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. In the "Pyramus and Thisbe" scene, Shakespeare satirizes theatrical convention. At the same time, however, he satirizes the naiveté of the audience that doubts the transforming power of the imagination. As Shakespeare continually points out, the acts of performing and viewing are not confined to the theatre. Life reflects the theatre just as the theatre reflects life.
Tom Stoppard's Rosencrantz and Guildenstern are Dead Tom Stoppard's Rosencrantz and Guildenstern are Dead, a humorous piece of self-reflexive theater that draws upon Shakespeare's Hamlet as the source of the story. The actual device of self-reflexive theater is used so well in Stoppard's play that it reads like the love child of a play and a compelling critical essay. The play is academic yet conversationally phrased and it deepens our understanding of the original play but also criticizes it. The aspect of self-reflexive theater is used to comment on theater itself but also as a presentation of ideas and analysis that had previously had no place on the plot-centric set-up of stage and audience. The essay Rosencrantz and Guildensternare Dead: Theater of Criticism by Normand Berlin draws attention to the fact that Stoppard who was once a drama critic, writes from the critical perspective.
Unlike his earlier comedies, Shakespeare looks at the concept of love and themes such as insanity and madness of love, which were not parts of the conv... ... middle of paper ... ...ods were not possible. From a dramatic viewpoint, I think that the two scenes analysed here are pivotal to the play and generally seem to achieve their objectives well. As well as identifying the main theme of the play of how complications of love often arise from disguises, which may hide one's true intentions, these scenes also provide the means of how these difficulties get resolved in the play. Although the atmosphere in the scenes is quite melancholic, the audience can clearly sense the potential for comedy. The title 'Twelfth Night' perhaps also relates to this, as there would have been some sorrow as it was the last day of the Christmas festivities.
Reason and love in A Midsummer Night’s Dream Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127), yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts.
Brecht feels that when an audience was watching a play they were too complacent and were not absorbing the true meaning of the play. This is why he created the genre of epic theatre. Brecht attempts to alienate the audience through use of stage directions, the element of surprise and through the use of song. This typically works out for although there are instances where this technique falls flat. Reading Brecht’s stage directions is almost as entertaining as reading the play itself.
Illusion vs. Reality in Tennessee Williams' The Glass Menagerie The Glass Menagerie, by Tennessee Williams, contains multiple themes. While there are many themes, the theme that holds the piece together is illusion versus reality. This theme is established very quickly, In fact, the first paragraph of the play describes the illusions to take place, "But I am the opposite of a stage musician. He gives you illusion that has the appearance of truth.
Memory takes a lot of poetic license. It omits some details; others are exaggerated according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.” (stage directions, 1.3). The Glass Menagerie is a memory play, and is therefore, unrealistic and untrustworthy. The nature of a memory play is that it requires a theme which affects the way the play is presented to the audience.
He is essentially stuck in the past. The essay written below disputes the literary devices of imagery and tone in order to provide background and symbolism in the play. In Krapp’s Last Tape, the most important literary devices are imagery and tone because they provide human-like characteristics in the character. They also strive to portray one of the main themes of the play that is self-reflection and attraction towards past recollections. In this essay the use of these two literary conventions most effectively conveys Krapp’s underlying emotions through his contemplations and attitudes to his self-provided recordings.
Deception makes things seem other than they are, and in the plot, lack of sober judgement and inexperienced noting of matters is what causes some moments of enormity in the play. The title of the play is deceiving in that the actual play involves many happenings; the plot is filled with action, albeit as a new act of deception, a battle in the merry war between Benedick and Beatrice or a song and dance. Deception is the key to excitement and captivation in a play, as Shakespeare evidently appreciated.
As the play develops, the audience sees that Blanche is less proper and refined than she ... ... middle of paper ... ...st into a reality which is not his own, yet somehow seems familiar. This realistic fantasy Williams creates with his brilliant use of symbolism, intriguing characters, and involving action in the play causes the reader to connect fully with the setting, characters, conflicts, and emotions within. BIBLIOGRAPHY Adler, Thomas P. A Streetcar Named Desire: The Moth and the Lantern. Boston: Twayne Publishers, 1990 Kernan, Alvin B. "Truth and Dramatic Mode in A Streetcar Named Desire, In Modern Critical Views: Tennessee Williams."