Characterization:
Christine - This adaptation portrays Christine as ditzy, but not stupid. She has no idea that Raoul has fallen in love with her and sees him only as a friend. She is pretty, naive, and nice (mostly, however, very protective over her solos) which makes for a bad combination. She doesn’t fully understand the power she holds over the other characters. For example, if she had told Raoul to go away, he probably would have. She really moves the story forward as it revolves around her actions and reactions to events. Her overall motivation consists of furthering her singing career and finding love with someone who allows her to have her freedom. The other characters like her and she has no problems connecting with those around her,
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However, this portrayal isn’t uncommon and she is the character that fits most accurately both with her stage and movie self. She acts as an antagonist to Christine and competes for the leading lady role in the opera house’s productions. Carlotta often appears only for a few moments at a time and leaves shortly thereafter, mostly due to her quitting a lot! I think Carlotta actually embodies a good person deep down (especially in “Learn to Be Lonely”), but she learned to be thick-skinned in the cutthroat world of opera singing. She probably had a very hard time making personal relationships work out due to her busy schedule. The opposite to Christine, like Phantom versus Raoul, she puts her career first and Christine put love first. Carlotta will wear the same thing as Christine as the same actress will play the pair. Tone changes between Christine and Carlotta, are of extreme importance, as well as actions, in order for the audience to follow character changes. Overall, Carlotta plays the jerk whose soft side went out the window when she picked her singing career over personal …show more content…
Likely due to his lack of human contact (if the backstory from the stage/movie version applies to this). He just doesn’t know how to talk to them. He also loves Christine, or at the very least likes her, because he gets jealous when overhearing the conversation on the roof between Raoul and Christine. Phantom’s main purpose in this play consists of causing mischief, mostly by sabotaging Carlotta and helping Christine through tutoring her singing and making sure she gets better roles in the opera productions. He has a disfigured face, which explains why he wears a mask. However, he won’t really wear a mask because many times other characters hold it for him. Characters occasionally use this against him in a humorous way. I picture him in a black shirt and black pants. This shows him as the evil or villainous character in comparison with Raoul, seen as the hero as he “saves” Christine (especially in the stage/movie version). Overall, Phantom acts as a diva who wants acceptance by those around him and doesn’t know how to accomplish that
She wants to see how and what other people are doing, wanting to improve. her writing skills, asking for help from her grandfather at one point. in addition to just having some way to release all her thoughts and emotions. The snares are a lot of fun. These letters, being a window into her mind, show us the progression of her as she grows.
She could feel how the talent in her hands moved like magic through her fingers. She also shows a lot of determination into finishing her assigned task, the Singer’s robe, because she feels responsible for it, and wants to prove everyone that she’s much more than just a weak girl with an injured leg. For being only a girl, she stays resilient after her mother’s death, because she knows that her mother would have wanted her to be strong, and Kira also wants to make her proud, so she ignores haters like Vandara, a woman who’s willing to destroy her. She doesn’t fight he authorities because she means to cause no harm, and wants to act in a mature way. Throughout the story, she also meets Jo, a sweet, innocent, orphan girl, and also someone who she can relate to.
Strutting with elegance, Elizabeth Arden, played by Ebersole, made her way down the winding staircase demanding all the attention in the room. Throughout the show, Ebersole showed great vocal range and power. Her voice soared above the notes and came out in such a clear bell-like tone, especially during the “Finale.” Lupone, on the other, belted with such amazing vibrato in her feature songs as Helena Rubinstein. She
Her character is very quirky and fun but had a sentimental attribute as well. Brenda Aulbach depicted the various aspects of the character very accurately. However, in some parts, she was not very consistent with the confident feature of the character Beatrice. Despite minor inconsistencies, her display of the character really drove the presence of Beatrice on the stage and in the plot.
She suffers many different identity crises throughout the novel. Her personality is describe as being cold and aloof, yet her actions of volunteering for her sister and subconsciously caring for Peeta have contradicted
However it also symbolizes the ability to hide from society and its morals. This was evident to the boys as the novel said the mask “appalled them” This shows that the idea behind the mask was known to the boys, yet they also decide to put on a mask to hide from their ideals and morals. This is shown when Sam and Eric are reluctant to paint their faces but “the mask compelled them.” The decision to put on a mask to hide from society’s ideals proves that they have been out of society for long enough to leave their lifelong morals behind when given the opportunity to act out and fulfil their primal urges without consequence.
While she takes on the responsibility for driving the plot forward, this comes because of her objective function as Protagonist in the Overall Story, not as the subjective means for an Audience to enter the story. Certainly, there are moments personal only to her, the nightmare visions the strongest example, yet these brief moments act merely as “the first Act” that most likely will span the entire trilogy. Instead, we look to FN-2817--or Finn as our Main Character perspective for this story.
Raoul plans to pull through the next day, but having a big heart, Christine feels bad and has an amount of pity for Erik. Christine says she will only leave after she has sang one last time for Erik. Erik hears all of this and he is filled with jealousy. The next night Erik kidnaps Christine again, and tries to force Christine to marry him, and if she declines, he will use bombs to destroy the whole house of Opera. Christine keeps saying no to the offer of marriage, until she finds out that the phantom has Raoul is a torture chamber.
She gets situations and uses them to help incorporate into the story which helps to make it more
However, Christine love the nobleman and convince him to let her live her life free. In the beginning, Phantom don’t want to give up Christine, he want her marry and stay with her forever. But, he let Christine go when he knows that she isn’t dislike him, and leave
The Phantom has fallen for the young Christine, yet he is not the only one, a childhood friend Victome Raoul de Changy has also fallen for Christine. The Phantom is outraged by the love connection between the two. He kidnaps Christine and takes her to his lair, unaware of the length that Raoul will go to get her
Intentionally or not, the original tale of a horrific-looking outcast and cold-blooded murderer whose “death’s head” appearance and heinous crimes would make it impossible for Christine to choose him—even though her character has always felt a great connection to him. Instead, the show emphasized the Phantom’s isolation, his musical vision, and the mysterious attraction Christine feels for him. It also brought to life both the emotions of despair and hope: the leading ladies have always needed to depict Christine’s enduring grief for her late father, her tragic relationship
The musical ends back in the cellars of the opera house as the “phantom” confesses his love for Christine while threatening Raoul’s life. In the end, the “phantom” allows them both to leave, an action that cements his character as a love-starved and tragic character that has charmed hearts for decades. With beautiful music, amazing voices and well-crafted story, The Phantom of the Opera takes viewers back to the time of Paris’ modernization and gives the audience a sense of what the new upper-class of Paris did for entertainment in the late 19th
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...
The Phantom of the Opera centers on the Paris Opera House which has over time become the Phantom’s domain. Upon the news that the opera house has been bought and is under new ownership, the Phantom demands that the new owners honor the “agreement” he has established with the previous owners and that the fifth opera box is kept empty for his use and that his salary of 20,000 francs per month is honored. The Phantom also demands that Christine, whom he has secretly been giving singing lessons to, replace Carlotta Giudicelli, the opera company’s prima donna. He also warns that if his demands are not met, that the opera house and the opera company will need to pay the consequences. Though the origins of the Phantom are unknown to the general population of the opera house, Madame Giry knows more about the Phantom than she lets on. It is later discovered that Madame Giry helped the Phantom escape a life of abuse from a freak show and that she hid him at the opera house where she was studying ballet. It was during Christine’s and the Phantom’s singing lessons that he began to fall in love with her and came to be obsessed and protective of her. The return of Christine’s first love, Raoul, threatens to tear Christine an...