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Museum Exhibit: Lenny Bruce, 2005.
Critique and analysis of an exhibit on Lenny Bruce at the Museum of Movie and Television in Los Angeles.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper describes the exhibit on 1950s comedian Lenny Bruce. The paper also gives background information about Lenny Bruce and explains why Bruce's form of comedy was so shocking for its time.
From the Paper
"Long before there was John Stewart and Comedy Central, long before David Letterman gritted his gap-toothed smile on CBS, Lenny Bruce held comedic sway as the nation's satirist of record. But unlike John Stewart, or even edgier comedians like Chris Rock and Margaret Cho, Lenny Bruce during his heyday was considered a transgressing presence upon the American comedic stage, rather than a popular mainstay of talk shows and popular entertainment. Today, comedians of strong words and even stronger personalities are common. But before Bruce, much of American comedy was decidedly non-abrasive. Even the Marx Brother's cutting humor was more intended in silliness, than to have a explicit cultural or social bite to it."
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Women in Ancient Tragedy and Comedy, 2005.
Examines the way women were portrayed in ancient Greek theatre by looking at the plays "Medea" (Euripides) and "Lysistrata" (Aristophanes).
1,224 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
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Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.
From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."
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Revenge in Plays, 2005.
An examination of the concept of revenge in the William Shakespeare's "Hamlet" and Thomas Middleton's "The Revenger's Tragedy."
1,101 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
Shakespeare and Middleton explore the depth and range of the human psyche in their plays, "Hamlet" and "The Revenger's Tragedy." This paper discusses how, through the characters of Hamlet and Vindici, we discover different motivations to their feelings of vengeance, illustrating the complexity of human nature as it relates to revenge. It explains however, that while both plays operate under the same theme of vengeance, they are quite different in terms of how each protagonist is portrayed and how each play is received. Hamlet, because he relates his father's death to the state of the world, represents a larger social commentary on mankind while Vindici and his antics represent a play that shocks rather than provokes thought.
From the Paper
"Hamlet is also motivated by an outside force, which is the ghost. The presence of the ghost guarantees that hamlet will find no rest from his sorrow or his shock until he avenges his father's death. The presence of the ghost adds a supernatural element to Hamlet that The Revenger's Play does not have. This element allows us to believe Hamlet when he compares the rankness in Denmark to the fallen state of the world. The ghost heightens Hamlet's inner conflict not only because it exists but because of its request. Hamlet's religious upbringing has taught him that murder is wrong and Hamlet tries to get out off killing Claudius by wasting time trying to determine of the ghost is legitimate or simply a "goblin damned" (Shakespeare i.iv.44). Even when hamlet decides that the ghost is good, he experiences difficulty following his orders. The ghost in Hamlet opens the play up to spirituality and thus spiritual conflicts."
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The Unforgivable Othello, 2005.
A brief discussion about whether it is easier to feel sorry for or to forgive Othello in Shakespeare's play.
1,113 words (approx. 4.5 pages), 1 source, MLA, $ 38.95
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Abstract
This paper discusses that, while it is one thing to feel sympathy for Othello, the protagonist in Shakespeare's play, "Othello", it is another thing to forgive him for his anger and other bad behavior. It shows how Othello proves himself to be a man that acts spontaneously in addition to acting irrationally when it comes to matters of the heart.
From the Paper
"This question tells Iago that Othello respects his opinion. In addition, Othello allows himself to be influenced by Iago when Iago warns him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9). Iago knows that there is no reason for Othello to be jealous and Othello should know better but he does not. It is unforgivable that Othello allows Iago to have so much influence when it comes to matters of his intimate life with Desdemona."
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"The Secret Garden", 2004.
A review of the play "The Secret Garden" by Frances Hodgson Burnett.
1,377 words (approx. 5.5 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper examines the main characters of Frances Hodgson Burnett's play, "The Secret Garden", Mary and Colin. The paper describes both characters as victims of their forlorn childhood. The paper explores their growing relationship and illustrates how they manage to help each other achieve self-awareness.
From the Paper
"Writing in the Washington Times about a musical production of the play created from The Secret Garden, Jayne M. Blanchard (2002. P. DO2) noted that the children, Mary and Colin, "are spiritually and physically revived, actually given a reason to soldier on, when they coax back to life a long-neglected private garden." Blanchard found the production overly gloomy and filled with "adult angst." But then again, she thought the death in childbirth of Colin's mother was too Victorian. Unfortunately, while the setting of the book may have been Victorian, The Secret Garden was written thirty years after that era had ended. While Mary and Colin, two children as unlikable as they come, may have been a product of their age, the angst Blanchard mentions certainly sounds modern."
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Sociology, 2004.
An analysis of social structure and interaction - dramaturgy and social construction of reality in a formal work environment
808 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
The study of sociology requires that it study the macro and micro aspects of it-that is, human society must be studied based on the social structures existing in the environment and social interaction happening among individuals and groups. To illustrate how sociology works in everyday human life, this paper brings into lucidity how the processes of dramaturgy and social construction of reality is operationalized in a formal workplace environment. For this paper, dramaturgy represents the social interaction among individuals and groups while the social construction of reality puts into context these human interactions into a larger framework, which includes social structures and institutions established in the society.
From the Paper
"Dramaturgy or dramaturgical analysis, developed and introduced by Erving Goffman, is a sociological theory that posits that "social life is like a drama or stage play" (97). By this, Goffman means that individuals follow particular roles and adapt specific "scripts" through which they represent their own selves. Furthermore, this theory states that people maintain a "front stage" and "back stage," concepts that are synonymous with the idea of the public and private selves, respectively. The front stage or the public self is the personality or image that we want to project in public, which often is parallel with the role that the individual assumes in his/her society. The back stage, meanwhile, is the private self that is undisclosed to everyone except for the individual's family and close friends. The back stage self is often shown in the individual's moment of candor."
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Musical Theater, 2005.
Examines the history of musical theater in the United States.
1,371 words (approx. 5.5 pages), 8 sources, MLA, $ 45.95
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Abstract
Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper
"Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
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"Waiting for Godot", 2005.
A discussion of religion in Samuel Beckett's play "Waiting for Godot".
3,415 words (approx. 13.7 pages), 7 sources, MLA, $ 96.95
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Abstract
"Waiting for Godot" which was written by Samuel Beckett is considered to be his most famous work. This paper focuses on the meaning of the religious themes within the play. One of the key themes found in the play, is a call to action for the Christian audience. It explains that the scene and the players are suggestive of any man and any place. It is meant to be universal in its reach; with each day representing not only a new beginning but a continuation if what came before.
From the Paper
"Nothing is completed because nothing can be completed. The despair in the play , which is never defined as such but which pervades all the lack of action and gives the play its metaphysical color, is the fact that the two tramps cannot wait for Godot, and the corollary fact that he cannot come. The rigorous use of the unities is demanded by the implacable interpretation of human life. The denouement of the play is another beginning ((Fowlie, pp 210-214).
Just the mere fact of the spelling of Godot's name adds to the metaphysical essence of this play. Godot is often seen as being short for God and the fact that these two tramps wait for his coming in reminiscent to waiting for the final coming of God."
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Arthur Miller's "Death of a Salesman".
This paper discusses the play, "Death of a Salesman," by Arthur Miller from the perspective of J. F. Clarke's statement, "The bravest of individuals is the one who obeys his or her conscience."
1,170 words (approx. 4.7 pages), 1 source, MLA, $ 40.95
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Abstract
This paper explains that "Death of a Salesman" is a tragic story about a man who is anything but a success; he is a coward because he cannot face his faults and his failures. The author believes that Willy is a coward because he tries to end his life due to his belief that he had so many troubles, and he thinks his family will benefit if he kills himself. The paper concludes that Willy is not a good example of Clarke's statement; he is a liar, does not take charge of his life in a positive manner, is not brave, and does not follow his conscience.
From the Paper
"Clarke's statement about bravery does not apply to everyone, and Willy and his family are good examples of that. Not everyone can be brave, and not everyone can stand up to their failures and their faults. It takes a truly brave person to recognize they have been a failure, and to go on trying to better himself or herself. Willy could not do that, and he even tells Ben that. Ben says, "It's called a cowardly thing, William. Willy: Why? Does it take more guts to stand her the rest of my life ringing up a zero?" Yes, it does take more guts. It takes more guts to face your failures and learn from them. Willy did not have to guts to face his failures, and so, he thinks money is the answer for his family when really he was all they wanted."
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Revenge in ?Hamlet?.
This paper discusses the concept of revenge in William Shakespeare's "Hamlet".
1,745 words (approx. 7.0 pages), 10 sources, MLA, $ 56.95
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Abstract
This paper explains that, through the 20th and 21st centuries' psychological and individualistic lens, "Hamlet" often is thought of as a drama primarily about one man's relationship with a dead father and a living and murderous stepfather, but it also can be seen as a play almost completely about the circular economy of revenge, which, during the Elizabethan and Jacobean era, was one of the ways individuals remained connected to the past and the world of the dead. The author believes that the most chilling display of the ideology of revenge is the scene in the graveyard, where Ophelia's corpse is wrestled between her brother and Hamlet. The paper relates that, in Act 4, when Hamlet returns from England, the site of Protestantism, he no longer sees revenge as a positive thing; the Elizabethan audience would have approved of this attitude, which despised revenge and purgatory as anti-humanist, but still acknowledged the need to survive in a bloody, politically uncomfortable, and divided society.
From the Paper
""Hamlet" begins with a Denmark under siege in Scene 2, with the Norwegian Fortinbras demanding revenge for his dead father in the form of restitution of Norwegian lands. Upon meeting the ghost of his dead father, Hamlet vows revenge upon his uncle. He says he will forget all of his studies, even his identity, until this is accomplished. Hamlet does not kill his uncle at prayer, because the revenge will not be full and fitting if Claudius does not suffer in purgatory, calling this hire and salary, rather than true revenge. Laertes vows revenge upon Hamlet, the man who killed his father. Ophelia bedecks herself in flowers and uses the flowers to communicate, through the riddles of her broken mind, to say what she could not say while sane."
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The Danger of Theater, 2004.
An analysis of the danger of theater, according to the ideas of Plato, Artaud, and Boal.
4,106 words (approx. 16.4 pages), 5 sources, MLA, $ 110.95
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Abstract
This paper contends that theater can be dangerous on a variety of levels. The paper presents Plato's main concern, that art distracted otherwise reasonable people from using their reason to rule the other faculties. This concern appears to be a prominent feature in the dangers posed by the theater as expounded by Artaud and Boal. Artaud's theater concentrates mainly on the psychological aspect. It places people in touch with the primitive and instinctive to the detriment of reason. While the advantage here is that repressed emotions are revealed to be examined and possibly healed, it is also possible that a permanently broken psyche may result. The paper discusses Boal's theater, on the other hand, that poses a variety of levels in terms of both danger and healing. There is a psychological aspect that may be seen as similar to Artaud's theater. At the psychological level, Boal also addresses the subconscious in terms of dissatisfaction. In extreme cases, this may lead to a breakdown between the desired state and the state of dissatisfaction. The mental and physical aspects of danger are detailed in the paper.
From the Paper
"The theater is probably the medium of art by means of which the most prominent of social sentiments can be depicted. Furthermore the theater lends itself to a variety of forms, including the highly experimental. One of the most recent evolutions in theater has been including the audience in the setting and theme of the play. Indeed, among the most modern thinkers is Augusto Boal, who takes this paradigm a step further in allowing the audience to actively take part in the creation of the very events within the play. The idea that art in whatever form could pose a danger to society and its way of life originates with Plato, whose main concern was with the art of poetry. Plato's thought was embedded in the politics and social structure of his time. According to him, then, the danger of poetry lay in the fact that it could distract citizens from their duties as citizens in the Republic. The role of poetry during Plato's time then was more or less the same as the role of theater today."
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Biff.
This paper discusses the role of Biff, Willy Loman's son, in Arthur Miller's "Death of a Salesman".
1,430 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper explains that Biff Loman's dream of escaping the American frontier is just as much a lie and a false American Dream as his father's dream of easy material success and societal approbation through sales. The author points out the brilliance of the scene where Biff comes upon his father with his father's mistress, indicating the materialism of the American Dream even translates into their feelings and fantasies about women. The paper relates that the role of Biff's cousin, Bernard, in contrast to Willy and Biff, is seen as the embodiment of the American Dream because he works hard and makes something of his profession and his life, not needing to 'sell' his success.
From the Paper
"Willy Loman fantasizes that he lives in an America where material success it easy and where anyone can succeed if one is liked. However, in the memorable phrase of another salesman, Loman is liked but not well liked, within corporate America-and that, it is implied, makes all the difference. However, whether one is liked or well liked, it is certain that pure emotion, to Loman's surprise, cannot be translated into long-standing American capital. One must work hard as well, and Willy Loman works hard mainly at being liked in an easy fashion, and encouraging his sons to be admired for sports rather than the gymnastics of the mind and the efforts that yield real financial reward."
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