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William Shakespeare's "Othello, the Moor of Venice", 2006.
This paper discusses the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice".
1,115 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper explain that the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice" reflects the base instincts, which bring about the tragedy of the main character and his innocent wife. The author points out that negatively characterizing Othello as an animal might imply that he is as base and beastly as Iago, but his honor and nobility throughout the rest of Act I makes the reader doubt that Othello is the animal. The paper concludes that comparing the characters to animals suggests that the play is not about race, politics or social convention but rather about the predator and the prey, which is something deeper and more innate than the trappings of society. The paper includes several quotations.
From the Paper
"The innocent and good Cassio is deceived into believing himself a beast because of the machinations of Iago. Knowing that Cassio cannot tolerate alcohol, Iago encourages him to get drunk and orchestrates a fight in which Cassio appears the violent aggressor. Such behavior, especially because it interrupts the marriage bed of Othello and Desdemona, is perceived negatively by Othello who dismisses Cassio from his service. Cassio then likens himself to an animal, disparaging the effect of alcohol that "put an enemy in their mouths ....transform ourselves into beasts!""
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"Waiting for Godot", 2007.
A discussion on Samuel Beckett's "Waiting for Godot".
1,336 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper introduces and discusses Beckett's play. It focuses on slavery and its representation throughout the play. It also discusses how Beckett's characters mirror society and humanity. The paper offers quotes from the text to qualify points made.
From the Paper
"Lucky is a pathetic character, and that is another characteristic of slaves. They are used by others and pitied by others. Lucky is pathetic because of the way Pozzo treats him. Pozzo says at one point, " POZZO: No no, he never defends himself" (Beckett). That sums up Lucky and his life. He just takes what he is given and does not defend himself, or stand up for himself. That is what makes him so pathetic. It is not because he is a slave; it is because he simply will not do anything to make his life and his situation different. That is why he is stricken dumb in the last act of the play. He does not need a voice, because he rarely uses it. Pozzo is blind because he is blind to the suffering of others, and Lucky is dumb because he does not speak up for himself."
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"Macbeth", 2007.
A discussion on Shakespeare's "Macbeth".
1,641 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
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Abstract
The paper begins with a discussion on the difficulty of writing plays in
Elizabethan England. It explains that Shakespeare was an actor first, which was advantageous to his writing. The author also explores Shakespeare's ability to appeal to the audience, of all classes. In the conclusion, the paper expands on Shakespeare's use of language. The paper offers quotes from "Macbeth" to qualify points made.
From the Paper
"Writing plays during the time of Queen Elizabeth I and King James I could be challenging. One issue that was a chronic problem was the closing of the theaters due to the plague and to Puritanism (Foakes 142). By the time Shakespeare was in London and writing plays in about 1590 most of those dangers had passed and the aristocracy and public were free to enjoy the performances. The challenge for Shakespeare was entertaining all ends of the social and economic spectrum. The task was to "offer poetry for the cultured, shows and a strong plot for the citizens, clowning and bawdy for the illiterate" (Foakes 141). It is Shakespeare's skill in appealing to the whole audience that has made his plays so popular at the time and given them the ability to stand the test of time."
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"Hamlet", 2007.
This paper explores the nature of humanity as presented in the soliloquies of Shakespeare's "Hamlet."
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
The paper discusses how Hamlet kills Rosencrantz and Guildenstern to avoid his own death, but he submits to the duel at the end of the play because that is what fate deals out to him. The paper describes how rather than trying to orchestrate violent plots and plays, Hamlet learns that one cannot appoint one's self the judge of humanity, but one must be ready to submit to fate. The paper shows how in the end Hamlet dies, but he sees justice done, makes peace with his mother and has a sense of accomplishment from killing the king as an open act of vengeance rather than a private act of anger.
From the Paper
"At first, the play "Hamlet" seems to support the idea that revenge is justified. King Claudius is the murderer of Hamlet's father. Claudius also schemes to kill Hamlet. Fortinbras, the Norwegian king, takes over the Danish throne at the end of the play, partly as a result of his expedition to avenge his own father. Laertes wishes to kill Hamlet because Hamlet accidentally killed Laertes' father Polonius. But despite the presence of all of these other avengers in the play, Hamlet's doubts about committing murder makes him the most sympathetic, and also the most significant character for the audience. Hamlet suggests that it is critical that human beings reflect upon their lots in life, and act with reason and passion in a state of balance."
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"A Street Car Named Desire", 2007.
An analysis of the play, "A Street Car Named Desire", by Tennessee Williams.
701 words (approx. 2.8 pages), 3 sources, MLA, $ 25.95
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Abstract
The paper describes how the majority of Williams' work is set in the American South, and depicts a gothic feel of the area in which the contemporary decay is pitted against the old refined ways of previous generations. The paper further analyzes the character of Blanche Du Bois from "A Street Car Name Desire". The paper discusses how Williams claimed that the overarching theme in this play was the negative impact that conventional society has upon the sensitive nonconformist individual.
From the Paper
"Laura is based on Williams' sister, who had a frontal lobotomy with her parents' approval and who spent most of life in an institution (Jacobs). Tom is based on Williams himself, who went to work at a shoe factory to help support the family while his father traveled as a traveling salesman (Jacobs). He also explored issues such as homosexuality, sex, domestic violence, and the falsehood of religion within his work, which usually shocked his audiences (Jacobs)."
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Two Domestic Tragedy Plays, 2006.
This paper compares William Shakespeare's "Othello" and Henrik Ibsen's "The Doll House".
1,170 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper explains that, in both William Shakespeare's "Othello" and Henrik Ibsen's "The Doll House", a major source of conflict is some serious misunderstanding between a man and a woman. The author points out that, while the plays differ in significant ways, they also have some traits in common such as a third person who wants to improve his position and attempts to manipulate the man's wife in an effort to reach his goal. The paper compares the three characters in each play to explore the similarities and differences related to this third-party plotting: the third persons Krogstad ("Doll House") and Iago ("Othello"), the husbands Torvald and Othello and the wives Nora and Desdemona.
From the Paper
"While there are differences between Torvald and Othello as well as between Iago and Krogstad, the most important differences may be the ones between Desdemona and Nora. Desdemona is faced with the most terrible of dilemmas: the husband she loves is about to kill her, and she does not know why. He tells her to "think on thy sins," and she repeatedly tells him she has done nothing against him. Even as she dies she protects Othello, calling out to a companion that she has killed herself."
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| Term Paper # 93012 |
temporarily unavailable
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Mary's Isolation in "Long Day's Journey Into Night", 2007.
This paper discusses the issue of the isolation of the character Mary, in the play 'Long Day's Journey into Night' by Eugene O'Neill.
2,312 words (approx. 9.2 pages), 1 source, MLA, $ 71.95
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Abstract
In this article, the writer discusses that all the characters of the play 'Long Day's Journey into Night' are trapped by their family history and their inability to break out of the family cyclical arguments, however, no one is more trapped than Mary. The writer suggests that
it seems possible that Mary was always lonely. The writer discusses that as a child she may have structured her world around the idea of being a nun because of a guaranteed community, but even in a convent, Mary would have had to know how to connect with others. Further, the writer notes that at every turn she has made choices that isolate herself. Mary chose a stand-offish man for a husband, and has made choices throughout her adult life that have kept her lonely.
From the Paper
"One soon finds out that Mary has significant problems. When the play opens, she has very recently returned home from a sanatorium where she was treated for addiction to morphine. As the day goes on in the play, it becomes apparent that Mary has returned to taking morphine, and quite a lot of it. Mary has an excuse for her addiction: her husband was too cheap to pay for a good doctor after her second son was born, and that doctor got her addicted. Mary may have started with morphine to ease the pain of childbirth and its aftermath, but now it is apparent that she uses it as an escape from reality. Her need to escape is so great that she is in complete denial about her son Edmund's case of tuberculosis -- even though her father, whom she loved dearly, died of tuberculosis himself."
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Margo Jones, 2007.
This paper explores Margo Jones' role in bringing regional theatre to Texas.
3,723 words (approx. 14.9 pages), 14 sources, MLA, $ 102.95
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Abstract
The paper discusses how Margo Jones was one of the most representative figures of the American theatre environment. The paper explains how aside from her pragmatic and practical contribution to the world of theater, she was also a symbol of success as a woman in theater. The paper points out that it represented a shift in the perspective which characterized women in the early 20th century. The paper discusses the changes and ideas Margo Jones implemented in the world of theater. The paper demonstrates how through her ahead of time considerations on the realities of play performances, she succeeded in integrating herself in the historical trend of the 1940s by adapting to the changes that were taking place throughout the world.
From the Paper
"Among her major contribution was the focus on regional theaters as a means of promoting and staging plays not so much at the national level, but rather at the level of local communities, with their direct involvement in the play staging. Moreover, this led to a reconsideration of the commercial aspect, which Margo Jones exploited in the benefit of her projects. She thus gave a new dimension to the notion of fund raising and financing in such a manner as to provide emerging regional theaters survive and flourish in the competition with traditional household names active on Broadway."
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The Beijing Opera, 2006.
This paper analyzes the male projection of femininity in the Beijing Opera.
3,700 words (approx. 14.8 pages), 18 sources, APA, $ 102.95
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Abstract
This paper emphasizes that the style of China's national theater called the Beijing opera is importance to its culture. The author points out that the use of male actors to portray female characters and females portraying male actors are truly ancient in China, although the practice did not become primarily exclusive until the early 19th century. The paper relates that, although Beijing opera has been heavily influenced by royal prerogative in the past and the desires of the Chinese people more recently, the reverse gender playing the role in traditional Chinese drama has no restriction on the sex and age of its performers.
Table of Contents:
Introduction
Review and Discussion
Background and Overview.
Historic Influences on the Use of Male Actors for Female Roles in Beijing Opera
Contemporary Influences on the Use of Male Actors for Female Roles in Beijing Opera
Conclusion
From the Paper
"Likewise, the distinctive Beijing opera walking styles of the dan (female roles) and sheng are clearly recognizable in other traditional forms, just as are the stylized hand and eye movements of the huadan. Although some localized forms of theater have not include certain role types (the jing being the role type most frequently excluded), the walk, posture, and gestures techniques used for every other role type traditionally included in each form and can be recognized by modern Chinese audiences without fail as belonging to that role type throughout the various forms of traditional Chinese theater."
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