Color on the Set of Shakespeare’s Henry V
Differences in color, especially sharp differences, emphasize the differences in moods between two parties; darker colors connote seriousness, while light colors connote frivolity. For a play of such stark contrasts as Henry V, color design like this heightens the divide. By darkening the set and costumes of the English, adding occasional bright swathes of red in a flag or a curtain, while presenting the French in a variety of pastels, accented with gold, the art directors of this performance were able to distance the two nations in their solemnity towards the act of war.
The costume of the English, a mishmash of modern and renaissance styles, whether the padded flak armor style of the English, or the jackets-and-kilts style of the assisting Scottish, ranges from black to dark olive to a dingy gray; all in the same dim shade. Heavily contrasting this almost utter blackness are the silver accents: swords and necklaces, medals and rings. But even these give the whole of the English army a monochromatic scheme; if it weren’t for the faces and hands, one might start to see the play as a film shot in black and white (even more suggested with the occasional short films—all black and white—projected upon the backdrop). This darkness parallels the English army’s bleak view of the war: the French have insulted and withheld territory from Henry, and they far outnumber the English at the Battle of Agincourt. All this changes when the Earl of Cambridge, Lord Scroop, and Sir Thomas Gray are arrested for treason. When Exeter rips their shoulder badges off, the bright red circle in the patch’s center is as clear as the sun. The color red, being the third most recognizable shade to the h...
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...ndred, a large number of former squires that commanded units. The French costume enhanced their position toward the war, and was additionally boosted by the English contrast.
Color can play such an important role in theatre, and when it is used to show such a contrast, especially in a play of such preexisting contrasts as Henry V, it instills a new life in the two sides, while also revitalizing the conflict and drawing a clear line between the French and English. It is the same divide we see before and after the Great War, or before and after Vietnam. The view of war has changed in the modern eye, and the dark English costumes show this jaded view of war, with the French sharing the same frivolous view as the prewar 1900s, or the 1950s. And, even as these views are demonstrated in the text, the colors of the focus these perceptions in the mind of the viewer.
The hubris resonating throughout the play, ‘Antigone’ is seen in the characters of Creon and Antigone. Their pride causes them to act impulsively, resulting in their individual downfalls. In his opening speech, Creon makes his motives clear, that “no man who is his country’s enemy shall call himself my friend.” This part of his declaration was kept to the letter, as he refused burial for his nephew, Polynices. However, when the situation arises where it is crucial that Creon takes advice, he neglects the part of the speech where he says “a king... unwilling to seek advice is damned.” This results in Creon’s tragic undoing.
Julie Taymor’s film adaptation of Shakespeare’s Titus Andronicus has many theatrical elements that aid in creating an interpretation of the written play. One of the most prominent elements that Taymor uses is color. Taymor uses color to develop Shakespeare’s characters. Many times throughout the film, color is used to represent a character’s mood or their hidden agenda during a scene. We also see color used to represent good versus evil. The three colors that are most widely used during the movie to show symbolism and imagery are black, white, and red. While there are some references to color in the written text of Titus Andronicus, Taymor’s use of color allows the viewers to see a more clear representation of mood, tone, and character. The colors may be used in costume or in setting. Regardless of how they are used each color plays a large role in distinguishing the tone that is being set for a scene or character.
In the written text, Shakespeare emphasis's the hidden reality through the use of dramatic techniques of imagery and symbolism. There is a constant use of light and dark imagery which is used by the protagonist , MAC...
His early works were short stories put into periodicals and eventually into the Twice Told Tales which earned him fame. Then, he spent a year at both the Boston Custom House and the utopian Brook Farm. Both of these experiences stifled his imagination, and so he left. After marrying Sophia Peabody and having children, Hawthorne became destitute. So, he earned through Democratic Party ties a stable job at the Salem Custom House but lost it when the Whigs took over. So, he began to write again and produced his greatest acclaimed works. Eventually, President Pierce appointed him as the U.S. consul in Liverpool. From Liverpool, he moved to Italy, where he wrote a novel, back to England and finally back to Concord, Massachusetts. There, he died on May 19, 1864. Hawthorne covered the literary gamut with children’s books and short stories to powerful novels. Ultimately, Hawthorne represents how the issues ...
Nathaniel Hawthorne was born on July 4, 1804, in Salem, Massachusetts to Nathaniel and Elizabeth Hawthorne. His original last name was Hathorne, but he added the 'w' when he started writing to avoid confusion with his great-grandfather John Hathorne, a Salem Witch Trial judge. His grandfather was a Revolutionary War veteran, and his father, who died when he was three, was a sea captain. He also had two sisters, Elizabeth and Maria Louisa. After his father died, the Hawthorne family was poor, so his maternal grandfather, Richard Manning brought them to Lake Sebago, Maine (it was actually part of Massachusetts at that time). Considering his family history, it is not surprising that he became interested in history at a young age. His other passion was writing, and he often exchanged poems with his critical sister Elizabeth (Wineapple, 153).
Nathaniel Hawthorne was born in Salem, Massachusetts in 1804. After his graduation from Bowdoin College in Maine, he quickly became a well-known author of literary tales concerning early American life. Between 1825 and 1850, he developed his talent by writing short fiction, and he gained international fame for his fictional novel The Scarlet Letter in 1850 (Clendenning 118). Rufus Wilmot Griswold...
Lately, it would be difficult to find a person who speaks in the elaborate way that nearly all of Shakespeare’s characters do; we do not describe “fortune” as “outrageous” or describe our obstacles as “slings and arrows,” neither in an outward soliloquy or even in our heads. Lately, people do not declare their goals in the grandiose fashion that members of royal family of Thebes proclaim their opposing intentions: Antigone’s to honor her brother and Kreon’s to uphold his decree. Lately, people do not all speak in one unified dialect, especially not one that belongs specifically to the British upper class; Jack and Algernon’s dialogue is virtually identical, excepting content. Unlike the indistinguishably grandiose, elaborate, fancy way characters speak in Shakespeare’s plays, Antigone, The Importance of Being Earnest, and other plays written before the turn of the twentieth century, more recently written plays contain dialogue that is more unique to its speaker. This unique dialogue indicates a change in the sort of characters which drama focuses on which came with a newly developed openness to those who are different from us. Moving away from recounting tales of nobility, royalty or deities brought the lives of a common, heterogeneous populace to the stage and, with these everyday stories, more varied speech patterns.
Orkin, Martin. “Othello and the “plain face” Of Racism.” 2nd ed. Vol. 38. N.p.: n.p., n.d. 166-88. Shakespeare Quarterly. Folger Shakespeare Library in Association with George Washington University, Summer 1987. Web. 12 Mar. 2014. .
Witt, Mary Ann Frese, et al., eds. “Black and White Symbols in Othello.” The Humanities: Cultural Roots and Continuities. Vol.1. Lexington, MA: D.C. Heath, 1985. Rpt. in Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996.
It seems necessary to write down some lines about the author. Nathaniel Hawthorne was born in 1804 in Salem, Massachusetts. Because of the involvement of his ancestor in the Salem witch trials , Nathaniel later added a "w" to make his name "Hawthorne" in order to hide this relation. He entered Bowdoin College in 1821, and graduated in 1825. Hawthorne published his first work, Fanshawe, in 1828. He published several short stories after that which he collected in 1837 as Twice-Told Tales. His masterpiece, The Scarlet Letter, was published in 1850. A political appointment took Hawthorne and family to Europe before their return to The Wayside in 1860. Hawthorne died on May 19, 1864.
...were courage, pride, guilelessness, credulity and easily aroused passions” (1). Understanding the Elizabethan preconceptions about Moors will permit a deeper understanding of the black characters that Shakespeare created.
The European Renaissance forever changed the life of the contemporary individual. Explosive advancements in education, technology, and trade broadened geographic and mental horizons; however, in England these developments were paired with population crises of poverty and unemployment. In addition, the increased interaction with foreign cultures fomented by various commercial and diplomatic engagements gave rise to apprehension in English sensibility. Eventually, Christian England would attempt to reshape these ‘strangers’ in their image and modern racial tensions sprung forth. Recursion of the trope of race, under the guise of blackness, heathenry, or even femininity occurs extensively in literary tradition, and especially within Shakespeare’s oeuvre. “There exists in all literature an archetypal figure who escapes both poles of the classic definition – appearing sometimes as hero, sometimes as villain, sometimes as clown…[he] has been named variously the ‘shadow,’ the ‘other,’ the ‘alien,’ the ‘outsider,’ the ‘stranger.’” It is with this borderline figure, mired in ambiguity, that this investigation is concerned: primarily with the stranger as the Moor in Othello, the Welsh in Henry IV, Part 1, and the woman in both.
F. R. Leavis discusses the breakdown of sympathy for Othello, arguing that ‘Othello is too stupid to be regarded as a tragic hero’. Other critics also argue that Shakespeare ‘fully exploits the unique cultural opportunity to develop a more complex and sympathetic representation of black experience’ [The Noble Moor – Othello and Race in Elizabethan London, Roger Lees], implying that the sympathy that a contemporary audience would have felt for Othello was based oncultural context, given that the audience were predominantly white. However, it could be argued that it cannot just be the cultural context to Shakespeare’s audiences that has allowed Othello to become one of his most renowned tragedies; if this were the case, the play would have lost all critical interest by the 18th Century. It is Shakespeare’s use of the conventions of tragedy in attributing Othello with hubris that, although making it hard to empathise with at times, in the...
Hawthorne turned to writing after his graduation from Bowdoin College. His first novel, Fanshawe, was unsuccessful and Hawthorne himself disavowed it as amateurish. However, he wrote several successful short stories, including "My Kinsman, Major Molyneaux," "Roger Malvin's Burial" and "Young Goodman Brown." However, insufficient earnings as a writer forced Hawthorne to enter a career as a Boston Custom House measurer in 1839. After three years Hawthorne was dismissed from his job with the Salem Custom House. By 1842 his writing amassed Hawthorne a sufficient income for him to marry Sophia Peabody and move to The Manse in Concord, which was at that time the center of the Transcendental movement. Hawthorne returned to Salem in 1845, where he was appointed surveyor of the Boston Custom House by President James Polk, but was dismissed from this post when Zachary Taylor became president. Hawthorne then devoted himself to his most famous novel, The Scarlet Letter. He zealously worked on the novel with a determination he had not known before. His intense suffering infused the novel with imaginative energy, leading him to describe it as the "hell-fired story." On February 3, 1850, Hawthorne read the final pages to his wife. He wrote, "It broke her heart and sent her to bed with a grievous headache, which I look upon as a triumphant success.
Guisbond, Lisa, and Monty Neill. "Failing our Children: No Child Left Behind Undermines Quality and Equity in Education." The Clearing House 78.1 (2004): 12-6. ProQuest. Web. 23 Feb. 2014.