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Literature And Society
Literature And Society
Literature And Society
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A literary art accomplishes true and worthy significance when it becomes able to faithfully present the existing scenario, experiences shared by the common folk, and various indiscrepencies prevailing in the society, dilemmas of existence, human sensibilities and also conforming to the universal socio- moral codes. This task of representation of true human predicament is very aptly carried on through a very effective literary genre of drama. Drama in a way is the direct communication between the writer and the audience through the means of artists. Drama is not new to Indian literary scene as it has been representing the universally acknowledged human sensibility without any constraint of time or space. Indian English Drama has been successful …show more content…
The title On a Muggy Night in Mumbai itself points towards the suffocating conditions in which the queer sexualities dwell in the heteronormative society. The characters repeatedly talk about the hot air and high temperature which points towards the heat which these queer sexualities are facing against them in the society. The reference to working air conditioner in Kamlesh's flat hints towards the satisfaction and comfort all these queers experience there. This is the place where they longer have to camouflage and can breathe freely. It is the place which gives them respite from the oppressing society. Thus we can feel the presence of society whether directly or indirectly as Konar remarks, "In the qualitative progression of thought through the interpretative impasse of dislocation, collocation and allocation, there is no abrupt break with society" (11). The wedding in the same compound where these queers are meeting is ironical. At one place the marriage of heterosexuals is celebrated and everyone blesses them. On the other side are these homosexuals whose relationships are not sanctified and face contempt. Thus, the music and noise of the marriage procession seems to be unbearable for all the queers. It reminds them of their failure in gaining acceptance in the society. The multi-level stage setting also provides an insight into the psyche of the queers. "Different zones and levels on the stage indicate the different psychological impasse of different characters" (Konar 10).In other words it is the representation of their mental spaces. In the introduction of ACT-1 there is a description of Kamlesh's flat which goes
The author illustrates the “dim, rundown apartment complex,” she walks in, hand and hand with her girlfriend. Using the terms “dim,” and “rundown” portrays the apartment complex as an unsafe, unclean environment; such an environment augments the violence the author anticipates. Continuing to develop a perilous backdrop for the narrative, the author describes the night sky “as the perfect glow that surrounded [them] moments before faded into dark blues and blacks, silently watching.” Descriptions of the dark, watching sky expand upon the eerie setting of the apartment complex by using personification to give the sky a looming, ominous quality. Such a foreboding sky, as well as the dingy apartment complex portrayed by the author, amplify the narrator’s fear of violence due to her sexuality and drive her terror throughout the climax of the
Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 6th ed. New York: Pearson-Prentice, 2010. 40-49. Print.
In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
Before watching the play, “Vanya, Sonia, Masha, and Spike”, I have never watched an American play. Whenever I would revealed this information to people, they would give me a strange look which makes me feel so uncomfortable. I always wondered what exactly the plays would look like or what messages are they delivering to general audience? The curiosity about plays lead me to take the drama class. On the day of the show, I was very nervous since I wasn’t sure about my responsibility as a part of general audience or what should I have expected from actors of the show? In this paper, dramatic and production elements such as characterization, theme, rising action, costume design, light design, and scenic design will be analyzed.
Novels and plays are essentially the same in the sense that they assemble the means necessary to showcase a variety of stories ranging in diversity. The quintessential underlying difference between the two is the format in which the stories are displayed. Plays, like Hansberry’s A Raisin in the Sun use literary techniques such as dialogue, acts and scenes, and stage directions contrary to novels to guide the audience’s response and interpretation of the characters and actions in the
...drama has its own strict rules that can be extended to certain rules. The Plots are based on mythological stories which are well known by society. So, audience does not come to see what is going to happen, they come to see how the playwright is going to present to story. So, the differences between them are mostly in the development of story and characters.
In all genres there are stereotypical elements. This academic essay will outline the importance and effect of the elements of dramatic tragedy within the given passage from King Lear, and how this is significant and develops an understanding in the audience towards the play as a whole.
Martin Esslin, an established drama director, scholar, and critic, approaches his analysis of drama by drawing on his practical experience as a director of plays. Esslin implicitly assumes that drama is the most elite of the artistic genres when he directly declares the purpose of his book, which is to answer the question "why should those concerned with art resort to drama rather than any other form of communication?" Esslin then immediately poses another question that he seems to take as a prerequisite for the first question: "What is the underlying, basic nature of dramatic form and what is it that drama can express better than any other form of communication?"
Drama according to the Wikipedia free encyclopedia is the specific mode of fiction represented in performance, which comes from a Greek word (drao) meaning action. A dramatic production depends mostly on in-depth development of realistic characters dealing with emotional themes, it put the characters in conflict with themselves, others, society and even natural phenomena. According to Learning Stream, “drama is a literary composition involving conflict, action crisis and atmosphere designed to be acted by characters on a stage before an audience.”
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
The drama of Wole Soyinka is the creative mixing of Yoruba rituals, dramatic techniques, music and dance with the foreign language, English. The rites, rituals, gestures, music and dance are some of the nonverbal techniques Soyinka employs in order to achieve his dramatic effect. The language is full of wit and graphic insult. Language is not the only thing Soyinka relies on for effective theatre but also on so many techniques. This is an attempt to discuss these techniques in some important plays of Wole Soyinka.
Theatre will always survive in our changing society. It provides us with a mirror of the society within which we live, and where conflicts we experience are acted out on stage before us. It provides us with characters with which we identify with. The audience observes the emotions and actions as they happen and share the experience with the characters in real time.
Since 300 B.C, dramatists all over the world have modeled their works after Aristotle’s definition of drama as “the imitation of an action that is serious…in a dramatic rather than narrative form with incidents arousing pity and fear wherewith to accomplish a catharsis of these emotions.” Aristotle’s ideas have endured centuries of change and continue to transcend cultural and historical boundaries. Countless works, whether classical or contemporary, follow the example set by the ancient Greeks, Shakespeare and others, to create dramatic masterpieces that thrill, dazzle and overwhelm the audience by appealing to their emotions. However, the dawn of twentieth century gave rise to new theatrical forms that take the audience into a world of unfamiliarity and deep introspection. While modern plays differ vastly in form, scope and origin, they all deviate from Aristotle’s code by rejecting the fundamental belief that a drama must arouse specific emotions in its spectators. Specifically, the plays of Anton Chekhov, Bertolt Brecht, Tennessee Williams, and Samuel Beckett eschew emotional stimulus by deemphasizing sentimentality and encouraging a more cerebral experience in which the audience must actively evaluate and contemplate what they see.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern
The most significant contributions to the development of theater came from the Medieval Age. The rebirth of theater began at this time within the Church as a way to supplement the mass with religious based performances. As the performances developed and became increasingly complex, drama became increasingly secular which allowed for the expansion of topics outside of the religious realm. The medieval theater, while a setback from the great dramas of the Greek and Roman periods, gave major contributions such as the use of the vernacular and the development of more detailed and symbolic costumes.