The use of both flashback and flash-forward events serves as a stimulus for the transition of Shafana and her Aunt. This is highlighted through the use of the ID card photograph in the opening scenes which is symbolic of Aunt Sarrinah’s initial experiences in a unfamiliar world and desire to begin a new successful life, thus, depicting her new identity in Australia “it will say on my ID card and until it does I am... nobody”, this demonstrates her attempt to adapt in a new society; meanwhile the onomatopoetic verbs “spluttering and stuttering” emphasise the language barrier and how it shapes social perceptions of Aunt Sarrinah’s background which prevents her successful attempt to adapt to a new world, as factory life does not fit with her values and educational background. The repetitive use of the jars throughout the play serves to symbolize the cultural preservation, this motif provides a synthesis of her two worlds, through food, while the use of the monologue and imitation of Nigella, “surrounded by jars of preserved food... she goes into a Nigella Lawson impersonation” emphasises her cultural background. This serves as an invariable obstacle throughout her journey, and symbolises her attempt of transitioning and adaptation of a new Australian identity, therefore, providing the audience with an insight into the character’s old world.
The jump in “Prelude to Jumping in the River” by Katia Grubisic undergoes similar process as making important decisions in terms of the preparation and the aftereffects. Both the jump and making important decisions require lengthy preparation. In the poem, before the man jumps into the river, he “lays his light shirt, glasses, straw hat / and shoes” (1-2) on a piece of wood. This shows that he has spent some time organizing his clothing and “the mental preparation / takes some time” (4-5) after he has undressed. Similarly, before making important decisions, the decision-maker needs time to check every detail and weigh the benefits and drawbacks of each option in order to decide which one is better.
“Studying a work’s major themes helps develop understanding of an author’s intent and the quality of the work” (Beauty and the Beast 59). The author clearly portrays full understanding of the play, Cyrano de Bergerac, by studying the work’s major themes. Cyrano de Bergerac, a play by Edmond Rostand, reveals the struggles that Cyrano, the renowned poet, confronts in order to receive love from his beloved one, Roxane. Unfortunately, Cyrano’s hideous appearance discourages him from expressing his true feelings to Roxane. Charles Marowitz, the author of the literary criticism, depicts his thoughts on countless aspects of the story, from romance to uniqueness.
The play, although only a few pages long, is able to depict how the stages of life, the birth of one’s child, one’s marriage, the
The setting only takes place in Vanya and Sonia’s living room. The play included the familiarity of Durang’s, but now with an integrated modernized influence. My experience watching Vaaz’s take of Vanya and Sonia and Masha and Spike was humorous, entertaining, and enjoyable.
Sheila is one of the protagonists in J.B. Priestley’s play, ‘An Inspector Calls’, and her character changes greatly throughout. From the beginning of the play it is clearly evident that the Birling family has a well off background, set in the fictional Northern English industrial city of Brumley in the year 1912. This is clearly shown by the, “port, cigar box and cigarettes” and Birling’s “portentous” attitude. The play shows how each person in the family had a part leading to the suicide of a girl supposedly called, ‘Eva Smith’.
The author demonstrates an insightful understanding of cause and effect, highlighting how individual actions can have far-reaching implications on the characters and their paths. A great example of this can be seen in Sara's journey, which is influenced by her sisters' marriages due to their father's interference. Yezierska shows how Sara's trajectory is shaped by her family's decisions, adding depth and realism to the story. However, while this interconnectedness is a strength, it could also be a potential weakness. The extensive exploration of Sara's sisters' marriages could be condensed into a
In Kate Chopin’s “The Story of an Hour” demonstrates the personal growth of the dynamic protagonist Louise Mallard, after hearing news of her husband’s death. The third-person narrator telling the story uses deep insight into Mrs. Mallard’s thoughts and emotions as she sorts through her feelings after her sister informs her of her husband’s death. During a Character analysis of Louise Mallard, a reader will understand that the delicate Mrs. Mallard transforms her grief into excitement over her newly discovered freedom that leads to her death. As Mrs. Mallard sorts through her grief she realizes the importance of this freedom and the strength that she will be able to do it alone.
In her epiphany, the narrator becomes aware of “her own fault” and that she is responsible for the thefts in her life. The epiphany highlights her passivity and apathy which are evidenced through the characterisation and plot structure. “Theft” beings with the narrator realises that her purse had disappeared. Her calm recollection of the last time she had held the purse shows us that she is not panicked and in fact, very meticulous regarding the details. This is the first evidence that she has a somewhat detached personality and contradicts with the janitress’ claim that she “leaves things around and don’t seem to notice much” (65).
My analytical skills will be applied to part III of Maria Irene Fornes’ Fefu and Her Friends’s from pages 43 to 61 and how the actions and moments beat by beat shape our experience on both, an emotional and intellectual level. This play is a combination of Chekhovian realism combined with Brecht’s approach of giving out information in the title, though she manipulates their style of writing in her own manner. This play was a 1930s occurrence – ‘sufferage’ where women got the right to vote and Fornes’ aim was to make the audience experience the world of females without the influence, in absence of the presence of men. Fornes’ approach to play write, from the very beginning of making a clear political or social agenda collective with that of Julia’s mysterious death at the very end of the play eliminates the possibility of a clear interpretation.
Nora 's courage in going against the pillars of the Victorian era is something the modern reader finds commendable and aspiring. If the play had been performed today, the modern reader would be the one to stand up and whistle during the scene of the slamming of the door, while the Victorian reader 's face would turn pale with shock at Nora
In this essay, the relationships between the dramatic character, actor and spectator will be the focus, as well as the role of the dramatic character, actor and spectator in plays that uses metadramatic techniques to represent the fictional world. To illustrate some of these relationships and roles, I will use examples from Tennessee Williams' The Glass Menagerie. Bogatyrev (1938) refers to the most important aspect of the relationship between the dramatic character, actor and spectator is that the spectator always knows that the character is being played by an actor. Passow (1981:237-254) refers to the relationship between the dramatic character, actor and spectator as a vital part in the creation of the fictional world of drama. Passow also the
Introduction Existentialists forcefully believe that one defines their own meaning in life, and that by lack of there being an upper power one must espouse their own existence in order to contradict this essence of ‘nothing-ness’. Absurdist fiction is a genre of literature which concerns characters performing seemingly meaningless actions and experiences due to no found meaning or purpose in their lives, and this prospect of uncertainty is key in both plays Waiting for Godot as well as Who's Afraid of Virginia Woolf. Writers Samuel Beckett and Edward Albee use different perspectives on truth and illusion in order to communicate a message to their audience and to make them question the society in which they live in. Truths and Illusions sub-introduction
Introduction In this essay I will be fully explaining the character I chose this term for my treatment. I will be playing Nora, the protagonist of Ibsen's problem play A Doll's House takes the bold decision to abandon her husband and children at the end of the play not primarily to be free from marital life marked by domination of her husband, but to educate herself so that she can stand on her own thereby enabling herself to establish her personal identity and to develop a sense of an individual. She is the central and most significant character in the play, is Nora Helmer. This plays theme mainly focuses on Nora's feelings and actions.
We think that the form of the “Imaginary” mentioned in Lacan’s psychoanalytic theory of Mrs. Mallards family and friends “imagining” that the devastated new of Mr. Mallard’s death would cause her a heart attack, however later on in the story it was mentioned that she was in fact relieved to know she was a free woman of her marriage. Consequently, the reality of Mrs. Mallard’s thoughts, perceptions and feelings were not the same as others may have assumed or imagined to be. Based on stereotypical standards of society this was misunderstood because a wife should feel an enormous pain for the death of her husband. As the story continues, when Josephine whose Mrs. Mallard’s sister told her about the death of Mr. Mallard, instead of reacting in shock as “many women would’ve (Chopin, The Story of an Hour)” done so, Mrs. Mallard “wept at once, with sudden, wild abandonment, in her sister’s arms.