Pulitzer prize finalist Sarah Ruhl is well known for her unique writing style and magical approach to realism. Through the use of extraordinary imagery and poetic language, Ruhl puts a modern spin on the traditional styles of language found in most plays. Passion Play is one of her most epic works, spanning from Elizabethan England to present day in a length of over three hours. In each of the three acts, Ruhl uses theological symbolism to connect the play with the Bible and its apocalyptic themes. With fish puppets coming onstage and the sky changing colors on numerous occasions, one might argue that her frequent use of imagery driven symbolism can be disruptive to the plot and overall meaning of the play. However, I argue that Ruhl’s use …show more content…
The Greek word for fish, ICHTHYS, serves as an acrostic for the phrase “Jesus Christ, Son of God, Savior”, which relates the symbol to Christ (McClintock and Strong 1047). The symbol of the fish can also represent individuals outside of the Church, lost in the seas of sin (Drewer 533). Ruhl uses this dual meaning of fish within Passion Play to further endow the characters of Pontius and John with biblical characteristics and representation. Pontius removes the guts from fish for a living and plays the roles of Pilate and Satan in the passion story, associating him with those outside of the Church that are lost in sin. Pontius reeks of the stench of dead fish and is unable to rid himself of their smell (29). This stench represents the sinful state Pontius cannot separate himself from, similar to the guilt Pilate placed upon himself concerning the crucifixion of Christ (Matthew 27:24). Pontius covets his cousin John’s role as the Christ in the passion story, wishing to kill him so that he may take his place upon the cross (16). While Pontius makes a living gutting fish, John has the pleasure of spending his days fishing at sea. In Christian symbolism, Christ is often referenced as the fisherman who catches the lost fish in the seas of sin (Drewer 533). Christ also calls his disciples “fishers of men”, referencing their divine calling to save the lost souls of the world (Mark 1:16-20). By writing John as a fisherman, …show more content…
These puppets first appear as Pontius reflects on his state of unworthiness, encircling and stripping him down to a loincloth (30). The fish prepare him for his own sort of crucifixion and sanctification, with the loincloth relating him to Christ’s own victimization on the cross. The fish puppets appear again after Pontius commits suicide, carrying his body offstage (70). Through the fish puppets, Ruhl presents her audience with an opposing narration to the Christian process of salvation, having them replace the redemptive image of Christ. Through their ritualistic actions towards Pontius, they carry his body on to the next phase of life. The sky turns from the color red to blue as he is carried offstage, signifying the cleansing of his sins by the fish puppets instead of through Christ’s sacrifice on the
The play, “Riley Valentine and the Occupation of Fort Svalbard”, by Julia- Rose Lewis is an exploration of the resilience of teenagers. The play is heavily symbolic and supports the dramatic meaning of the show. Throughout the Queensland Theatre Company’s interpretation of this play, the director, Travis Dowley, expresses forms of dramatic elements to articulate three types of manipulations. These manipulations include the manipulation of body and voice, space and the creation and manipulation of dramatic mood. Through these types of manipulations, it portrays the dramatic meaning towards the performance. Although, the use of space throughout Travis’s performance allows the audience to identify this dramatic meaning.
The icon also fulfills a second task—that of educating worshipers of church traditions and of the lives of the saints. In an easy to understand visual language this icon clearly depicts a holy figure being killed and simultaneously rewarded, presumably for his sacrifice. The artist even went so far as to label the most important character in the story, Saint Demetrios, for the viewer.
Vogel’s writing exudes symbolism from the first word of the script to the last – from the rise of the curtain to its close. The glimpses into Li’l Bit’s past are sometimes explicitly and literally described, but Vogel also often uses extended metaphors to act as a detailed commentary on the action. Why, however, did the playwright choose symbolism to convey the effects of sexual abuse – as heavy as its subject matter may be – during the late twentieth century when seemingly nothing is censored in America? In order to answer this and better understand the way in which Vogel uses symbolism –in the smaller elements of the play and extended metaphors – the terms must first be defined.
Literary theorist, Kenneth Burke, defined dramatistic explaination by the prescence of five key elements. This list of elements, now popularly known as Burke’s Pentad, can be used to asses human behavior as well as dicipher literary themes and motives. The five elements; agent, purpose, scene, act, and agency, have been found highly useful by performance study practitioners in translating texts into aesthetics. When systematically applying Burke’s Pentad to “Burn Your Maps,” a short story by Robyn Joy Leff published January 2002 of the Atlantic Monthly, the analyzer can realistically grasp the emotional and logical motivations and tones of the text. By doing so, the performer becomes an enlightened vessel for the message Leff wants to communicate. The Pentad can be described with simple questions like: Who? What? When? Where? How?, but asking the small questions should always lead to more in depth analysis of the element, and it should overall, explain the deeper question: Why?
In the very first lines of Bishop's poem, the narrator catches the fish and treats him as such. "I caught a tremendous fish / and held him beside the boat / half out of water, with my hook / fast in a corner of his mouth" (Bishop 665). She has just caught a fish and is in the process of bringing him onto the boat. She seems very disconnected from this fish, who is just the target of a sport--fishing. When she gets the chance to take a good look at him, it seems that her view changes from detachment to curiosity and admiration.
The development of McMurphy as a Christ figure deepends, when he leads the patients on a fishing trip. McMurphy takes the "twelve of us [patients] towards the ocean," (page 203) just like Jesus' 12 disciples, to test and strengthen their faith in him and empower them. Fish have also been an important religious Christian symbol, as the fishing trip is an important symbol of the novel. When the trip is over, the Chief describes the sense of change that most of the patients had and even claims that they "weren't the same bunch of weak-knees from a nuthouse anymore." (Page 215). This really shows the way McMurphy is starting to guide and lead the patients, just as Jesus lead his disciples.
Shakespeare’s A Midsummer Night’s Dream may come off as a simple comedy but is a complex play with many interesting aspects. Passion, a significant characteristic, is often expressed through the play. Characters in the play show passion for different reasons; Puck passions for mischief, Helena for Demetrius’ love and Bottom for theatrics, are a few of the many examples. Passion shows much significance, being the most important characteristic in the play.
Bishop next relates to the fish on a personal basis: "I looked into his eyes.
The play by “See What I Wanna See” by Michael John LaChiusa was seen at theater B at The City College of New York. This production was directed by Dimo Hyun Jun Kim as “musical” approach to the play. Kim’s set provided a minimalist approach to scenes that took place within a historical and modern environment. Kim’s objective was to show the initial opening of the play in medieval Japan, which then transitioned to the modern interpretation of these events through various individual that apparently witnessed Moriko’s murder in Central park. Throughout all of these events, it is apparent that the black stage, black background curtains, minimal props, and traditional lighting present a focus on acting and text versus that of a accurate account of historical presentation of these locations taking place in the play. Kim’s minimalist approach utilized these aspects of simplicity of presentation to garner more attention to the actors in this minimalist set design.
The life of Jesus is one that is often discussed and debated among scholars and authors since the time Jesus walked this earth. Gerd Theissen’ s work, Shadow of the Galilean, takes the unique perspective of a grain merchant who has been enlisted by Pilate to find out information on various religious sects and report back to him. After Andreas, the grain merchant’s, first report he is given the task of finding out more about this Jesus who is gaining quite a following. Pilate and the Romans want to know if he is a threat to them. This book follows Andreas as he goes on a journey to find out more about Jesus from various sources for his report to the Romans.
From the very beginning of the film there is conflict, externally in the Palestine of the Roman era, and internally in Jesus. This dual struggle is shown in the beginning of the film when we see Jesus as a carpenter making crosses for the crucifixion of fellow Jews. Jesus himself says he is driven by fear, fear of the Romans and fear of what he feels God is doing inside of him. This internal conflict begins to explain the distance between him and those around him, with this weighing on him he decides to seek consolation and answers away from where he lives and in the
The analysis argues the use of symbolism as it applies to the aspects of the characters and their relationships. Henrik Ibsen’s extensive use of symbols is applied to capture the reader’s attention. Symbols like the Christmas tree, the locked mailbox, the Tarantella, Dr. Rank’s calling cards, and the letters add a delicate meaning to the characters and help convey ideas and themes throughout the play.
This paper examines the above-mentioned periscope from the Gospel of Matthew. Matthew narrates about the scene of Jesus walking along the Sea of Galilee, and it seemed as if Jesus was walking beside the lake of Galilee preaching the kingdom of God, he saw fishermen in the lake fishing in their boats. He saw two brothers Simon and Andrew, who were casting the net into the sea to catch some fishes. It seems as if Jesus was familiar with these brothers, as when he [Jesus] was baptised by John the Baptist, Andrew was a disciple of John (John 1:35-41) so Jesus calling them to follow him and leaving their fishing business is kind of weird as in today’s world people would not leave their profession/ business for anyone who is unknown or who is acquainted.
Women or gyneia in ancient Greece was considered weak, fearful, passive and inferior to man (like second class citizen) but are necessary for an orderly and working oikos. (Brooks 19.3) They are very important for the reproduction of the citizens. With their primary role being able to produce an heir for the oikos. Failure to do this could mean divorce. A stigma would be placed on her even if it was the failure of the husband. (Books 19.9) Women in Ancient Greece did not have any power or political say. Citizen women were legally prohibited from managing property and money. (Brooks 19.4) Legal represented by a guardian or kyrios was her father before marriage and after marriage is her husband. If she would become a widow her grown son
I chose to do my second critique on the production Lost in the Stars. Lost in the Stars was written by Maxwell Anderson. The music was by Kurt Weill, and the film was directed by Daniel Mann. The original play was performed on Broadway from October 1949 to July 1950. Then in 1974 a film was made. This musical drama was based on Alan Paton's novel, Cry, The Beloved Country. Taking place in South Africa in the year of 1949, the musical drama begins with the black preacher, Stephen Kumalo, pining for his son Absalom, who has long since left home to earn money for his future education. Reverend Kumalo has had no word from Absalom in a year. Reverend Kumalo soon finds out that his son has been arrested and condemned for killing a white man. Before Absalom is hung for his