionally volatile. The objective would be to present the characters as such, to encourage the audience to sympathise with Haemon, even empathise with him; ideally, the audience too would feel frustrated and contemptuous towards Creon.

Shakespeares portrayal of Hotspur in Act 3 Scene 1 Essay

Shakespeares portrayal of Hotspur in Act 3 Scene 1 Essay

With close reference used to dramatic methods, discuss Shakespeare’s portrayal of Hotspur in Act 3 Scene 1.

Hotspur has several ongoing characteristics in the play, with the main one that is constantly being brought forward is his egotism that shows in his interaction with other characters. In line 16, after listening to Glendower’s boast, Hotspur feels that his ego has been threatened. This character development tells us that Hotspur doesn’t like to be outshone by others. “Why, so can I, or so can any man, but will they come when you do call for them?”

Hotspur’s taunting tone is shown here as he claims anyone can do what Glendower says he can do, but questions if it will actually work, belittling him.

“Methinks my moiety, north from Burton here, in quantity equals not one of yours.” Hotspur believes he deserves more, and he would re-route the channel to get his way; “And here the smug and silver Trent shall run in a new channel, fair and evenly.

It shall not wind with such a deep indent, to rob me of so rich a bottom here.” Hotspur wants more of what he has already got and isn’t grateful for his shares, with this showing his self-centered and egocentric personality.

Hotspur constantly speaks in a derisive tone to others and often rudely interrupts them in pieces of dialogue. In this particular scene, Hotspur is being portrayed by Shakespeare as a disrespectful character. He bluntly denies Glendower’s boast about his magic powers and mocks him when he mentions the meteor shower that occurred on the night of his birth, “Why, so it would have done at the same season if your mother’s cat had but kittened, though yourself had never been born.”, which lets his antagonistic ego to foster friction between his allies. His obvious opinions is not necessarily a bad trait however, as this shows us that he wears his heart on his sleeve, and is very honest with others; whether it be negative or positive. “Let me not understand you, then; speak it in Welsh.” This recurring characteristic adds character development to Hotspur.

When it comes to plot development, Hotspur forgetting the map at the start of the scene shows that he is impractical and has a lack of foresight. Also, his lack of sophistication and refinement is shown when he insults literature, meaning Shakespeare portrays Hotspur as very uncultured. His fiery and argumentative side is exhibited with his use of imagery in the scene, however his political naivety in also revealed as he allows personal feelings to intrude on his personal relationships, and presents his lack of diplomatic maturity.

Hotspur’s arrogance is exposed when he begins arguing for the sake of arguing after interaction with Glendower in a battle of wills makes Hotspur boast after Glendower gives in, and once again feeds into his egotistical side. Another thing established in this scene is Hotspur’s reputation, as after more interaction with Glendower, he reveals what others say about him and that he has a renowned, infamous and fearsome reputation. Hotspur is known to be a brave, ruthless warrior in battle. His short temper and reckless attitude has not only gained himself a nickname, but also a rash status. Hotspur’s best trait, his boldness and quick temper, is also his worst flaw, as he may be valiant in battle but cannot manipulate or work with allies, and is very tactless. His quick temper causes him to alienate Glendower, one of his family’s most important allies, which is not a smart move.

Hotspur is not only rude to his allies, but also his Lady. He jokes to her “Come, Kate, thou art perfect in lying down. Come, quick, quick, that I may lay my head in thy lap.” He later says “Come, Kate, I’ll have your song too.” To which she replies “Not mine, in good sooth.” Instead of letting it go, Hotspur becomes enraged at Lady Percy; “Not yours, in good sooth! Heart, you swear like a comfit-maker’s wife!” He tries one last time to convince her “Come, sing.” But she still won’t, to which he leaves in anger; “I’ll away within these two hours, and so come in when ye will.” and leaves her in tears. Hotspur disregards other’s feelings and wishes, even his Lady’s.

This brings up Hotspur’s cruel ways and his childlike actions when he does not get his way, along with his selfishness, and his irresponsibility towards his personal relationships.

In this scene, Shakespeare continues to portray Hotspur with a mocking attitude, a hot tempered mind, his open mind and the fact that he is a ruthless fighter, and starts to bring up his self centered, impatient and immature acts, that is mainly brought to our attention through his interaction with other characters and his actions during heated and normal moments, from battle, to conversations in the Boar’s Head Tavern.

The Elements of Drama Essay

The Elements of Drama Essay

I am now going to talk about our piece of drama. We have being studying the topic anorexia for a couple of weeks now.

In this piece of drama we have looked at and developed ideas and done some study about’ Nervous Conditions’. In this extract a teenage girl has been living in England for a good amount of time and when she comes back to Africa she is finding it very difficult to adapt back to the life she had back in England.

We decided to develop some of ideas based on the fact that we are working with people in Africa now. So the idea we have done is when the girl has come back to Africa and wont eat anything. She is becoming anorexic because in England the people eat and dieted differently. So when she returns back to Africa she has developed this idea that she can’t eat anything because she is putting on too much weight.

As she has this idea stuck in her head, it begins to affect the rest of the family by making the father very angry at her mood swings and this leads into a massive argument.

In our development we used the storyline from our booklet and developed it much more. We started by using the storyline that Nyasha (Lily) comes home and wont eat any food and begins to lie about what she dies with her lunch money. It all starts to kick off when the family is sitting down and enjoying their dinners and Nyasha (Lily) comes into the room. The father (me) asks her to eat her dinner because she just sites there and acts as though she doesn’t care. So the father (me) has a little go at her and her mother (Polly) tries to defend her. Then the brother (Umar) starts to back up his father by saying that she never eats at lunch. We done this so it shows that the brother and sister have not had such a decent relationship because he always tries to get his sister in trouble. We tried to make this piece as realistic as possible by showing the everyday relationship that some families have to put up with. Then this argument over Nyasha (Lily) not eating starts to carry on to our next scene. The next scene is when the mother (Polly) is cleaning up the dishes and has a little thought about what is going on with her daughter and hopes that she will pull her act together. Then we switched straight away to the father (me) in bed and has his own little thought about how angry he is with the whole situation and approaches the incident with a different matter. He decides to show no sympathy (unlike the mother (Polly)) and come down hard on his daughter. I think this is very well followed through and it is realistic how we put the scenes together.

Then our next scene follows through to the next morning when the children are about to leave for school. Nyasha (Lily) refuses to have breakfast and decides to act ” hardcore” by bringing in that English attitude by giving cheek back to her father (me). He is having none of this and decides to lay the line down. There is then a massive argument about how Nyasha (Lily) should respect her father (Me). We made this very realistic and tried to make it as violent as we possible could to show our audience that people have to put up with this in real life, not just in theater. So Nyasha decides to take her breakfast and eat it on the way to school.

We show a different way of how our story is told because we tell it as we go along. We don’t have a narrator because it would be to complicate so we made it easy to follow for our audience. We used monologues to show what our characters are thinking about. This gives a great deal of information to what will happen next. I.e. when the father is having is monologue about how he is going to approach the not eating situation showed it to the audience as to what he was going to do.

Stereotypes in the Media Essay

Stereotypes in the Media Essay

Abstract The aim of this research is aimed to compare the frequency of stereotypes between different genres of prime time television shows. 36 Year 11 students were enrolled to record the number of stereotypes they saw portrayed in televised media. The results were collated to compare how many stereotypes appeared in the genres. Results indicated that News portrayed the most stereotypes, followed by comedy, then by drama. Results interpreted showed news stereotypes are considered more socially acceptable, whereas comedy stereotypes can be viewed as offensive and not suitable for children.

Drama was very similar to comedy.

Stereotypes and their Pervasiveness in the Media The media these days is littered with stereotypes. These stereotypes portray a multitude of different categories, such as age, race, religion, sex and sexuality, mostly in a negative light. The aged, for example, have bad hearing; Muslims are all violent and suicidal; and the French have a snobbish attitude, love for frogs legs, and a hate for the English. While stereotypes tend to have a grain of truth within them (the French really do hate the English), they tend to overlook the differences between individuals, making them too generalised and unreliable.

Despite this inaccuracy, the media still does this often. While stereotypes are used in comedy “for the lulz,” they are deliberately used in this manner, unlike in certain news and current affairs shows, where it is used out of ignorance and efficiency. Because of the way media has stereotyped minorities, society has absorbed this into everyday use and many find it socially acceptable to use offensive stereotypes in everyday conversations. While comedy shows are not trying to offend and proliferate stereotypes, they in fact cause more harm than news and current affairs programs.

The Simpsons, a television show known well for its satirical voice and comedic social commentary, is scattered with stereotypes, many of immigrants. Apu, an Indian convenience store owner who appears often in the show, is stingy and has a recognisably Indian accent and prays to his Hindu god, Ganesh. This inaccurate portrayal of Indian immigrants is perceived to be humourous by the public, but they are likely to apply these stereotypes to real people if their misconceptions are not corrected.

This research aimed to compare the frequency of stereotypes between different genres of prime time television shows. The genres compared were comedy, drama and news. The hypothesis is that comedy will have the most stereotypes, followed by news, then by drama. Method Participants The participants in this investigation were 36 fifteen to sixteen year olds in year 11 of high school. The students were all academically selective and were mostly Caucasian. The participants chosen were all psychology students, taught by the same teacher.

Parents had given permission to participate in this research and signed a permission slip for students to watch at least 3 prime time television shows within two weeks, one to be news or current affairs, the other two being of their choice. Apparatus A log sheet was given (see appendix A) to record the amount of time watching television, and the number of stereotypes noticed. Televisions were to be provided by the participants. So were pens. Procedure The 36 participants were instructed to watch television between the hours of 5 and 10pm.

While watching television, they were to record the number of times they saw a stereotype being portrayed and comment on what was being portrayed. This took place over two weeks, after which the results were collated and analysed. Results The results are shown in chart form in Appendix B and C. Once the results were graphed there was not much of a difference between the genres. The data in the graph is collected from a number of participants’ log sheets. 30 people watched news, 21 watched comedy, and 19 watched dramas.

The graph didn’t show a single genre to contain significantly more stereotypes. [pic] The graph above shows that there seems to be less of a gap between different stereotypes in comedy, while news has more stereotypes of age and less of religion. Drama has less stereotypes than the others, even when the lack of viewers is factored in. Race and gender are the stereotypes most portrayed by television. Discussion The data partially supports the hypothesis. Despite drama being the genre of television with the least stereotypes, comedy came second to news.

News portrayed a lot more stereotypes of age. This is probably a result of violent attacks on old people in their homes. The least portrayed were sexuality, most likely a result of complaints of sexually explicit material being aired. The results do show a large amount of stereotypes are present in television shows. The stereotyping has a tendency to make things quicker and less time-consuming. After all, how is it possible to list all the political, social, economic, ideological and theological differences of a population of about 6 billion?

The accuracy of this investigation is to be questioned. While it is possible to rely on this data, it is not going to be completely accurate and it may not demonstrate the true amount of stereotyping done on television. If, for example, all the news shos watched were from the same network, this would affect the results. Other networks may be more biased or even more impartial. The lack of regulation of the programs and networks would have had some effect on the accuracy of the results. Also, the method of recording the stereotypes might also affect the results.

With a very vague system, it is impossible to be exact on what stereotypes are displayed, and whether they are a simple comment on turbans, or a full-fledged attack on the habits of old people. Very little research has been done into the number of stereotypes portrayed on television, as opposed to countless studies into the harmfulness of these stereotypes on impressionable children and even adults. The research shows that there are a lot of stereotypes on television, at least 5 or 6 per program.

This research is part of understanding how television networks design their shows, and how stereotypes are used as they are instrumental to making changes to unfair depiction of minorities in the media. If the stereotypes are deemed inappropriate then it would be unlikely to make things any better when it comes to international relations and even domestic relations. There has been a lot of rage aimed at the Australians who assaulted two Indian students in Sydney. The acts of violence against minorities have escalated recently. Further research may venture into stereotyping of specific minorities, to examine the details of stereotyping.