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Benjamin Franklin Wedekind was born on 24th July, 1864 in Hanover, today’s capital of the federal state of Lower Saxony, Germany. Wedekind’s father, Friedrich Wilhelm Wedekind, was a physician, and his mother, Emilie Kammerer, a German actress and singer. He grew up in Switzerland, where his father had purchased a castle. After finishing is secondary education, he attended one of Switzerland’s universities, the University of Lausanne, but dropped out and finally moved in Munich where he studied literature and law at the University of Munich. After travelling through England and France, he came back in Munich in order to attempt to make a living from acting (“Simkin”). Before becoming a famous playwright, he also worked as a journalist, a secretary for a circus and an advertising copywriter ("Frank Wedekind (German Actor and Dramatist)”). Afterwards, he joined the staff of a satirical magazine where he began to publish his own poems.
It is between the autumn of 1890 and the spring of 1891 that he wrote is first major play and highly influential work in the modern history of theatre, Frühlings Erwachen (Spring Awakening). The play is a harsh criticism of the sexually oppression suffered by the growing youth at the end of the 19th in Germany. It addresses subject matters such as teenage desire, abortion, homosexuality, and rape. It follows three teenagers, Wendla, Moritz, and Melchior, in the discovery of their body and in their journey through the complicated time of sexual awakening. Although written in the early 1890s, the play was not produced until the month of November of 1906 (“Biography of Frank Wedekind (1864-1918)”).
At the time of its creation, it was considered as a very provocative offensive work. However, its content was widely recognised as “revolutionary”. Writing this play was also a useful way for Wedekind to clearly demonstrate Expressionism, a
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.
The playwright explores the ideas of feminism and the role of men through the explorati...
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
The article named “spring awakening” wrote by Jose Vargas describes the impact of social media in converting the mentality of young Egyptian generations into bold and defend their inalienable rights as a citizen. This article justifies how social media can mobilize a tremendous number of people to stand up for their rights. The reasons that inspire my emotion is emerging of “Wael Ghonim” as a legendary vocal figure of action for change, revelation of social media as earthquake for change, and fundamental soci-political change.
A general air of superficiality invades the production. Why? Unless done with reality, the play loses its “tam” (Yiddish for taste), fringes on mockery of the way of life being depicted, and weakens the accomplishment of the author’s purpose.
North Central Texas College performed their version of the rock musical Spring Awakening. Their adaptation was based on the 1891 version of the play by Frank Wedekind. The modern version of the play is written in English is by Anya Reiss. The play basically expresses the challenges, troubles, and misfortune teenagers go through, but also the happiness, joy, and excitement. The play also shows that in the adolescent years, teenagers are still searching and learning about themselves and discover who they really want to be. It also shows teenagers exploring their sexuality. The play was very relatable especially to teens. The play was performed on March 1, 2014 at 7:30PM at the First Bank Center for Performing Arts in Gainesville. This report will concern four elements of the production. I will focus on the acting, scenic design, costume and make design, as well as the sound design.
113-117. 209-213 Ryan, C. Translating "The Invention of Love": The Journey from Page to Stage for Tom Stoppard's Latest Play. Journal of Modern Literature, Vol. 78, No. 1, pp. 113 24.
In Shakespeare’s comedy A Midsummer Night’s Dream one finds the typical use of love and nature that is evidence of Shakespeare’s youth and experimentation. He creates in this play another world, a fairy world where Puck is the ringleader and love is everywhere. Called "fancy’s child" by Milton, Shakespeare brings out his cheerful happiness in its most light-hearted manner in A Midsummer Night’s Dream.
Some people will say that this is fantastic nonsense, and that it was I that had changed, not the play. Most imagine that when a work of art leaves the hand of the master, it remains in changeless beauty forever, though succeeding generations may feel differently about it, seeing it from different angles. It is to point out the fallacy of this common opinion that I am writing this essay.
The spectacle of this play is limited which is why there is such weight put on the actors themselves. Their scene and ensembles never show signs of change yet they develop and grow. There is a huge stress on the statue, which whom the Learned Ladies bow
William Shakespeare lived a fascinating life during which he built up a good influential reputation. Most of his life was focused on his playwriting and acting career and his writings continue to be prominent even in today's culture. People wonder about his journey to becoming a playwright and what inspired him. It intrigues people how a man with only a simple grammar school education was able to write beautiful pieces. He wrote various plays and poems and is considered to be one of the most renowned writers of all time. Shakespeare’s influence has spread throughout generations and his works have been some of the most well known and well loved. Whether we have read his plays or not, his works are so prevalent that we are familiar with them.
When you read this play, take special care to remember the difference between the work of a playwright and that of a novelist. Novelists may imagine their audience as an individual with book in band, but a playwright writes with a theater full of people in mind. Playwrights know that the script is just the blueprint from which actors, producers, stagehands, musicians, scenic designers, make-up artists, and costumers begin. You will need to use an extra measure of imagination to evaluate this play before you see the Goodman production.
The play defies easy definition and various critics have labeled it variously as absurdist, existentialist, comical, burlesque, metaphorical or grim. The playwright on the other hand maintained that all through the creation of his work he strove to bring in the comic element and any tragedy that seems part of the play, may have crept in inadvertently and whenever it has been staged as a serious play, audience reaction to it has been cold.
In a more extreme version of the play, directed by Baz Lurhmann, some of the weapons such as swords were replaced by modern day guns, but despite this he still managed to keep it all in context by cleverly placing words, or using other satire. With this paper I hope to produce my own unique version of the play.
In 1979, Caryl Churchill wrote a feminist play entitled Cloud Nine. It was the result of a workshop for the Joint Stock Theatre Group and was intended to be about sexual politics. Within the writing she included a myriad of different themes ranging from homosexuality and homophobia to female objectification and oppression. “Churchill clearly intended to raise questions of gender, sexual orientation, and race as ideological issues; she accomplished this largely by cross-dressing and role-doubling the actors, thereby alienating them from the characters they play.” (Worthen, 807) The play takes part in two acts; in the first we see Clive, his family, friends, and servants in a Victorian British Colony in Africa; the second act takes place in 1979 London, but only twenty-five years have passed for the family. The choice to contrast the Victorian and Modern era becomes vitally important when analyzing this text from a materialist feminist view; materialist feminism relies heavily on history. Cloud Nine is a materialist feminist play; within it one can find examples that support all the tenets of materialist feminism as outlined in the Feminism handout (Bryant-Bertail, 1).