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Margo Jones, 2007.
This paper discusses Margo Jones and looks at her contribution to regional theater.
2,634 words (approx. 10.5 pages), 7 sources, MLA, $ 79.95
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Abstract
In this article, the writer presents a detailed examination of Margo Jones and her contribution to bringing regional theater to Texas. The writer explores her life and work as a director and extrapolates that to the work she did to bring regional theater to Texas, culminating in her death at the age of 43. The writer notes that before one can understand Margo Jones' role and desire to bring regional theater to the state of Texas, one should have an understanding of who she was both personally and professionally. The writer then provides a background of her life. The writer concludes that Margo Jones was a woman in a man's world, who not only refused to sink into the shadows of the theater industry, but insisted on changing it for the better.
From the Paper
"Regional theater explores many of the Broadway productions using local talent and attracting audiences from nearby. Regional theater work is not as lucrative as being on Broadway but it can be just as fulfilling, however the funding is often difficult to come by for its launching. Often the process involves fund raising or the name of an already established artist behind the project or a combination of both elements. In the state of Texas regional theater was a struggling concept that did not take flight until director Margo Jones played a key role in bringing regional theater to the state, which sparked a nationwide movement that now boasts more than 400 regional theaters."
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Imagery in 'Hamlet', 2006.
A review of the use of imagery in William Shakespeare's 'Hamlet'.
1,234 words (approx. 4.9 pages), 5 sources, MLA, $ 42.95
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Abstract
This paper reviews and discusses Shakespeare's use of imagery in his play 'Hamlet'. According to the paper, imagery has always played an important role in the work of Shakespeare and as much as the appearance of various motifs and interplay of images interest us, not many of us are familiar with what imagery really is.
From the Paper
"Hamlet indeed offers very vivid, brilliant and vibrant imagery- mostly through Hamlet's own words and thoughts. It must be made clear that other characters including Claudius have made use of imagery but their imagery is neither as strong nor as free flowing as that of Hamlet's. According to Spurgeon, Hamlet's imagery mainly emerges from the use of symbols and metaphors derived from such bleak things as sickness and blemishes. The dominating image is thus that of tumor or ulcer.
When referring to his mother's incestuous crime, Hamlet calls it a blister on 'fair forehead of an innocent love'. Every word and line that he utters in that emotionally charged scene (Act 3, Scene 4) with his mother Gertrude is full of colorful images. For example instead of saying that heavens must be disgusted with her, Hamlet says: "Heaven's face doth glow....Is thought-sick at the act." And drawing her attention to his uncle, Hamlet says: "....Here is your husband, like a mildew'd ear Blasting his wholesome brother." Look at the rich adjectives that add meaning to the otherwise ordinary emotions of anger and shame. Hamlet then goes on to say that the appearance of his father's ghost should not be blamed on his madness but it is also a result of Gertrude's guilt. "
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Oedipus Rex, 2007.
An analysis of the flaws of the character Oedipus Rex, in "Oedipus the King" by Sophocles.
1,116 words (approx. 4.5 pages), 1 source, MLA, $ 38.95
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Abstract
The paper introduces, discusses, and analyzes the play "Oedipus the King" by Sophocles. Specifically, it interprets the play and the main character, Oedipus Rex, and his inability to listen to those around him. The paper examines how Oedipus is a tragic hero with a fatal flaw. He does not listen to the advice of those around him, and this is his downfall by the end of the play. The paper concludes that he is a brave and good leader and ruler, but his flaw keeps him from being truly great, and causes the city of Thebes hardship and great misfortune.
From the Paper
"The lesson from Oedipus is that pride can get in the way of common sense and the good of the many. Oedipus is prideful, and will not listen to the voices of the people around him. Many different characters give him excellent advice, but he chooses to ignore it and follow his own path that eventually leads to doom. If Oedipus had just taken the time to listen to the words of older, wiser individuals, he might not have suffered the fate he did. He let his pride get in the way of common sense, and it led to tragedy for his family and his people. He lost his real mother and father, fathered two children in incest, and ended up blind and alone."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, $ 133.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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"The Glass Menagerie", 2007.
A discussion on Tennessee Williams' "The Glass Menagerie".
1,515 words (approx. 6.1 pages), 5 sources, APA, $ 49.95
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Abstract
This analysis of the play, "The Glass Menagerie", shows how Tennessee Williams' own life experiences are reflected in the play and includes an explanation of the play's setting, plot and characters, as well as the meanings of various symbols used by the author.
Setting of the Play
Plot
Characters
The Symbols
Works Cited
From the Paper
"The plot of the play revolves around the memories of its narrator (Tom Wingfield) and his anguished struggle between the call of duty towards his mother (Amanda Wingfield) and sister (Laura Wingfield) and his desire to 'live his own life.' The father (Mr. Wingfield) has abandoned the family and the son (Tom) is now working reluctantly in a warehouse to support the family. The daughter (Laura) is extremely shy and fragile--seeking solace in taking care of her glass animals while the mother is a former Southern "belle" who is still living in the past and desperately trying to make Laura an independent woman and/or to find her a suitable husband. She nags Tom to bring a suitor home who would marry Laura. Tom finally reins in his co-worker (Jim O'Connor) to have dinner with the family. Jim's visit proves to be a disaster--as he clumsily leads Laura on by dancing with her and kissing her and then breaking her heart (and her precious glass unicorn) by telling her that he is engaged."
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Betrayal and Revenge in 'Medea', 2006.
A discussion regarding the emotions and pain that the character Medea endures, in the Greek myth 'Medea'.
1,587 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
This paper discusses how betrayal always begins with a relationship of trust. The paper explains how the person who becomes the victim initially trusts the person who does the betraying. The paper uses this explanation of betrayal to understand the position of the Greek mythical legend, Medea, a woman who is exceptionally intelligent and also very angry.
From the Paper
"At first, Medea reacts to Jason's betrayal with extreme grief and even suicidal thoughts: "That lightening from heaven would split my head open. Oh, what use have I now for life? I would find my release in death and leave hateful existence behind me" (747:142-145). What begins as a terrible and unexpected blow producing pain and grief then progresses to murderous rage and a burning desire for revenge. As the children's nurse describes it, "...now there's hatred everywhere. Love is diseased" (744:16).Because Medea lives in a patriarchal culture where women have no rights, she cannot fight back openly (as a woman might do in Court today, for instance). Instead, she has to scheme and manipulate. The nurse describes her nature as full of "wildness," with a "bitter nature," and "proud hearted" (746:103-104). "
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Wilde Visions of Paterian Aesthetics, 2007.
This paper analyzes works by Oscar Wilde and Walter Pater, examining parallels with regards to ethics and aesthetics.
19,650 words (approx. 78.6 pages), 25 sources, MLA, $ 249.95
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Abstract
In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper
"The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
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"The Odyssey" and "The Aeneid", 2007.
A comparison of the acquisition of power in "The Odyssey" by Homer and "The Aeneid" by Virgil.
1,337 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explores the concept of power in both "The Odyssey" by Homer and "The Aeneid" by Virgil. The paper suggests that within "The Odyssey", power comes to Odysseus through a combination of bravery, versatility, patience and virtue and the approval of the gods. In contrast, it suggests that in "The Aeneid", power comes to Aeneas through piety and the consequent approval of the gods.
From the Paper
"Further, Aeneas is sincerely rather than falsely or conveniently pious toward the gods, which is another of his strengths. We know this because Aeneas is not ever prompted by Venus, his mother, or by any of the other gods or goddesses that are in the Aeneid to be pious or to display piety. Instead, he is simply deeply, sincerely pious, in all circumstances, good ones and bad ones. Aeneas's piety therefore is eventually noticed by all: gods; goddesses, and mortals. Throughout the Aeneid, Aeneas in fact accomplishes all that he eventually does, as a result of his faith; forbearance; and self-control - qualities that are ultimately substantially rewarded by fate within the poem, and that are major sources of Aeneas's power as well."
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"The Iliad", 2007.
An analysis of imagery, destiny and sexuality as portrayed in Book 22 of Homer's "The Iliad".
1,496 words (approx. 6.0 pages), 0 sources, $ 49.95
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Abstract
This paper discusses Book 22 of Homer's "The Iliad". Specifically, the paper discusses the final duel in which the prince of Troy, Hector, is killed by the greatest warrior of the Greek army, Achilles. The paper describes the imagery, particularly the symbolism of prey and predator, destiny and sexuality that is expressed in "The Iliad" and the way that these concepts are portrayed in Book 22.
From the Paper
"However, when Zeus weighs the destiny of both Achilles and Hector on the golden scale, it is shown that Hector's fate is to die, and Apollo leaves his side, (Book 22, Lines 180-200) When Hector realizes that Achilles will indeed prevail in their battle, he proclaims that his time to die has come as it was decided it would long ago by the gods. (Book 22, Lines 295-310) After Hector dies, Achilles responds to the Trojan's last words of how he will be cursed by welcoming his own destiny as the gods will make it. (Book 22, Lines 355-365) The gods are seen to play an integral role in the fulfillment of destiny. The gods interfere with the happenings of the mortals, for example Apollo taunting Achilles and aiding Hector in fleeing, or Athena tricking Hector into standing his ground in battle. Even the gods, however, are subject to the destiny that is determined by the golden scales, and even Apollo backed off and allowed Hector to die when it was shown this was his fate."
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The Musical: "Les Miserables", 2006.
This paper analyzes six crucial songs in the musical "Les Miserables".
870 words (approx. 3.5 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in Act I of the musical "Les Miserables", the entire company, who represent factory workers, sings "At the End of the Day", which sets the scene of the misery and poverty of the majority of the French populace and helps explain why the revolution will occur later in the musical. The author points out that the song "Master of the House", sung by the Thernardiers, provides a welcome note of comic relief from the tragedies of the play. The paper relates that, in "Bring Him Home", Jean Valjean prays by the half-alive body of Marius for God to "bring him [Marius] home", to bring the "boy" home to health and happiness, so that Valjean's adopted daughter Cosette can marry and live a happy life.
Table of Contents:
"At the End of the Day" (Community)
"I Dreamed a Dream" (Fantine)
"Master of the House" (Thernardiers)
"Stars" (Javert)
"On My Own" (Eponine)
"Bring Him Home" (Valjean)
From the Paper
"In this Act I song, ["Stars" ]the audience gains an important bit of insight into the psychology of Inspector Javert. Without this song, the audience might see Javert only as a cruel and relentless persecutor of Jean Valjean. However, Javert explains that he thrives upon the idea of order in the cosmos, like the stars "filling the darkness." Javert clearly sees the misery of the world around him, but rather than revolution, he hopes that a law and order society will bring about a better world. Javert is not an aristocrat, benefiting from the system, ..."
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