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Conformity and rebellion topics
Conformity and rebellion
Conformity vs rebellion
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Recommended: Conformity and rebellion topics
What constitutes a rebellion against conformity? Is the desire for revolution a matter of action or simply a state of mind? In the 1990s, America’s counterculture was founded on the alternative, grunge, and punk rock movements that embodied the spirit of intrapersonal tension and social upheaval. The ideas emphasized through this counterculture have utilized and influenced many art forms, including theatre. Steven Sater’s Spring Awakening exudes the same unruly spirit of the ‘90s, but the musical’s setting, 19th century Germany, does little to connect contemporary audiences to the themes. To accentuate the rebellious spirit inherent in the script, an adaptation of the play will be set in America during the 1990s. Furthermore, the internal conflicts within the three protagonists, Wendla Bergman, Moritz Stiefel, and Melchior Gabor—who each represent a facet of Sigmund Freud’s map of the human subconscious—will be externalized through the characters’ use of live musical instruments onstage. In each of the Poetics’ categories, alterations will be made to the original production in order to liberate its underlying turmoil. The plot will be restructured as a framed narrative, known as the Chinese box device. Essentially, Spring Awakening will become a “story within a story.” The first scene, in which Wendla asks her mother about human conception, will be truncated and will serve as the external frame of the story. Wendla’s mother will conclude the scene with “In order for a women to conceive a child…” (Sater 17). Then, plot will jump to the subsequent scene, which begins inside the framed narrative and proceed as normal. After the song “Those You’ve Known,” the musical will return to the first scene, the framing device, and conclude ... ... middle of paper ... .... Simultaneously, the actors will have to “rock out” during musical numbers while singing and playing instruments. Every decision made in this production of Spring Awakening focuses on highlighting themes of rebellion, psychological conflict, and the ability of high-energy rock music to influence social movements. These ideas are present in the script, but are buried beneath an ineffectual setting; fortunately, their universal applicability allows the musical to be transplanted into a more relatable time period. When established during the American alternative rock movement of the 1990s, the musical invites contemporary audiences to think of rebellion as a psychological and behavioral matter, a form of personal motivation, and not simply the product of teenage angst. The heart of Spring Awakening ultimately lies in this deep, thematic resonance and restless spirit.
Eight Men Speak by Oscar Ryan et al presents a variety of epic devices employed throughout its composition. We see “the essential truth in every word of these six acts”(Foreword 5) come to life in this thought provoking presentation of didactic literature. Through the use of Epic Drama we see the effects of our corrupt government as it is brought into perspective using the epic devices of using the audience as active participants, using narration rather than action , and political engagement. These epic devices play a key role in portraying the didactic message of the play. The play causes the reader not only to be a present member of the audience, but to have presence of mind as well; to not only hear what the characters are saying, but to take initiative if they wish to see change.
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
1. The sociocultural history of rock & roll during the 1950s created a metamorphosis of teenage mannerisms against the older generation. Shumway (118) emphasizes how the rock & roll periodization represses the nature of normal convention illustrated in “Blackboard Jungle”; through the deviant nature of boys against adults. The boys are malicious towards each other, sneering at one another just as Vince Everett did in “Jailhouse Rock”. While the post-war generation tried to discipline the baby boomers into their known demeanor, the recalcitrant teens rebelled against all means of adult intervention. Similarly Szatmary (50) expressed the generation gap between the baby-boomer and their parents fueled the fear of delinquency in their children. Shumway (125) refers to “Blackboard Jungle” to reiterate the essence of the song “Rock around the Clock” to define the conception of foreseen dangers of youth and the behaviors associated with rock & roll as a transformative cultural practice. In reference to the integration between African Americans and whites during the rock and roll era thr...
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
To the persistent individual, though, there is a body of music in existence that merits regard. It is powerful music written by the youth of America, youngsters who did have a stake in the Vietnam War. There can be little question about the origins of the power which American protest music conveyed: those who wrote such music lived each day with the real knowledge that they were losing friends in, and could possibly be forced themselves to go to, Vietnam. One such group, Creedence Clearwater Revival, made its contribution to this genre near the end of the Vietnam War.
The story of the birth of rock ‘n’ roll has a mythical quality to it. It speaks of racial barriers bridged through the fusion of Afro-American musical styles with white popular music in 1950s America. Not only did white record producers and radio disc jockeys market Afro-American artists, but white artists began to cover their songs, as well as incorporate Afro-American style into their own song writing. The musical style was so powerful that the white audience was infected by it, despite the social stigma that listening to “race music” possessed. The common view of teenagers’ participation in the creation of rock ‘n’ roll as an act of rebellion runs parallel with the music’s legendary origins. Through rock ‘n’ roll, the teenagers of the United States created a generational gap that angered their parents’ generation. Teenagers rejected kitchy Tin Pan Alley, “Sing Along with Mitch,” and the sleepy crooning of Perry Como in favour of sexually charged race music. Historians have taken different approaches to the question of teen rebellion. While some consider their love of rock ‘n’ roll revolutionary, others argue that the music cemented teenagers within the conformity and materialism of the 1950s; what cars were to adults, rock ‘n’ roll was to teens.[1]
[2] After the fifties, Americans were emotionally dead. During the next decade the population would search again for the “grand ideals” of democracy. The American people were looking for something in the 1960’s; they were searching for ideals and dreams. The Sixties were a “time of rebellion, defiance of authority, acting out hopes and dreams. . . a time of reconsidering the way we lived, the way we behaved toward people in this country and abroad” (Zinn in Morgan, ix). During the Sixties people began to take into account American history and began to attempt to redress the past. Perhaps the largest and most influential group in motivating the American people was musicians. They began to put the feeling of America into songs, and they used those songs to fight for what they believed in, from anti-war songs to sexual liberation and free drug use. It was the fight for ...
Our entire lives have been shaped by the events happening around us. Along with us many factors in our day to day lives have evolved too, including musical genre. One such genre is rock. Rock is a genre for the youth, by the youth, it has evolved to stay with the times and stand up for what’s right. In this essay I will prove why rock is a good example to show how genre has been defined, maintained, constructed and negotiated through the past 60-70 years since the very first Proto Rock song came out.
In the early 1950s when Rock and Roll was born, it was so new and so different than anything heard before that by the time the above song was released more than 25 years later, it seemed like nothing had existed before it. Punk Rock had a similar effect on the music scene. Just as the original Rock and Roll was embraced by the youth culture as something new, exciting and possibly dangerous, Punk Rock was embraced by many as a new revolution with the potential to change everything. But did it? This essay will address the question of whether Punk Rock changed anything. It will focus on the business and industry that evolved within and around the punk scene, the politics of punk and the internal ideological debates within the scene.
Adolescents and young adults have been disregarding the rules of the older generation and sparking up arguments since time could tell. One of the forerunners for this teen-angst filled defiance was none other than the king of outcasts, Kurt Cobain, lead singer and songwriter for Nirvana. Cobain was a trailblazer ready to defy the Baby Boomers and all that the tired generation saw to be important; Cobain pushed against many traditional structures but few more relevant than sexism and the mainstream music industry. Cobain rallied his army of misfits, labeled Generation X, to also stand against the sexists and the money-grubbing music bosses. Although Cobain didn’t do so by leading rallies or picket-marches, he found his rebellious essence through writing strange, contentious, and confusing music. With this in mind, it’s easy to say that Kurt Cobain was a model for Generation X; however, he is most notable as a rebel writer that expressed his resistance to sexism and to the music industry through his unconventional writing, mixed-music styles, and controversial songs.
The late nineteenth century was changing time in American history. The United States of America was the number one industrial nation and a new wave of imperialism had begun. In this time, women are still not equal to men and are expected to live a certain way. Upper class women at this time were expected to be domestic. More than half a century later, the 1950’s, American culture was rapidly transforming. Pop culture was drastically changing, as rock music becomes popular, television shows becoming widespread, and the best actors ever known in this time. The fifties were a time of happiness and fun, especially for the average American teenager. The name teenagers was formed in this time because of young people trying to distinct themselves. Teenagers had much freedom and trouble. The new automobiles and leisure time lead young people to do wild things. The Awakening, by Kate Chopin, reveals a woman, Edna Pontellier who unleashes her true self. Edna Pontellier is a women living in the late 19th century in the Creole society of southern Louisiana. Being from Kentucky, she is unlike most women in the culture. In the film, Dead Poets Society, boys at a Vermont private school in 1959 become interested in the English subject, especially Neil Perry, taught in an unorthodox way. Edna Pontellier, the main character of The Awakening, and Neil Perry, the main character of the Dead Poets Society, share similar characteristics. Both protagonists go through a realization of what they want and should be doing in life. They both have two important people in their lives that help them with their realizations of life. Even though Edna and Neil have similar characteristics, they also have differences. Edna Pontellier, in Kate Chopins The Awakening, ...
In closing, the undoubtable influence of music, more specifically of Rock ‘n’ Roll on American society is responsible for a number of changes to the status quo. These range from sexual liberation and racial desegregation all culminating with other influences to create an intergenerational identity. Despite the desperate attempts of older generations to smother these influences, these changes ultimately shaped the years that followed, molding the country into what it is today. Along the way these changes as well as individual involvement in them has also eased the lives of many through empowerment and a feeling of community and purpose. Despite a lull and renewal Rock ‘n’ Roll continues to serve as an agent of influence and change in today’s youth culture and continues to burn in the heart of past generations of loyal fans.
“Music is uniquely wonderful. It is incapable of being touched yet it touches everyone who is capable of hear sounds. It can seemingly evoke any emotion; we instinctively respond to happy tunes, mournful songs, beautiful melodies, inspiring anthems, stirring hymns, and majestic orchestrations.” (Doolan, Robert. 1985) There is no question that music is great part of society; it has been at civilization’s side whether it be the lyres and flutes of the ancient Greeks or how it calms or excites emotions and keeps armies in order during battle. Within society, there has also been social unrest and the desire for change. Protesting is the expression of a society’s concerns on current events of which they feel affected by whether it be through public rallies, picketing, riots or even bombings. Protest through music is one powerful medium for engaging people. Amidst what life throws at individuals, music has comforted the soul, provoked individualistic thought and opinion, and music draws people together through groups alike who have the same attachment or concerns with their surroundings. Whether it be rock, jazz, blues, rap, hip hop, dance, spiritual, or world, music has inspired artists to spill out their expression and views of society. Music is a universally effective tool of protest in generating social change and unrest as it continues to unite those with like ideas.
thesis of how the musical brought our inner child out to realize our true struggles in life.
Heavy metal music grabs a hold of rock’s most rudimentary elements; youth, rebellion, sex, fantasy, and a good time at all costs. It is directed towards the alienation and trauma that plagues adolescent life, particularly among the lives if teenage boys. They tend to see their lives as controlled by parents and teachers. For many others, it is a way to release frustration and anger. For instance, a heavy metal concert to those who like heavy metal, is not just a musical performance, full of elaborate costumes and settings. It is a community of teenagers who participate in a shared celebration of youth. (Ragland 1-2).