When Marco First Appears, Miller Describes Him as a Square-built
peasant of thirty-two, suspicious, tender and quiet voiced.In the
Light of Marco's Role in the Play, How Helpful Do You Find this
Introduction to Him?
When considering this question, it is necessary to somewhat challenge
it; to whom is Miller's description meant to be helpful? As "A View
From the Bridge" is a play, and therefore presented to an audience, we
must presume that the description's intended use is to instruct an
actor developing his character which is to be conveyed to an audience.
Marco's role becomes more important throughout the play. In fact, his
role assumes a certain duality. In one respect, he is the victim of
Eddie's betrayal; he declares:
"That one! [Eddie] He killed my children."
In another respect, he is employed by Miller as a tool in the finality
of Eddie's fate as his murderer. This increasing significance of
Marco's role is not at first glance anticipated by Miller's
introductory description as physically he appears to the audience as
rather solid and the simplicity of the physical description helps to
establish Marco as an initially somewhat simple character. However,
the instructions that refer to Marco's emotions are more complex;
"suspicious" and "tender"might appear contrasting, especially when
juxtaposed contextually. However, with a Sicilian male typical
attitude, they seem more compatible. Marco is reduced to tears at the
prospect of sending his family money, and later will commit the
arguably transgress act of murdering a man who had been his host, so
acute is his anger on behalf of his starving, dependent family:
"My wife- My wife- I want to send right away maybe twenty dollars."
Marco almost ...
... middle of paper ...
...ene is seen as a good man who is in charge
of his family, and Marco, a "simple" Sicilian, who just came to
America and was invited into the family by Eddie himself, is very
exciting for the audience. It is therefore obvious in this scene that
Marco is "suspicious" of Eddie. Furthermore, Marco's role as the tool
Miller uses for Eddie's downfall, could not occur if Marco was not
"suspicious".
In conclusion, Miller's introductory description is only helpful to a
limited degree both because of the nature of the text (it is a play)
and because Marco will endure such great betrayals that they will
change his character and actions. However, Miller gives the audience
ideas about what sort of man Miller is describing, enabling the
audience to anticipate the contrasts he may be serving to accentuate,
such as the difference in attitudes between Rodolpho and Marco.
tell the court how the girls were lying. This is in an attempt to save
Michelangelo Merisi da Caravaggio was broadly delicate when it came to issues of aesthetic creativity: he debilitated both the painter Guido Reni and craftsman and biographer Giovanni Baglione for replicating his style. Regardless of his earnest attempts to secure his particular style, be that as it may, Caravaggio wound up noticeably a standout amongst the most generally imitated craftsmen ever.
The first main area of art and reality colliding in the play is the existence of characters who are referred to as Characters. Pirandello stretches the bounds of meta-theater by having actors portray Characters who swear they are not actors, when faced with other actors playing actual actors and a Director. The layers of unraveling of reality are astounding. The Characters must try and convince not only the Actors and the Producer of their true nature, but also the audience. Pirandello must convey his beliefs about the essence of art through the mouths of Characters seemingly unattached to the actuality of the theater around them. In the play, the Producer acts on stage in place of the author, questioning the sincerity and the true nature of the Characters, who become his r...
A historical artist I found interesting in the world of art is Michelangelo Merisi da Caravaggio, commonly known as Caravaggio, an Italian artist in the Baroque Era (Ornate Age). Caravaggio was born on September 29, 1571 to his father Fermo Merisi and mother Luci Aratori in Milan, Lombardy. At the age of 11, he was orphaned due to the death of his parents and found work as an apprentice for a painter named Simone Peterzano for four years. During his years under Peterzano, he was influenced by the outside art works of Michelangelo, Leonardo da Vinci, and other Northern arts. In 1592 at the age of 21, he moved to Rome, Italy the center of where artists gathered to work for less skilled painters. During his time in Rome, Cardinal Francesco del
In the play ‘A View from the Bridge’, an Italian-American family take in two illegal immigrants. The youngest of them, Rudolpho, falls in love with the niece of Beatrice, Catherine. Eddie Carbone, the main character, is driven by desire and lust, which eventually brings upon his own downfall. He calls the Immigration Bureau to arrest the two immigrants in an attempt to get his niece back, and so the scheme fails, and the play ends when Marco murders Eddie in a mere act of self-defence. Miller uses the character of Alfieri to increase dramatic tension throughout the play, doing so by introducing the idea of inevitability in the play. He establishes the character as a chorus, a component of early Greek theatre and tragedies. Alfieri basically expresses to the audience what the main character, Eddie Carbone, could not say, such as his fears or secrets. By knowing what will happen, and knowing how the play would end, whether a happy ending or sad, the principle of certainty and inevitability is revealed. Alfieri isn’t even capable of changing anything, altering the future, which also increases dramatic tension in the play. Throughout, Alfieri’s roles are obvious; he’s both the family lawyer and also the narrator of the play.
Michelangelo was an Italian-born artist in 1488. Not too long after his birth, he was apprenticed to Ghirlandaio for three years, where Michelangelo learned elements of fresco technique and produced replicas of past Florentine masters. By the age of 16, Michelangelo was already producing his own style of art that were shown in his two relief sculptures. The following years after the death of Lorenzo de’ Medici in 1492, Michelangelo traveled and created more artwork. Some of the artworks produced were a wooden crucifix for the high altar for the Hospital of Sto Spirito, and marble statuettes for the Arca di San Domenico.
The reader is introduced to an insight of Titus Andronicus’ cruel nature, after he ignores Tamora’s cry to have her first-born son saved from his sacrifice to revenge the lives of his sons that her Goth people took. This new interpretation of Titus as a ruthless murderer heavily contradicts the reader’s first impression of Titus that Marcus gave the reader. Marcus initially leads the reader to except that Titus is good and honorable man. Titus’ sudden act of violence makes the reader realizes that he has two sides to his character: the relentless warrior and the beloved hero. However as the play unfolds, an individual can realize that everything that occurs throughout the play is connected to the initial sacrifice. It is evident that Titus’ character goes through many changes, the not one but many sides of his personality are revealed.
By the end of the play, we see Claudio’s transformation from being an immature, love-struck boy who believes gossip and allows himself to easily be manipulated grow into a mature young man who admits to his mistakes and actually has the capacity to love the girl he has longed for. The wedding dance of Claudio and Hero along with Beatrice and Benedict shows how order is now restored in the city of Messina, and order given to the life of Claudio.
places in the play in a number of different ways. The way Miller as a
How does Miller show his ability to build up tension in this extract? (page 50 "How about some grape juice" - page 52 "the court did not know him Annie!) Throughout the play "all my sons" Miller thoroughly expresses his ability to change and strengthen our emotions and develop tension between characters. I found this effect of tension particularly evident in this extract, a discussion between George, Chris and Annie.
The nearly three-hour drama is told from the viewpoint of Salieri, who frequently comes to the front of the stage to explain himself in lengthy and passionate detail. It takes a dedicated performer to memorize the lines and a skilled actor to keep them interesting.
He, however, does offer an element of the play. He is shown is his language that his position as a senator of Venice doesn't mean he.
Throughout the story, Juvencio seems very selfish. He never cares about anyone besides himself and what happens to him, which causes him many problems with those who care about him. His selfishness creates a divide between him and his family. This is shown in the first few paragraphs of the story, “‘All right, I'll go. But if they decide to shoot me too, who will take care of my wife and kids?’ ‘Providence will take care of them. You go now and see what you can do for me. That's what matters.’” Even this early on in the story, Juan Rulfo shows the reader how self-centered Juvencio is, that he would tell his son to endanger his life to save Juvencio’s own life. Juvencio states to Justino that saving him matters more than the safety of Justino or his family. Juan Rulfo also shows that Juvencio’s selfishness makes his son less ready to help him by describing Justino having an inner conflict about whether to take the risk of helping his father. Justino almost doesn’t help his father, showing that he is losing empathy for his father as a result of Juvencio’s selfishness and self-centered lifestyle. Juan Rulfo uses this scene to illustrate his theme related to selfishness. There are also a few examples of Juvencio’s lack of empathy in this story, including the scene in which Juvencio talks about his crime, showing a total lack of caring for any other human
...e for more. Although the presence of this cancer-like corruption may seem inevitable, it can be combated through the use of the virtues of truth, self-control, and, most importantly, love, as demonstrated by the character of Horatio, the only main character survivor at the conclusion of the play.
The epiphany of this however, is realized at the end of the play. Nearly every scene in the play, either intentionally or unintentionally, portrays a struggling relationship between a figure that possesses power and a figure that is suppressed by that power. The play explores the relationship between master and servant very dynamically. In the opening scene, the boatswain (servant) is very oppressive towards the noble men (master) due to their sophomoric attitude in a dangerous situation like that. This is especially visible when Antonio, the usurping Duke of Milan, asks the boatswain where the master is, to this, the boatswain replies, “Do you not hear him?