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...
139-142). This self-referentiality reflects a concern that the audience not be passive in its participation, and that the boundaries of the theatrical experience not be restricted to the stage. Shakespeare layers connotations and meanings into his plays that reward the self-conscious auditor. Though much of our modern entertainment seeks to make the auditor oblivious of the medium, Shakespeare’s plays demand a sophisticated self-consciousness on the audience’s part. Part of the pleasure of viewing a Shakespearean play such as A Midsummer Night’s Dream is in recognizing the irony of its self-contained mini-dramas.
The way Shakespeare uses the setting and characters in the plays is different. In one instance, he uses some characters to make the plot. The magic and mystery that he includes, adds intrigue and they are the ‘legs’ of which he uses to make the story stand. The central theme, love, is the basis where the theme branches out to other problems, especially among the characters. His words and themes make the stories vivid and easily appealing to the imagination.
This connecting chord between the script on the page and the script in performance in Shakespeare leads to a plurification of significance and meanings to the play. Ian McKellan, in John Barton’s Playing Shakespeare: An Actor’s Guide, rightly avers of the connection: “Perhaps it's because Shakespeare himself was an actor that he uses the metaphor of the actor and of the theater so often in his plays. Often when a character is at the peak of his emotional problems he compares himself with an actor: "struts and frets his hour upon the stage." This has a wonderful resonance for an audience...” Thus, it is clear that Hamlet is a play that implicates itself within the paradigm of “play” and the various acts of branching out thereof. These would include the notion of “play” itself, the centrality of “play” within the play, the simultaneous power of the ‘play’ and the threat it generates and the thin line of seperation between the ‘play’ within the play & the play and the play & reality.
Additionally, the use of juxtaposition creates one of the most important themes of the play, contrast. Shakespeare uses much juxtaposition to personify his characters. This helps to give the audience a greater understanding of the relationships of the characters both to themselves and to other characters in the play. Ophelia and Hamlet are greatly juxtaposed against each other in Hamlet. Ophelias role in the play is the foil to both Hamlet and to her brother Laetres.
Meta-theatre develops this space of play by provoking acceptance of the unique nature of each performance of the play (Flaherty 17). Meta-theatricality is a device in which a play may comment on itself, attracting awareness to the true circumstances of its own production, such as the audience or the reality that the actors are in fact actors (Dixon 1). Meta-theatrical moments in Hamlet contribute to the play’s elaborate dialogue of play by calling upon the many, and interrelated meanings of the word ‘play’.
It creates tension and a good spectacle for them to watch. Romeo and Juliet highlights the tension between words and action, between language and life. I also conclude that the character's language was written to suit the image of them to others and to make the play interesting and exciting throughout. The dramatic effect that Shakespeare has aimed for and obtained, is to capture the audience's attention by creating many contrasts and oppositions, and using powerful language to form a feeling of suspense. Bibliography: * Zepherelli film version.
The villain of the story is an individual the audience will pay close attention to and attempt to understand as the storyline unfolds. “There’s something about antagonists that, I think, inherently fascinates us as readers. We all get at least a little curious about what leads someone to become ‘evil,’ why it is they do what they do, and so on. And considering we live in a world where right and wrong is all about perspective, well-done antagonists can be especially exciting.”(Hansen) Shakespeare develops his antagonists in a way that makes them interesting to the audience and does so especially well in his plays Othello, A Midsummer Night’s Dream, and Hamlet. Each play has an antagonist, or something near one in the case of Midsummer Night’s Dream, but the villains can be very different from one another and strikingly alike depending on the situation.
Custom Written Essays - The Theme of Actors and Acting in Hamlet. Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others.
Hamlet makes use of the idea of theatrical performance through characters presenting themselves falsely to others – from Rosencrantz and Guildenstern spying on Hamlet to gain favor with the King, to Hamlet himself playing the part of a madman – and through the play within the play, The Mousetrap. This essay will discuss the ways in which Hamlet explores the idea of theatrical performance, ‘acting’, through analysis of the characters and the ‘roles’ they adopt, specifically that of Hamlet and Claudius. The idea, or the theme of theatrical performance is not an uncommon literary element of Shakespearean works, the most famous of which to encompass this idea being As You Like It. This essay will also briefly explore the ways in which Hamlet reminds its audience of the stark difference between daily life and dramatization of life in the theatre. The motif of acting is a central literary device of Hamlet – the audience witnesses Hamlet, as well as the other characters of the play, adopt ‘roles’ as no one is truly who they ‘seem’.