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Greek Mythology in Eugene O'Neill's "Desire Under the Elms", 2002.
The Greek myth Hippolytus provides the basic framework for Eugene O'Neill's "Desire Under the Elms". This paper compares and contrasts the plot, characterization and theme of the play and the myth.
1,682 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
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Abstract
The paper begins by looking at the characters who are similar to the Greek characters, but have differences as well. According to the writer, the plot differs from the Greek myth, but captures many of the same archetypal premises set forth by the story of Hippolytus and Phaedra.
From the Paper
"O'Neill's play is set in rural New England during the 1850's. The main characters are Ephraim Cabot, his son Eben Cabot, and his two brothers Simeon and Peter. The Cabots work a farm and Simeon and Peter grow wary of laboring through the stone-plodded fields of New England. Eben, the youngest of the three has vowed to himself that he will one day take back the land that once belonged to his mother, who is dead. Eben believes that his father intently overworked his mother, creating her death so he could have say so over who will be heir to the farm. When Ephraim goes out of town for a spell, Eben offers Simeon and Peter three hundred dollars a piece to leave town. The elder brothers decide to take the money and run to California to work in the gold mines. Half of Eben's equation is solved, but Ephraim returns home married for the third time to a lady named Abbie."
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Branagh?s "Much Ado About Nothing", 2002.
Looking at Kenneth Branagh's version of Shakespeare's "Much Ado About Nothing" and how it differs from the original play.
1,425 words (approx. 5.7 pages), 0 sources, $ 47.95
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Abstract
This paper examines in how the film version, director Kenneth Branagh takes viewers into a far different Messina than what is generally interpreted from the play's text. From the costumes to the background settings, from the addition of scenes to the emphasis on certain characters, Branagh reserves his right to interpret ?Much Ado About Nothing? as he sees fit. This paper sorts through these differences and outlines and details the logic and reasoning behind Branagh?s actions.
From the Paper
"Film direction and production of plays allows the viewer to see with their own eyes the relationships between characters, the focus of the themes, and the other aspects of plays such as costumes, the representations of the players, and so forth. In other words,the viewers are given the opportunity to let their imagination and curiosity come to fruition. When I read a play I try to visualize what I am reading and really explore my imagination to see the action as it is occurring in my mind. Often times however, my imagination is shattered somewhat when I see the film production. Such is the case with Branagh?s ?Much Ado About Nothing?. "
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"Much Ado About Nothing", 2002.
Looking at gender roles and conflicts in Shakespeare's "Much Ado About Nothing."
715 words (approx. 2.9 pages), 0 sources, $ 25.95
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Abstract
This paper examines how the community in "Much Ado About Nothing" proves to be a microcosm of the way men looked upon women in Shakespeare?s era. The gender conflict in this play is strongly present throughout, controlling much of the action and the dialogue. This paper discusses in particular the relationship of Claudio and Benedict.
From the Paper
"In Shakespeare?s ?Much Ado About Nothing?, the community proves to be a microcosm of the way men looked upon women in Shakespeare?s era. The gender conflict in this play is strongly present throughout, controlling much of the action and the dialogue. It seems to me that the center point of conversation among the men of Messina was nine times out of ten about the inferiority of women and the superiority of men. When Berger names the women of Messina as spoils of war and commodities, he is hitting the nail on the head. Hero, for example, has lived a wholesome and impeccable life but when she stands accused of adultery, the men need no trial or investigation. The men of Messina made up their minds in about a half of a second about the guilt of a young lady who was looked upon highly in the community. Hero?s father Leonato wasted no time either in chastising and defaming his only daughter."
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Aristophanes and the Development of Greek Comedy, 2002.
This paper seeks to understand the impact of Aristophanes' work on the culture of the time. The writer explores what comedy meant in the context of the other aspects of Greek theatre.
4,732 words (approx. 18.9 pages), 2 sources, MLA, $ 121.95
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Abstract
The paper looks briefly at the history of Greek theater and the introduction of comedy. With the coming of Aristophanes the nature and purpose of the comedies began to change. The writer asserts that despite his personal difficulties, Aristophanes managed to convey very definite attitudes and values in his work.
From the Paper
"His humor was extremely topical, and he provided a way for people to laugh at the trends of the day. Life in Athens during this period was generally serious; public life revolved around major issues and concepts that were being discussed and explored. In the midst of this, Aristophenes served as a moral alarm that would go off when the philosophers or the politicians became so full of themselves and their own importance that they lost a sense of perspective."
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Tragic Comedy Characters, 2002.
A comparison of the dramatic technique of Bernard Shaw and Anton Chekhov in "The Cherry Orchard" and "Heartbreak House".
2,130 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
The paper reviews the two plays "The Cherry Orchard" by Bernard Shaw and "Heartbreak House" by Anton Chekhov and examines how the two works are intertwined with each other in theme and structure, the latter inspired by the former. It discusses how both plays are tragi-comedies and how both seem to portray what is right and wrong even though there are no real villains or heroes and how both are seemingly plotless, yet intricately designed to be full of plot detail. It also shows how the similarity between these two plays lies in the techniques employed by the playwrights to achieve this by inserting the tragedy of the everyday into comedy.
From the Paper
"The dramatic techniques apparent in the two plays being discussed branch out from the root definition of the plays as comedies, or perhaps more specifically as tragicomedies. Tragicomedy is essentially comedy that revolves around tragedy, with a key factor being that the action is revolving around real people. Only real people, in the sense of a naturalistic portrayal of people in real life, are capable of moving from one concept to the other in the space of a breath. The archetypal hero disobeys the archetype if he or she moves from sadness to happiness in an irregular, unforeseeable pattern, a feat required in tragicomedy."
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"The Dumb Writer", 2002.
Looking at the relationship between the main characters of Harold Pinter?s play "The Dumb Waiter".
2,215 words (approx. 8.9 pages), 5 sources, MLA, $ 68.95
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Abstract
This paper examines the issue of communication in Pinter's play. The main characters Gus and Ben are simple characters and their means of communication are the central theme in this play. It shows how even though the two characters interact and talk and discuss, they don't really communicate. The essence of the difference between just talking and really communicating is analyzed.
From the Paper
"?Silence?: the stage direction that often speaks far more clearly than words ever could. The characters in Harold Pinter?s The Dumb Waiter are bound by this direction throughout the work, locked in a pantomimic parody of our own world. Pinter?s dialogue, the stage directions and the world created within the play must follow this golden rule; however, silence is only one course within the larger meal. By examining the text, reading critical works, and studying Pinter?s words himself we find that the meal we have trouble swallowing is listed on the menu as ?communication?; true communication is often something too difficult to even attempt. By ?true communication? it is meant the ability to get another person to understand your ideas in their purest form; a notion that, after studying The Dumb Waiter, is increasingly in decay."
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Comparing Ibsen and Strindberg, 2002.
A comparison of dramatic strategies of Henrik Ibsen and August Strindberg, focusing on off-stage events and utterances in the plays - looking at Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie".
2,748 words (approx. 11.0 pages), 7 sources, MLA, $ 82.95
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Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg?s work was brought further into the realm of what will soon be defined as off the off stage than Ibsen?s, with the difference being Strindberg?s better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."
From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In ?A Doll?s House? the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. ?Is that my little lark twittering out there?? (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad?s entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora?s space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald?s room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora?s world."
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Constantin Stanislavski, 2002.
This paper discusses Constantin Stanislavski, the father of modern acting theory, and his technique.
935 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper discusses the modern acting methodology created by Constantin Stanislavski and his follower, another great acting teacher, Uta Hagen. The paper details many elements of Stanislavski?s theory such as the core concept of the ?creative objective?: A character?s objective on the simplest level is what the character wants. The author points out that the modern actor would never go into a play without having an understanding of his or her character?s relationships with other characters.
From the Paper
"The ?magic if? technique essentially places the actor in a situation wherein he or she may use the imagination to develop the appropriate emotions. For example, an actor may have never tried out for the football team, but he is playing a character that has just been cut from the team. The actor may not know what that feels like; but, by employing the ?magic if?, he can place himself in that position. In other words, as the actor prepares he might say to himself: ?It?s as if I walked up to look at the cast list and saw that I?d been cut or not cast.? Through the use of ?if,? an actor can find similar emotions."
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?Othello?, 2002.
A critical analysis of Act III Scene III of William Shakespeare's "Othello".
750 words (approx. 3.0 pages), 1 source, $ 26.95
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Abstract
The paper shows that while the theme of appearance versus reality runs rampant throughout the play of "Othello" as perceptions become reality and imaginary thoughts take form, it is Act 3 Scene 3 of the play that captures this theme in essence. It discusses how the scene is an ideal representation of the manipulation of Iago and presents how he twists words and facts and creates a second reality for Othello that ultimately results in tragedy.
From the Paper
"These words create a bond of trust towards Iago and reveal that Othello is unaware of Iagos deceit. Othello is honest himself and thus considers most people around him to be the same. His naivety and inability to perceive deceit when he sees it shows his lack of understanding of human nature and thus, makes him an easy person to manipulate.
It is in these words that Iago tries to show Othello the truth, as if mocking him for his nearsightedness and trust in people, ?Men should be what they seem; Or those that be not, would they might seem none!? (3.3.128)""
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Willy Loman, 2002.
This paper discusses Arthur Miller?s character Willy Loman from ?Death of a Salesman.?
1,460 words (approx. 5.8 pages), 4 sources, $ 48.95
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Abstract
This paper discusses Miller?s use of Aristotle?s concept of the tragic hero in his construction of the character, Willy Loman, from ?Death of a Salesman.? The paper author thinks that it is true genius of Arthur Miller to create a tragic hero out of a regular ordinary character. The paper author believes that Willy fits the definition of Aristotle?s completely and contains all the features of a man destined to meet failure and misfortune because of his innate flaw.
From the Paper
"Aristotle was of the view that a tragic hero is the one who arouses pity and fear in others. Judging the character of Willy according to this description, we notice that Willy, too, manages to arouse pity and fear in the readers. Pity because people feel sorry for the man who cannot distinguish between reality and disillusionment and therefore constantly suffers from misfortune. On the other hand, the character also arouses fear because while studying his life, readers are suddenly gripped with the fearful realization that this fate could have been theirs, too."
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Heracles, 2002.
A discussion of the character Heracles, often found in Greek literature.
2,345 words (approx. 9.4 pages), 6 sources, MLA, $ 72.95
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Abstract
This paper examines the character Heracles, a popular Greek figure used by both Sophocles and Euripides in their writings. Heracles was a Greek hero who later became a Greek god and is associated with labors, conquering animals and monsters,merriment and violence. It discusses how in Sophocles' "Trachiniae", the story is of the agony of Heracles before his death is told, in Euripides?, "The Heracles", his madness is revealed and in "The Alcestis", he plays a role in bringing an innocent woman back from the dead. It shows how even though both Sophocles and Europides view Heracles as a god and share many similar opinions on him, both writers see Heracles in a different light and portray him in different ways.
From the Paper
"Sophocles? Trachiniae is mainly about Heracles' cruel insensitivity. His mistreatment of his wife Deianira drives her to insane jealousy, which leads her to accidentally kill him. When he brings a mistress home with him in the story, Deianira sends Heracles a robe, which she intends to use to rekindle their love. However, the robe is poisoned and kills him instead. Deianira finds out that Heracles? enemy Nessus used her as his means of revenge."
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"The Beggar?s Opera", 2002.
A review of "The Beggar?s Opera" by John Gay and a discussion of why it has remained popular with theatergoers for so long.
847 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper examines "The Beggar?s Opera" written by John Gay and first performed on 29th January 1728. It tries to ascertain how a play that depicted the society of when it was originally performed still remains popular today. It illustrates how "The Beggar?s Opera" as it was mockingly named, is anything but an opera for it lacks the antiquity, seriousness and most importantly the Italian touch to qualify to be an opera. What it is, is a humorous musical which involves the character periodically busting into song, with the audience finding it hard to restraint their laughter as the play takes as many opportunities to attack the classical opera setting. It concludes that the primary reason why people still enjoy the play is the sad but obvious similarities that were all so obvious in Gay?s world to the present day world and that nothing has really changed.
From the Paper
"A world in which the custodians of public trust turn a blind eye to the pilferages committed by minor thieves to serve as greasing to their grand design. The characters of The Beggar's Opera employ methods of profit making, just as every kind of position holder and scoundrel employed in the 18th century and still do. One can draw distinct parallels between the mischievous behaviors of the 18th century statesmen who had access to other people's money and trust, with the corporate raiders of today."
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