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"Hamlet", 2005.
This paper examines the question of Hamlet's sanity in Shakespeare's play.
1,470 words (approx. 5.9 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper explains that the question of Hamlet's sanity in Shakespeare's play "Hamlet" is complex and encompasses various themes within the work, such as what seems to be is often not what it really is, which is a theme often used by Shakespeare, as in "Macbeth". The author points out that Ophelia's main function in the play is to be used as a distinct reference to see clearly what insanity is and to stand in comparison with what Hamlet is acting out. The paper concludes that Shakespeare wanted Hamlet to be an ordinary real man living under extraordinary circumstances; therefore, Shakespeare showed (1) what transpires in Hamlet's very soul with human flaws of indecision and being unable to cope completely with the surmounting odds and (2) how, during this process, this man grows and learns the answer to the question "to be or not to be" is just "let be".
From the Paper
"So why aren't these men thought mad to have seen a ghost, since Hamlet is declared mad for seeing his father's ghost? The ghost was real. Shakespeare often uses ghosts, like in "Julius Ceasar", when Brutus is visited by the ghost of Ceasar, Banquo's ghosts in "Macbeth" at the banquet, and "Richard III" when the king sees the ghosts of his victims. These ghosts have different functions in each of these plays, but, in "Hamlet", the ghost is a catalyst for action, asking for revenge, but since the ghost appears at the beginning, the ghost is a type of prologue device."
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"Hamlet", 2006.
A review of Shakespeare's play "Hamlet".
1,735 words (approx. 6.9 pages), 5 sources, MLA, $ 56.95
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Abstract
The paper analyzes "Hamlet" as a mystery which, in its unfolding, allows us to understand human nature of various types. This analysis continues throughout the paper in the same order as the play's action. The paper concludes that at the time of his tragic death Hamlet has been redeemed through his readiness to face both life and death.
From the Paper
"Hamlet challenges us, along with Rosencrantz and Guildenstern, to "pluck out the heart" of his "mystery." This mystery marks the nature of Hamlet's characters, in spite of our popular psychologies, it ultimately does for all human personalities. Given this, we can attempt to sketch its origin and outward manifestations. Ophelia tells us that before the events of the play Hamlet was a model courtier, soldier and scholar, "the glass of fashion and the mould of form, Th' observed of all observers." With the death of his father and the hasty, incestuous remarriage of his mother to his uncle, however, Hamlet is thrown into a suicidal frame of mind in which "the uses of this world" seem to him "weary, stale, flat, and unprofitable." Though his faith in the value of life has been destroyed by this double confrontation with death and human perfidy, he feels paralyzed to affect any change in this new reality: "It is not, nor it cannot come to good. / But break my heart, for I must hold my tongue." All he can do in this frustrated state is lash out with bitter satire at the evils he sees and then relapse into suicidal melancholy. (Heffernan, 125)"
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Shakespeare's "Hamlet", 2005.
This paper discusses that in Shakespeare's "Hamlet", the character Ophelia is the most innocent victim of Hamlet's revenge.
935 words (approx. 3.7 pages), 0 sources, $ 33.95
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Abstract
This paper explains that, in Shakespeare's "Hamlet", Hamlet and Ophelia's relationship is a complex one, forming and developing as results of death, love, obedience and an Oedipus complex. The author points out that there are many similarities between Ophelia and Gertrude; Hamlet's love and sudden dependence on Ophelia may be an attempt to get closer to his mother as a result of the Oedipus complex. The paper concludes that, even in death, Ophelia has a large part in Hamlet's life because Hamlet's death was ultimately caused by Ophelia's death when the graveyard scene, in which Hamlet proclamation, "I loved Ophelia", leads to his fatal duel with Laertes.
From the Paper
""One fair daughter and no more,/The which he loved passing well," Hamlet sings at Polonius, mocking his supposed love for his daughter. Hamlet also calls him "Jephthah, judge of Israel." As told in Judges 11, Jephthah promises God that if he wins in battle he will sacrifice whatever comes out of the doors of his house when he returns. After he wins the battle, his only daughter hears of his victory and comes out to meet him. He keeps his promise to God. Hamlet's implication is that Polonius, like Jephthah, will sacrifice Ophelia for his own advantage."
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"Amadeus" and "Julius Caeser", 2006.
A review and comparison between the plays "Amadeus" by Peter Shaffer and "Julius Caesar" by William Shakespeare.
2,630 words (approx. 10.5 pages), 2 sources, MLA, $ 79.95
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Abstract
This paper explains the various dramatic incidents that occur in the plays "Amadeus", written by Peter Shaffer, and "Julius Caesar", written by William Shakespeare. The paper provides in-depth analyses as to the causes of these events and other patterns involved in them. "Amadeus" revolves around the life of Antonio Salieri, a court composer, and is based on both history and the myth connected with his life, including themes of jealousy and obsession. "Julius Caesar" is the story of a Roman statesman and general who is plotted against and is murdered by his colleagues.
From the Paper
"Amadeus is about a court composer, Antonio Salieri, who is the protagonist in this play. Salieri had always wished from his childhood that he became a great composer, and he also makes a deal with God that he should grant him his one wish. Salieri is happy with his position as court musician until when Wolfgang Amadeus Mozart, a musician arrives in court. Mozart plays much better than Salieri, and this leads to a lot of problem as Salieri realizes that it is Mozart that God has blessed with the talent of excellent music and not him, and this makes Salieri jealous of Mozart and this jealousy slowly starts developing into an obsession and Salieri starts to conspire against Mozart. He is said to have killed him ultimately. But ironically, Salieri gets to realize in the end that it is not God that he has defeated by killing Mozart, because even after Mozart's death his music seems to continue to be heard and praised, whereas at the same time, his music is no longer even known and it slowly tends to fade off and Mozart's music remains ever so fresh and is constantly heard even after his death."
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"Oedipus the King", 2006.
An analysis of the Oedipus character in the Sophocles play "Oedipus the King".
1,950 words (approx. 7.8 pages), 4 sources, APA, $ 62.95
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Abstract
The paper assesses the character of Oedipus in the play "Oedipus the King". The paper examines Oedipus' motivations and actions, concluding that while he is a victim of fate, he is not faultless. The author brings evidence that Oedipus is a corrupt tyrant, whose absolute power makes him believe that he is equal to the gods.
From the Paper
"However, as Oedipus reaches adulthood he is warned by a prophet that he will kill his father and marry his mother. Oedipus leaves Corinth believing that he will avoid this terrible fate by never returning to his home. On the way to Thebes he meets an old man on the road and they get into a fight. Oedipus kills the man unaware that this man is his biological father. When Oedipus arrives at Thebes he finds the city in chaos because the Sphinx is murdering citizens. The Sphinx demands that the citizens of Thebes solve a riddle. When the citizens fail to solve the riddle, she strangles them. Oedipus comes to their rescue by solving the riddle and freeing them from the Sphinx. In return, Oedipus is awarded the throne and unknowingly weds his biological mother. In the end, Oedipus discovers what he has done and in retribution he blinds himself. He lives in exile as a blind beggar for the rest of his life. It is true that Oedipus had no idea he had murdered his father and married his mother, so he cannot be blamed for it but, blame is not the question; the question is pollution. Knowingly or unknowingly he did the deed and finds himself standing before humanity as a victim of fate and a polluted monster. It seems that although Oedipus attempted to avoid his fate, he was doomed to it. The gods control his life and there is nothing he can do to change his future."
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"The Glass Menagerie", 2006.
A review of Scene V of the Tennessee Williams' play "The Glass Menagerie".
1,425 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper studies the fifth scene of the play "The Glass Menagerie," by Tennessee Williams. In this scene, Amanda has persuaded her husband Tom to find a gentleman caller for their daughter Laura. Tom has asked a fellow worker to come home with him after work one evening. This paper's author first describes the scene and then analyzes the dialogue in an attempt to better understand the characters' motivation and vision. The paper goes on to address the overarching themes of this scene -- and the larger play. The author says that "The Glass Menagerie" is about fragility, which each of the three main characters falls victim to in one way or another.
From the Paper
"Amanda is not a bad mother. She really does want the best for her daughter (her son has left, more or less, her aura of control). But, she has the firm belief that her daughter is far more fragile than Laura really is. Looking at Amanda today, we might easily call her "a control freak". She wants everything planned. The worst thing that could happen to her- in her wishes and in her reality- is for her plans not to work out. She even chastises Tom when she tells him "You are the only young man that I know who ignores the fact that the future becomes the present, the present the past, and the past turns into everlasting regret if you don't plan for it." She has planned for a future that, one would think deep down in her heart, she knows will never come to pass. She does live, from time to time, in the past. It is what keeps her going, seeing the present be such an unpleasant reality. But, she even plans for a possible mismatch."
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"Who?s Afraid of Virginia Woolf": Reactions in 1962 and 1980, 2006.
A comparison between the 1962 original product of "Who's Afraid of Virginia Woolf" and the 1980 revival.
1,700 words (approx. 6.8 pages), 12 sources, MLA, $ 55.95
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Abstract
This paper compares the criticism and reactions to the 1962 original production of "Who's Afraid of Virginia Woolf" and the 1980 revival of Edward Albee's landmark work. The author states that play has thrived over the passage of time, having become an undeniable classic in the playwright's lifetime. Calling it a stark, gritty portrayal of marital disillusion and power-plays, combined with the awkwardness of public betrayals of vulnerability and deeply guarded secrets, the paper says the original production revolutionized American theatre and has even been seen as the high point of Broadway in the last 40 years. However, according to this author, the 1980 revival, although critically acclaimed in its own right, did not enjoy the prestige or controversy of the original.
From the Paper
"Albee's production of Who's Afraid of Virginia Woolf opened at the Billy Rose theatre in October 1962 and starred Arthur Hill, Uta Hagen, George Grizzard, and Melinda Dillon; it consequently ran for 664 performances. The play essentially depicts the interactions of two married couples in an academic setting; the older married couple, George and Martha, represent a bickering, disillusioned older couple. George is a professor who is overpowered by his alcoholic, bitter wife who had hoped that he would have achieved a more stellar position in the academic community. The long-married couple is united by an unseen child who is later exposed to be nothing more than imaginary. The couple is paralleled with a younger couple, Nick and Honey, who are starting out in life and appear to be following a path similar to that of George and Martha. Nick is beginning his own career as an academician, and Honey, bubbly and empty-headed, has falsely entrapped Nick into marriage with a false pregnancy. The psychological, social, and emotional dynamics are portrayed during the proceedings of an awkward dinner party."
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The Treatment of Women in Literature, 2006.
Compares Susan Glaspell's play "Trifles" to Stephen Crane's "The Bride Comes to Yellow Sky."
820 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
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Abstract
Throughout history, women have been treated differently in American society during different eras. For example, in the 1920's, women were subservient to men and were expected to physically and emotionally defer to their husbands. Domestic violence was rampant and often unreported. The paper compares one literal personification of the various societal expectations of the time, Susan Glaspell's play "Trifles" with Stephen Crane's "The Bride Comes to Yellow Sky," a comic classic of the western genre.
From the Paper
"On their journey, Potter tells his bride that they are going to go to the diner car and have the "finest meal in the world" since a dollar is not too much for this, their honeymoon trip. Another example of his chivalry is Potter's very treatment of his bride, pointing "out to her the dazzling fittings in the coach" and helping her off the coach at their arrival in Yellow Sky."
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English Satirist Playwrights, 2005.
This paper analyzes plays by two English satirists: William Congreve's only play "The Way of the World" (1700) and Oscar Wilde's "The Importance of being Ernest" (1895).
1,410 words (approx. 5.6 pages), 3 sources, APA, $ 46.95
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Abstract
This paper explains that literary critics believe that English social satire flourished because there is so much to satirize; from William Congreve to Oscar Wilde, the so-called "pillars of aristocracy" tend to be pilloried, to the enjoyment of audiences who always tended to think that the satire was about someone else. The author points out that Congreve's "The Way of the World" is a version of that eternal battle between men and women; scattered throughout the play are some witty aphorisms such as "friendship without freedom is as dull as love without enjoyment, or win without toasting." The paper relates that Wilde's "The Importance of being Ernest" is a witty and comic commentary on the fastidious earnestness of turn-of-the-century society whose snobbishness and prejudices deserve to be pricked .
From the Paper
"Perhaps the highlight of the play is what is now called "the bartering scene" between Mirabell and his beloved, Mrs.. Millament. It may well be the first real "pre-nuptial" agreement except it is the bride doing all the demanding. "Though I am upon the very verge of matrimony," she tells her soon-to-be husband, "I expect you should solicit me as much as if I were wavering at the gate of a monastery, with one foot over the threshold....Oh, I hate a lover that can dare to think he draw's a moment's air, independent of the bounty of his mistress. There is not so impudent a thing in nature, as the saucy look of an assured man, confident of success.." Not only does this seem to make her the first "liberated woman", but also seems to turn the noble Mirabell into a henpecked husband, surely something no male-dominated society has seen before."
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"Death of a Salesman", 2006.
A discussion on Arthur Miller's "Death of a Salesman".
1,524 words (approx. 6.1 pages), 0 sources, $ 50.95
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Abstract
This paper explores the characters and the main theme of Miller's play. The author explains that the salesman's lot is to deal with rejection. A good salesman can deal with a customer not liking a fabric, that is to be expected. But, having to give up a salary to work only on commission, having the best portion of his territory given to a younger person, realizing that he can't carry his weight any more, that is the real death of a salesman. The paper reflects that a tragedy is made out of an ordinary man's life.
From the Paper
"And yet there is no resolution, as Biff shouts out that he knows his Father is a fake, "and he doesn't like anybody around who knows." (p. 444) To which his mother gently and sadly and calmly replies: "He's dying", and tells about Willy trying deliberately to smash into the guard rail of that bridge and the other accidents that were not accidents. And we know from the way she says this in her matter-of-fact way, that his death is now preordained, and that she has accepted it as much as any wife of more than 35 years can accept getting older, and weaker, and the mind and reflexes going, and the memories of a life that was never happy. Perhaps that was why they nick-named their youngest Happy. To create something happy in that dreary home with the husband gone so frequently."
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Willy Loman Tragic Hero, 2005.
Examines whether the protagonist from Arthur Miller's "Death of a Salesman" should be considered a tragic hero.
1,764 words (approx. 7.1 pages), 3 sources, MLA, $ 56.95
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Abstract
When one reads "Death of a Salesman" by Arthur Miller, the first question that comes to mind is: Why should we care about Willy Loman? This paper questions whether Loman continues the tradition of a classic tragic hero and whether this was Arthur Miller's intention. As Loman is meant to be a uniquely American protagonist, who simply failed to achieve the "American Dream," this "dream" is also examined.
From the Paper
"Arthur Miller, however, views the character of Willy Loman differently. He asserts that that "the common man is as apt a subject for tragedy in its highest sense as kings were (Miller)." Though Willy had never achieved a high position or sense of identity in his life, Miller claims that in tragedy the importance is not on the fall from a high position, but "the underlying struggle is that of the individual attempting to gain his "rightful" position in his society." He claims that it is still a fall, not from an actual position of power, but from a potential one, and therefore the "common man" goes through the same feelings and thoughts that a king would."
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Are Audiences Active?, 2006.
A discussion on the role of the audience in entertainment.
1,550 words (approx. 6.2 pages), 6 sources, APA, $ 50.95
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Abstract
This paper provides a brief overview of some audience ratings systems and the integral part an audience plays in the creative process for entertainers and the marketing techniques of advertisers.
Introduction
Overview of Audience Ratings Systems
Other Types of Audience Research
It Takes Two to Tango in the Theater
Conclusion
Bibliography
From the Paper
"Advertisers and marketing specialists are constantly seeking the Holy Grail of Sales: what will compel the average consumer to purchase a particular product or service, or to watch a television show or attend a movie. The question of what motivates a consumer to buy challenges the imagination and ingenuity of every type of industry which has an audience and presses research specialists forward into new fields of investigation. "Motivational research, for example, attempts to probe the unconscious impulses that motivate buying decisions; advertising agencies then utilize these findings to influence the consumer and to attempt to break down sales resistance.""
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The Character of Hamlet, 2006.
This paper discusses and analyzes the main character in William Shakespeare's "Hamlet."
895 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
This paper centers on Hamlet's character which has been the subject of critical assessment by literary scholars such as Samuel Taylor Coleridge, Samuel Johnson in the 17th century and contemporary scholars like Harold Bloom and Northrope Frye. The fact that many continue to psychoanalyze and dissect Hamlet may be the true purpose of this literary gem. A subject of much discussion among critics is Hamlet's state of mind while others claim the biggest tragedy is his inability to act despite his larger-than-life heroic qualities.
From the Paper
"Although early critics viewed Hamlet's flaw as indecisiveness, modern critics have agreed that the character has had no problem deciding on the correct course of action in his situation; however he is unable to carry it out. (Bradley, Coleridge, Bloom,) The fact that Hamlet decides not to murder Claudius when he comes upon him engaged in prayer and vulnerable to attack does not mean that Hamlet has secretly doubted his decision, say these critics. He has made it clear that he thinks such a death too good for the murderer of his father."
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"Measure for Measure" & "Henry IV Part I", 2006.
A comparison of two of Shakespeare's plays, "Measure for Measure" and "Henry IV Part I".
1,300 words (approx. 5.2 pages), 0 sources, $ 43.95
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Abstract
This paper analyzes, compares and contrasts the plots and protagonists of two of Shakespeare's plays, "Measure for Measure" and "Henry IV Part I". The author asserts that in these two plays, strong character is defined not by who is more right, but rather by the ability to become more than the sum of one's faults. The author concentrates his analysis on secondary characters, who, despite being fault-ridden, are endearing to the audience for their humor and steadfastness. The paper concludes that Shakespeare's ultimate point is that while all people are flawed, the test of their character is whether they are molded by these flaws -- or overcome them.
From the Paper
"In both of these plays, these people may be questionable or shady characters that often are crude or have abominable habits, they may be people of power and prominence, or they may be just average, everyday citizens. Simply put, they all have faults of their own. Yet, the audience can't help but find them endearing, and the protagonists find that their ability to overcome their faults has a lot to do with the help they receive from these characters. Furthermore, the inability of the antagonists to overcome their vulnerabilities also has something to do with these characters."
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"Antigone" by Sophocles, 2006.
A review of the play "Antigone", written by Sophocles in 442 BCE.
1,010 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
This paper studies the Sophocles play "Antigone" from 442 BCE. The author explores the play's dialogue, which is checkered with metaphors, similes and analogies, as was common for many works of Greek literature and mythology. In particular, the paper looks beyond the play's main storyline to its universal messages about life, people, beliefs and fate.
From the Paper
"In the early part of the play, Antigone and her sister, Ismene, are discussing a burial for their brother Polyneices. During this discussion Ismene is astounded that Antigone would even consider defying Creon's edict and performing burial rites for Polyneices. To her sister's refusal to be involved in such a deed, Antigone responds by declaring she will obey the gods before she will obey the earthly rule of Creon. The gods have allowed for a respectful burial of the dead regardless of earthly mandates, and by burying the dead you honor the gods."
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"The Crucible", 2006.
An examination of Arthur Miller's play "The Crucible".
1,901 words (approx. 7.6 pages), 0 sources, $ 60.95
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Abstract
This paper examines Miller's play, "The Crucible", which is set against the backdrop of the Salem Witch Trials. The writer points out that Miller was around during the Mc Carthy anti-communist binge, which has often been compared to the Salem Witch Trials and how this time period might have influenced the writing of the play.
From the Paper
"The Crucible is against the backdrop of the mad witch hunts of these trials in Salem that occurred in the 17th century. The main story is of the town which starts hunting for witches who do not exist after a few accusations from some girls. Earlier a lot of individuals had been hanged to death on being accused of witchcraft. The entire story is portrayed through the struggles of the main character of Miller, John Proctor. The first act begins with Reverend Parris praying over the daughter; Betty parries who is lying unconscious on the bed. There are conversations between the Reverend and Abigail Williams, and the other girls. This informs the audience that all the girls were engaged in some occult activities led by Tituba, who is a slave from Barbados. The Reverend had surprised them, and jumped down from a bush which upset the girls, and this had led to the fainting of Betty."
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Human Traits in the "The Tempest", 2006.
Examines the human trait of relinquishing control in William Shakespeare's "The Tempest".
1,653 words (approx. 6.6 pages), 3 sources, MLA, $ 53.95
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Abstract
In "The Tempest", Shakespeare not only tells an intricate tale of greed, revenge and love, but he also conveys a message about the consequences of immersing oneself in these emotions. The paper shows that the play is therefore not merely an adventure story about a group of people stranded on a desert island, as it may initially seem. It is, in all actuality, a model for the complexities of human behavior.
From the Paper
"Prospero's denial of his own responsibility in the situation at the beginning of the play transforms into an epiphany at the end of the play in which he realizes that only through admitting his wrongs and releasing control over other people's actions, can he truly be free. Therefore, the character's self-serving nature cannot be viewed as contradictory to the notion that Prospero represents selflessness, but rather of reinforcement of his emotional and spiritual growth that allowed him to finally be the benevolent man he had always deemed himself to be."
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Director Alan Schneider, 2005.
This paper discusses the life and work of director Alan Schneider, American genius of the stage.
3,435 words (approx. 13.7 pages), 1 source, MLA, $ 97.95
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Abstract
This paper explains that Alan Schneider, who was an award winning director, innovator, teacher and mentor, was a major influence in academic commercial, local, regional and amateur theater. The author points out Schneider joined the Arena Stage in Washington D. C. during its formative years in the late 1940s, directed such works as "The Glass Menagerie" in 1951, which propelled the playwright Tennessee Williams into international prominence; the two men became close life-long friends. The paper states that the greatest insight into how Alan Schneider's style of directing can be found in the University of California, San Diego, collection of his papers entitled "Series 3, Production Materials"; the paper lists briefly some of its contents, which give an indication into his directing style for plays fro 1941 to 1979.
Table of Contents
Introduction
Biographical and Background Information
The Balancing of a Career
Correspondence Series of Insights
Alan Schneider Style of Directing and Teaching
From Directing to Teaching - An Easy Transition
Conclusions
From the Paper
"In 1963 Alan Schneider received the Antoinette Perry (Better known as the "Tony") Award for his excellence of direction of "Who's Afraid of Virginia Woolf?" Likewise he's won the Village Voice Off-Broadway (OBIE) Award for his direction of "The Dumbwaiter" and "The Collection." Plus in Washington D. C., the Board of Trade Award "for outstanding contribution to professional Community Theater in the nation's capital and production director of Arena Stage." However Alan Schneider, always a restless and busy person, was never one to rest much, or even dwell long on his laurels. His delight came in helping others attain their goals and aspirations particularly the youth of not only the United States but throughout Europe and England."
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?Raisin in the Sun?, 2005.
This paper examines the cultural context of Lorraine Hansberry's play "Raisin in the Sun".
1,360 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper explains that, on the surface, the plot of the play "A Raisin in the Sun" by Lorraine Hansberry is merely about an African-American family's struggle to get out of the ghetto on Chicago's Southside; however, a deeper examination of the work demonstrates the author's utilization of numerous themes and complex characters, which require multiple levels of analysis: African-American identity, social status and racial challenges within the intricacies of universal human nature. The author points out that hints of Hansberry's childhood surface throughout the play and have clearly influenced her thoughts and beliefs: Father waged a legal battle for the right to purchase a home in a previously all-white neighborhood that reached the Supreme Court, "Hansberry vs. Lee", which they won, but the family was subjected to vicious physical attacks. The paper relates that the title of the play refers to the protagonist Mama's longing to escape the ghetto so that her children can be raised in the sunlight of a better neighborhood and thus better education.
From the Paper
"Another way that Hansberry illustrated her world through her work was in her definition of universality. Indeed, prior to the publishing of the play, universality was monadic in its conception and application. It had been developed and applied to mean whiteness rather than including the diversity of modern-day society. Moreover, black art separated itself from the mainstream by isolating discussions of social problems from racial issues. However, Hansberry conversely sought to concurrently consider "social significance and racial consciousness." Her attention to details opened the door for white audiences into an understanding of black experiences that made those experiences understandable and relevant. The inclusion of the black experience within the framework of the human experience forced a redefinition that opened the term universality to include the minority voice. Author James Baldwin articulates this milestone, saying "never before in American theater history has so much of the truth of black people's lives been seen on stage.""
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