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Critical research paper german expressionism
German expressionism and the types and characteristics of german expressionism
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“The Return of Martin Guerre” is a reform of the renowned case of Martin Guerre’s journey back to Artigat, a small town located in Southern France, after his absence of approximately eight years. Though, the so-called “Martin” is really a fraud by the name of Arnaud du Tilh. His family, friends, and wife accept him for more than three years, and during that time his wife, Bertrande, becomes pregnant twice. However, after “Martin Guerre” has a quarrel over family finances and family land sales, his father in law and uncle accuse him of being an imposter. During one trial in the regional city of Rieux, Witnesses who attend are able to describe Arnaud de Tilh, including his own uncle.
Edmond Rostand’s comedic play Cyrano de Bergerac recounts the tragic heartbreak of an unsightly French poet as he aids his handsome but dull cohort Christian in capturing the heart of the beautiful Roxane. Cyrano de Bergerac, a colossal-nosed man with a masterful talent for wielding both words and sword, battles self-doubt and insecurity as he contends with his own feelings of love for Roxane. Throughout the play, Rostand reveals a stark polarity between Cyrano and Christian, illuminating the gaping disparity between the characters’ appearance and intellect while portraying the men as foils for each other. From the play’s beginning, Rostand’s audience becomes keenly aware of the divergence between Cyrano’s intellectual substance and Christian’s physical attributes. While Cuigy pronounces Christian “a charming head,” the character describes himself as “...far from bright” (Rostand 1.4-5).
The Return of Martin Guerre by Natalie Zemon Davis is a sixteenth century novel soap opera about a popular trial of Martin Guerre’s reappearance to Artigat after abandoning his wife and family for eight or more years. But the Martin that appearance is a poser by the name of Arnaude du Tilh, who is looking to cash in on someone else’s wealth until the real Martin Guerre comes back to Artigat. In this critique of Natalie Zemon Davis’, The Return of Martin Guerre, I will analyze her reason for writing the novel, her use of data, and her diction. Natalie’s reason for writing this novel was to present the lives of peasants in France during the sixteenth century to the twentieth century, for she wanted to give the readers a visual of their glories
In “The Palace Thief” by Ethan Canin, Hundert reveals himself as a complex character that contradicts his former self by being moral,
The productions of this play were successful through stage design, lighting crewing, and acting. Those three aspects made the quality of the play stand out to me, as an audience member. The production of the set design of the play was a good effort. The set design for the play staging aims for the sweet spot between feeding adult nostalgia and satisfying a new generation of children.
It is a surprise for my husband” (Ibsen 893). Audiences have been drawn to this tale of woven lies for over a century, even though it is a rebellion against societal norms in a negative
In an excerpt from the British novel, Kiss and Tell, Alain de Botton describes a young male narrator and his girlfriend, Isabel, in a theater where they coincidentally encounter Isabel’s parents. Through Isabel’s elaborate and detailed descriptions of her parents’ behavior and actions, De Botton reveals her comical embarrassment of the presence of her parents. In addition, by implementing dialogue containing unconstrained oversharing and by employing incongruous juxtapositions between the sophisticated setting and Isabel’s parents’ ridiculous actions, De Botton also establishes comedic overtones in the depiction of the universal situation of a child being teasingly humiliated by her parents. Isabel’s response to her parents’ presence and
One of the most important in this particular play is the acting. The actors are good at adapting from one role to the next and switching accessories quickly. The different use of British and other accents in a stereotypical but serious way. The director attempts to make the play successful by bringing everything to life and using the actors to do everything in a smooth and funny matter.
The movie ties in more brutality and violence to appeal to a modern audience that demands intense appeal to the senses. The play uses the simplicity of setting elements such as the balcony and common acting techniques to communicate Shakespear’s original message. Given the time period of the text, Shakepear’s use of these strategies are as modern as those unique techniques used in the movie. The movie and the play attract their audiences based on what appeals to them. Most importantly, both deliver the message to the audience that “For never was a story of more woe than this of Juliet and her
Introduction When reading a play, it is fundamental to pay attention to details within the play for a script envisioned in more than one way. Moreover, discovering those critical items found in the play is important in helping one criticize the play correctly since; a critic is able to see the quality and mistakes found in the play. Likewise, the critic is also able to see valuable and critical things missed by the reader since as critics they looked at different functions within the play. With that said, this paper is going to explore two critical approaches seen in “Death of a Salesman” a play written by Arthur Miller (1915 – 2005). Those critical approaches are Reader-Response Criticism and Psychological (psychoanalytic) criticism.
Usually, society views those who have a score of four and higher to be successful and adored by many. Therefore, an individual with a low score can cause society to view them negatively. As Lacie strives to maintain a positive impression on others, she depicts a performer of her own theatrical performance. By using a Symbolic Interactionist perspective, Nosedive is explained through Erving Goffman’s dramaturgical analysis which includes the aspects of front stage, back stage, and embarrassment. Goffman’s dramaturgical analysis depicts life in the form of a theatrical performance where everyday life represents a stage and each individual is a performer (Brym et al.
The Use of Allusions to Characterize Claire and Critique Human Nature in The Visit Friedrich Dürrenmatt’s The Visit is an absurd, yet profound play, critiquing flaws of human nature and society, most notably the ruthless thirst for justice and revenge that people often succumb to. These vices are illustrated through the prototypical town of Güllen, which falls prey to the billionairess Claire Zachanassian’s vengeful schemes. Claire’s goal is to get revenge on the man who betrayed her in their youth, going to great lengths and hurting relatively innocent people to secure “justice”.
All of this violence is demonstrative of the theme of savagery. The play presents the idea that peace is an artificial state, suggesting that war is the natural way of being. This explains the setting of Rome, an empire which was at war for the vast majority of its history. The play depicts the Roman conversion from civility to barbarism, and poses
Comedy plays an important role in the majority of Molière’s writing. It sets the tone for the play, entertains the audience and most importantly helps the playwright to achieve their theatrical objectives. In Le Tartuffe the nature of the comedy used is satirical. This essay will examine why Molière was inclined to use this style of comedy and how the comedic techniques accentuate the main theme of the play. Molière was one of France’s most successful playwrights of the 17th Century.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
