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Human being and being human essay
An essay on being human
Topic on being human
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“I’ve only ever written to escape from hell-and it’s never worked-but at the other end of it when you sit there and watch something and think that’s the most perfect expression of the hell that I felt then maybe it was worth it. (Sarah Kane, Royal Holloway College, London, 3 November 1998).” (Saunders. 2002: 1). Both representative and reflected in this statement made by the British playwright Sarah Kane (1971-1999) (Sierz. 2001: 90-91) is the state of being human. In its literal sense the state of being human could be illustrated as an expression of existence. That of the individual and characteristics and traits experienced through the life of mortal man. (Oxford English Dictionary. 2006: 61 & 366). In addition to this, the associated meaning with the word ‘tested’ suggests ‘a difficult situation that reveals the strength or quality of someone or something.’ (Oxford English Dictionary. 2006: 785). When defined in these terms, this then opens up the question to how an expression of human-existence is revealed under pressure in Sarah Kane’s play Blasted (1995).
The twentieth century British playwright Sarah Kane’s (1971-1999) first and sensational drama Blasted opened in the Royal Court Theatre Upstairs, London, in January 1995. (Saunders. 2002: 2). From the outset Kane’s play stirred much controversy within the media. The title itself had a great impact upon its audience, as blasted through its formed meaning and literal association is a term ‘expressing annoyance.’ (Oxford English Dictionary. 2006: 70). As stated by the British theatre critic Aleks Sierz, Kane’s Blasted is “a shocking play whose raw language and powerful images of rape, eye-gouging and cannibalism provoked critical outrage…Kane exploded theatri...
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...tp://www.robertsilverstone.com/wp-content/articles/Art_of_Being_Human_Part1.pdf. [Accessed 21st April 2012]
Stephens, S. (2010) Sarah Kane’s debut play Blasted returns. [On-line] Available from: http://www.guardian.co.uk/stage/2010/oct/24/sarah-kane-blasted. [Accessed 21st April 2012]
The American Heritage Dictionary of the English Language, (2009) War. [On-line] Available from: http://www.thefreedictionary.com/war. [Accessed 21st April 2012]
The Guardian, (2005) ‘Suicide art? She’s better than that.’ [On-line] Available from: http://www.guardian.co.uk/stage/2005/oct/12/theatre. [Accessed 21st April 2012]
Wixson, C. (2005) “In Better Places”: Space, Identity, and Alienation in Sarah Kane’s Blasted. [On-line] Available from: http://muse.jhu.edu.ezproxy.falmouth.ac.uk/journals/comparative_drama/summary/v039/39.1.wixson.html. [Accessed 19th April 2012]
To an extent, the characters in the play represent aspects of the Australian identity and experience. However, Rayson's vivid grasp of speech patterns to evoke character, and her ability to manipulate the audience with humour and pathos move the text beyond mere polemic and stereotype. In an almost Brechtian way, she positions us to analyse as we are entertained and moved.
One striking characteristic of the 20th century was the women's movement, which brought women to the forefront in a variety of societal arenas. As women won the right to vote, achieved reproductive freedom through birth control and legalized abortion, and gained access to education and employment, Western culture began to examine its long-held views about women. However, before the women’s movement of the 20th century, women’s roles were primarily of a domestic nature. Trifles by Susan Glaspell indicates that a man’s perspective is entirely different from a woman’s. The one-act play, Trifles, is a murder mystery which examines the lives of rural, middle-aged, married, women characters through gender relationships, power between the sexes, and
The play, “Riley Valentine and the Occupation of Fort Svalbard”, by Julia- Rose Lewis is an exploration of the resilience of teenagers. The play is heavily symbolic and supports the dramatic meaning of the show. Throughout the Queensland Theatre Company’s interpretation of this play, the director, Travis Dowley, expresses forms of dramatic elements to articulate three types of manipulations. These manipulations include the manipulation of body and voice, space and the creation and manipulation of dramatic mood. Through these types of manipulations, it portrays the dramatic meaning towards the performance. Although, the use of space throughout Travis’s performance allows the audience to identify this dramatic meaning.
Looking at theatre reviews and books such as Stephanie Jordan and Dave Allen’s Parallel lines: Media Representations of Dance and Ramsay Burt’s The Male Dancer: Bodies, Spectacle, Sexualities. I will find out more about the history of homosexuality in theatre and how DV8 defied the law to produce shows with gay themes despite it being illegal to promote such themes in the UK during the 80’s and early 90’s.
The play God of Carnage by Yasmina Reza begins with a simple set-up, four parents from different social classes coming together to discuss a dispute between their sons. As the play continues we see the characters slowly becoming less polite and civil as they start yelling at each other, getting piss drunk, and everyone’s favourite, vomiting. Throughout the play these characters are constantly being tested and judged. When Veronica and Michael attempt to show off their material possessions to the Raleighs they are given a metaphorical slap to the face as they physically ruin what the Novaks hold dear to them. In return the Novaks judge the Raleighs on their sense of righteousness and responsibility, the Raleighs social standing allowing them
There are many ideas, experiences, values and beliefs in the play Blackrock by Nick Enright. The play is based on a true story and is set in late November to early January in an Industrial city and its beachside suburb of Blackrock. It is about a girl called Tracy aged 15 who was raped and murdered at a teenage party and the effects of it on the locals and community. Three main ideas explored in the play that challenged and confirmed my own beliefs include “Disrespect toward women”, “Victim blaming” and “Double standards”.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Teresa De Lauretis defines the space-off as “spaces in the margins of hegemonic discourse, social spaces carved in the interstices of institutions and in the chinks and cracks of the power-knowledge apparati. And it is there that the terms of a different construction [...] can be posed (De Lauretis 232). This paper examines Angela Carter’s use of the space-off in “The Company of Wolves”. I begin by showing how Carter employs fairy tale convention in order to establish a fairy tale space, particularly in terms of gender norms and didacticism. I proceed to examine the ways in which she reveals aspects that are marginal to this space. Marginal, meaning that they exist peripherally, without supporting or contributing to the space, thus threatening the space and its place at the center, though they may never dismantle it. I finish by demonstrating how the elements come together in the creation of an alternative narrative.
The play Blackrock, written by Nick Enright that was inspired by the murder of Leigh Leigh, which took place in Stockton in 1989. During this essay the following questions will be analysed, what stereotypes of women are depicted in the text, how do the male characters treat the female characters and how do the male characters talk about the female characters. These questions are all taken from the feminist perspective.
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
War [ Def. 2b]. (n.d.). Merriam-Webster Online. In Merriam-Webster. Retrieved March 23, 2014, from http://www.merriam-webster.com/dictionary/war>.
Blackrock was first performed in 1995. The play explores the causes of violence by individuals as well as ideas surrounding mateship and gender. The representations of mateship, masculinity and violence portray Australian culture in Blackrock as dangerous, homophobic and one that is accustomed to gender inequality. Dramatic conventions are employed by Nicholas Enright to challenge the reader or viewer’s view towards mateship, reinforce the idea of masculinity and challenge the idea that Australian culture is safe.
Susan Glaspell was an American playwright, novelist, journalist, and actress. She married in 1903 to a novelist, poet, and playwright George Cram Cook. In 1915 with other actors, writers, and artists they founded Provincetown Players a group that had six seasons in New York City between 1916-1923. She is known to have composed nine novels, fifteen plays, over fifty short stories, and one biography. She was a pioneering feminist writer and America’s first import and modern female playwright. She wrote the one act play “Trifles” for the Provincetown Players was later adapted into the short shorty “A Jury of Her Peers” in 1917. A comparison in Susan Glaspell’s “Trifles” and “A Jury of Her Peers” changes the titles, unfinished worked, and
...stine. "On the Edge: The Plays of Susan Glaspell." Modern Drama 31.1 (Mar. 1988): 91-105. Rpt. in Twentieth-Century Literary Criticism. Ed. Marie Lazzari. Vol. 55. Detroit: Gale Research, 1995. Literature Resources from Gale. Web. 27 Nov. 2011.
It is possible that the suicidal process set off before Sarah Kane started to write her best play and before Sylvia Plath wrote the best poems of her life. They might have been either created in an attempt to set the suicidal process back (Viewegh, 1996) or as a pure manifestation of this suicidal process which might have brought about sudden burst of strong internal creative powers. In both cases we might take these works as suicide notes and poetic accounts on a dramatic search for the meaning of life and existence.