Elements of Staging in Hentry IV
The elements of staging in Shakespeare's Hentry IV, Part 1 are critically important to the action, theme, and quality of the performance. Elements such as costume, blocking, casting, and even the physical attributes of the stage are, of course, important considerations in the production of a play. But other, less apparent factors contribute to the success of the production as well. For instance, an underlying theme(rebellion, in the case of Henry IV, Part 1) must be, whenever possible, incorporated into the scene. Also the number and complexity of props must also be considered with regard to the financial success of the production. These elements as well as others, such as delivery and movement, must be addressed and accounted for effectively. All of these factors will be considered in this analysis of staging for Henry IV, Part 1, act II, scene iv, lines 394- 476. Since this scene transpires in a tavern it is necessary to maintain the simulacrum while still leaving room on stage for the 'play extempore'. To do this efficaciously it would be wise to keep the props to a minimum so that nothing is in competition with Hal and Falstaff for the true audiences attention, as well as for financial considerations. To create the appearance of a tavern one simply needs four tables, each accompanied by three or four chairs; at least ten or eleven are necessary for this scene. One of these chairs will later serve as a prop for Hal and Falstaff when they use it as a throne. Three of the tables should be approximately four or five feet in diameter and one table slightly larger, perhaps six feet in diameter. This will be the table at which Hal and Falstaff converse in the beginning of th...
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...dialogue with Falstaff immediately before he begins his role as King and she cannot be moving around too much once the play extempore begins. She would be best placed at the right or left side of the stage behind Hal and Falstaff's table. The stage interpretation provided here is one that will sufficiently depict each character as set forth by the previous scenes and will remain consistent with the action that follows. There is flexibility, of course, as to how the actors respond to the audience in things like inflection of voice and volume. A very involved audience that is laughing at the slanderous attacks, for example, would most likely encourage the actors to speak louder with greater inflection of voice at the eligible points of dialogue. In this respect, each performance would involve slight changes that are beyond the realm of the director's influence.
“Every war is everyone’s war”... war will bring out the worst in even the strongest and kindest people. The book tells about how ones greed for something can destroy everything for both people and animals leaving them broken beyond repair, leaving them only with questions… Will they ever see their family again? Will they ever experience what it’s like to
The Civil War, World War I, the Vietnam War, World War II, and the conflict in the Middle East are all wars that have been fought over the difference of opinions, yet come at the cost of the soldier 's fighting them; Humans killing other humans, and death is just one of the many emotional scars soldiers of war face. Why do we go to war when this is the cost? For many it is because they are unaware of the psychological cost of war, they are only aware of the monetary cost or the personal gains they get from war. Tim O 'Brien addresses the true cost of war in "The Things They Carried". O 'Brien suggests that psychological trauma caused by war warps the perception of life in young Americans drafted into the Vietnam War. He does this through Lieutenant
War is a series of deaths for a greater gain for the people who do not fight at the front. However while on the front it becomes a fight for life through battle and friendship. The bonds created allow success and support. The family bonds created in the trenches are the most important effect of war and debatably the only good one. Throughout war it is seen that these relationships are the only light, in the never-ending darkness of war.
Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the tavern world, and the conflicting moral values of characters from each of these worlds. This juxtaposition of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict, and passage three is a prime example of Falstaff’s enduring moral disorder. By this stage in the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince.
...and wounds soldiers but murdering their spirits. War hurts families and ruins lives. Both stories showed how boys became in terrible situations dealing with war.
In the book it shows it’s not the war itself but the havoc it creates and the families it destroys. There
‘…I would also bring printed samples of work that Tom Middleton had done, and say that I had lithographed them;’ (pg 83).
What is war really like all together? What makes war so horrifying? The horror of war is throughout All Quiet on the Western Front. For example Albert says the war has ruined them as young people and Paul agrees. “Albert expresses it: "The war has ruined us for everything." He is right. We are not youth any longer. We don't want to take the world by storm. We are fleeing. We fly from ourselves. From our life. We were eighteen and had begun to love life and the world; and we had to shoot it to pieces. The first bomb, the first explosion, burst in our hearts. We are cut off from activity, from striving, from progress. We believe in such things no longer, we believe in the war.” (Remarque, Chapter 5). The way the war has affected each soldier has changed them forever. The boys who were once school boys will never be the same.
Venkova, Savina. “Theatrical Analysis: Hamlet, Shakespeare.” Rev. of Hamlet, by William Shakespeare. Helium. Helium Inc., 2011. Web. 20 Apr. 2011.
As you go through the journey of life you begin to realize the many obstacles you have to over come but what charts your growth is home you over come them. This quote resembles the story of My Brother Sam is Dead by James Lincoln Collier and Christopher Collier. Brothers Christopher and James have been writing historical fiction for young people since the early 1970s and have been known as masters of the genre. This book was named a Newbery Honor Book in 1975 and recently received a Phoenix Award. It has also taught an entertaining glimpse into a teenager's life in colonial times. Using real dates, people, and historical events it has a almost reality based story to grow and progress as a character of the American Revolution.
The government must have a say in our diets. Because the issues of obesity have already reached national scales, because the costs of obesity and related health issues have gone far beyond reasonable limits, and because fighting nutritional issues is impossible without fighting poverty and other social issues, the government should control the range and the amount of available foods. The cost of healthier foods should decrease. The access to harmful foods should be limited. In this way, the government will be able to initiate a major shift in nutritional behaviors and attitudes in society.
In the novel, My Brother Sam is Dead, the author demonstrates the effects of war on families, on towns, and even on the children. The author makes it clear that war tears up families more than anything else. As a result of families getting ruined, it affects the children of the family, in this case, by making Tim grow up in a short amount of time. War affects towns, too. Soldiers, some from both sides, raid houses and kill people therefore splitting up towns and communities. War has many bad effects, just like Tim’s father said: “In war the dead pay the debts of the living.”.
Falstaff is a central element in the two parts of Henry IV, he is supports the structure of the play. Yet he does seem to be a mainly fun maker, a character whom we laugh with and laugh at. The perfect example for this was the fat knight's account of the double robbery at Gadshill. The part of plump Jack is joyously expanded and diversified, for the delight of men and the glory of, Shakespeare. It is plain that the role of Sir John is not restricted to what is indispensable to Shakespeare's main purpose. Falstaff lies at the very foundation of these plays, that it is a structural necessity.
Many of Shakespeare’s works are susceptible to multiple readings and interpretations, including the interpretation of characters. William Shakespeare’s play 1 Henry IV is no exception. The character of John Falstaff has been the subject of many debates regarding his character and whether he is a purely comedic character or if he, in fact, is a character of tragic origins. Falstaff is a character who appears mostly in scenes at The Boar’s Head, which is a pub in the play. There are very moments in which readers can analyze Falstaff for more than a town drunk. Although many believe Sir John Falstaff is a comedic character, the interactions he has with Prince Hal, his alcoholism, his wise soliloquy and his quick thinking on the battlefield portray
Machel, Graca & Sebastian Salgado. The Impact of War on Children. London: C. Hurst, 2001.