In Act One, Scene One when Rita is first introduced, she’s a hairdresser and part of the working class. Russell introduced Rita as an audacious, ambitious but egoistic character. She isn’t scared to express her opinion, which generally amuses the audience, such as when she describes her opinion on the painting in Frank’s office she interprets it differently to what majority of the population would. The reason for her different interpretation is that she’s not educated to the degree that she would be familiar with that style of painting, this also becomes obvious when Frank and Rita discuss challenging death and disease: Rita refers to a poem that people in her class are more likely to read (later she describes this kind of poetry as ‘the sort of poetry you can understand’ and assumes that Frank won‘t like it as it’s simple and doesn’t have any hidden meanings) when Frank thought she was referring to a more sophisticated poem by Dylan Thomas. Throughout the scene we learn that Rita wants to understand ‘everything’ so she can enjoy things like ballet or opera, and that’s the reason why she enrolled on the course in the first place. She explains that she didn’t believe the University would accept her and the audience can see that she’s scared of what it might mean.
Willy Russell’s uses dramatic techniques such as speech directions in order to help the actor impersonate the character and send the right message across so the audience would react the way he planned. Russell uses speech directions to shows Rita’s personality, according to the speech directions Rita moves around quite a lot which some might think shows Rita’s diffidence as she doesn’t exactly know where she’s heading. On the other hand, other might interpret this as a...
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...imilar lifestyle to hers. When he was a child he didn’t care much for education and it wasn’t until later on in his life that he discovered that there’s more to life than watching the telly and working in a factory. This, more or less, sums up how Rita ends up in Frank’s office - because she wants to learn about ‘everything’. Even his language changes, like hers does, as at the beginning of the play she speaks with a very colloquial accent (‘They’re effin’ and blindin’ all day long. It’s all ‘Pass me the fackin# grouse’ with them, isn’t it? But y’ can’t tell…‘) which later develops and becomes more sophisticated (’But I couldn‘t have understood it then, Frank, because I wouldn‘t have been able to recognize and understand the allusions‘), in the same way that Russell described his change: ‘They talk funny in Whiston… Liverpudlians who taught me how to talk correctly’
The purpose of this paper is to compare and contrast the political careers of Richard B. Russell and Carl Vinson (Brown, 2016). Overall, these two men political careers have positively affected Georgia. During their prime, their leadership skills were at an exemplary level. Each of these individuals deserves to have their names registered in history. They positively affected the United States as a whole. These two individuals had their hearts on absolutely affecting Georgia and the United States. They were indeed optimistic in affecting citizens within our nation’s community. This paper states the well renowned actions during their political careers.
Other than trying to make it day to day at their company Frank is one of the things these three ladies have in common. Frank is their sexist, egotistical, lying, hypocritical, bigot of a boss. He lusts after most of the women under his authority at the office but has taken a special liking to Doralee, who despises him. Though despicable as a man he has just been promoted to Head of that division. He has a loving wife who ends up divorcing him to be with one of his associates. He gets another promotion and has to leave the country, he is never to be heard from again.
The Dramatic Techniques J.B. Priestley Used to Create and Develop Tension in Act one of An Inspector Calls
Each character, in some capacity, is learning something new about themselves. Whether it be new views, new feelings, newfound confidence, or a new realization of past events, each character involved in the play realizes something view-altering by the end of the play. Bonny is realizing that she is growing up and discovering how to deal with boys, and to lie to her parents; Elsie realizes that she doesn’t need her father for everything, and eventually overcomes her fear of driving on her own; Grace is discovering that she must let her children think for themselves at times, and that she must let Charlie choose what he wants to do; and Charlie, of course, is discovering that there are more ways to think than the status quo that society presents. Each character obviously goes through very different struggles throughout the play, but in the end, they all result in realizing something about themselves they didn’t at the beginning of the
How Willy Russell Uses Dramatic Devices to Allow the Audience to See Many Different Sides of Shirley Valentine's Personality
She explores the theme of transience as a way to yet again highlight society and the individual. In her novel Housekeeping she uses Lucille as a representation of society and thus compares Ruth and Lucille, and Sylvia and Lucille. She compares society to the individual, showing the clear contrast between both elements, while simultaneously influencing the reader to see the better in being individual. She does this by creating symbols out of her characters and providing a comparison between them and society, and by doing so shows the individual in a better light. The theme of transience is often explored through the influence of other characters. In Housekeeping Sylvie is seen as a “wanderer”, and this outlook is one that influences Ruth as she grows up. As stated in Anne-Marie Mallon’s literary criticism “Transients and runaways are not among society 's favored or fortunate... like the townsfolk of Fingerbone, we believe that people and things--like children, relationships, jobs, and houses--need to be made secure” (Mallon). But this idea is opposed by Sylvie as a wanderer. When Sylvie arrives it is evident that she is not one to stay in the same place for a long period of time. As Ruth watches her she states that her habits are “Clearly the habits of a transient”( Housekeeping 103). Ruth watches her in awe of her individualism, she hopes that she will be able
audience is left in suspense at the end of Act One, this is done so
William Shakespeare's Use of Dramatic Devices in Act 3 Scene 1 of Romeo and Juliet
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.
'A View from the Bridge' is a play set in Brooklyn in the 1940s. The
... checks himself). As well the whole of act one is ironic as Eva Smith's
The character of Hedda Gabler in Ibsen’s play is a unique and extraordinary person. There has been a lot of public dislike towards her and seen as a very manipulative, cold and even masculine portrayal of a woman. As stated by Jones “has imagination, and an intense appetite for beauty, she has no conscience, no conviction: with plenty of cleverness, energy, and personal fascination she remains mean, envious, insolent, cruel in protest against others ' happiness, fiendish in her dislike of inartistic people and things, a bully in reaction from her own cowardice." (2). Her personality was considered to be too different for the time that she lived in; it was seen as obstinate, and people went as far as to say she was less of a woman for the way
The ‘Modern’ era began, approximately, in the mid-1800s (Worthen), following its predecessor the Romantic period, which was an era that was emotionally charged ad focused on the physical relationships between characters and being one-with-nature, rather than the focus of the modernist period which was to bring social and political issues or statements into the storyline of a script whilst still keeping the stage, characters and overall performance aesthetically pleasing for the audience of the particular period. Modernism in the theatre is the act of bringing the stage and the forms of modern life, at one time, to a critical relationship. As stated by Worthen, the modernist period or the modern world we live in today began in the mid-1800s
One of the major things affecting Eveline is her search for meaning and her paralysis. After the death of her mother, she was forced into a pseudo-housewife role. On her deathbed, her mother asked her to “keep the house together as long as she could.” This promise made by Eveline would keep her clinging to the past and living in her memories. Eveline would constantly flash back to a time when her family life “wasn’t so bad” and when her mother was still alive. Things were changing so fast. With a quickly changing life and little to no hope in sight, she finds comfort and the possibility of escape in the arms of Frank . Joyce however provides so little information on Frank that the reader can’t make an informed decision about him. He seems like a nice guy, but his occupation (as her father stated plainly), the plays he takes her to, and his general mannerisms show that Frank could be a shady person. Who knows what awaits her when she arrives in Buenos Aires? Eveline’s possible meaning through her love for Frank never develops because of her fear of change and the unknown. Joyce attempts to show us E...
The action seen in Cat on a Hot Tin Roof all occurs in a hot bedroom in a wealthy home on the Mississippi Delta, and, as such, the southern flair that was characteristic of the 1950s—which is when the play is set—acts as a constant backdrop for the onstage events. The curtain first opens on Margaret complaining and nagging her drunken and apathetic husband, Brick. She dislikes her rowdy nieces and nephews sharing the house with them. She wails about the fluctuating prospects of inheritance that may or may not be provided by her near-dead father-in-law. She whines about not having a baby of her own, which she wholeheartedly blames on the fact that Brick has been refusing to sleep with her. The entire first act really reads as a long, extended monologue being given by Margaret with short interruptions by mainly Brick and two other characters who peek their heads in for a moment: Margaret and Brick’s sister-in-law, Mae, and Brick’s mother, Big Mama. Over the course of her diatribe, we learn that the family has gathered together for Big Daddy’s birthday, that Big Daddy is dying of cancer—though both Big Mama and Bid Daddy himself have yet to know this fact—that Margaret is terribly insecure about her inability to have a c...