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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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"The Oedipus Trilogy", 2004.
An analysis of the element of tragedy in Sophocles' "Oedipus Trilogy".
1,759 words (approx. 7.0 pages), 8 sources, MLA, $ 56.95
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Abstract
This paper discusses Sophocles, the master of the tragedy and his "Oedipus Trilogy". The paper contends that the "Oedipus Trilogy" is a prime example of the drama presented in ancient Greece. The paper explains that "Oedipus Rex" is a better example of tragedy than "Antigone", not because it is more 'tragic' by the modern definition in any way, but because of the technicalities of the plot, presentation and characterization within the plays.
From the Paper
"Sophocles is considered to be one of the greatest Greek dramatists, and remains among the most renowned playwrights even today. The Greek tragedy is one of the most influential genres of literary and theatrical history on the modern drama and theatre. The theatre of ancient Greece was inspired by the worship of Dionysus, and the performance of plays was considered to be a religious experience for both the actors and the audience. Because of this, the intensity of the Greek theatre was very strong, and the degree to which the plays were taken seriously as a means of influencing and interpreting life was also very high. According to Aristotle, the philosopher credited with creating the definition of a tragedy, "Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its katharsis of such emotions."
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Gregory Hines, 2005.
A tribute to actor, dancer and choreographer, Gregory Hines.
1,228 words (approx. 4.9 pages), 6 sources, MLA, $ 41.95
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Abstract
This paper looks at the life and contributions of Gregory Hines, one of the most highly acclaimed choreographers, dramatic and comic actors, singers and directors of his time. It explains how his childhood and upbringing helped him develop the unique form of tap-dancing which became his trademark. The writer also mentions several of the shows that Hines was involved in.
From the Paper
"The "Pied Piper of modern tap", Gregory Hines, died of liver cancer, on August 9th, 2003, at age 57, in Los Angeles. When he died, "the shock reverberated through a number of worlds (because) he had shone in so many ways" (Jowitt). Gregory Hines was not only a superb dancer, actor, director, and choreographer, but was also a major figure in the revitalization of tap dancing in the late 20th century, in America ("Hines, Gregory"). He was "noted for his virtuosity, rhythm, and expressive style, and was credited with having modernized the form and facilitated its return to motion pictures" ("Hines, Gregory Oliver"). In his honor, the lights of Broadway were dimmed three days after his untimely death (Brennan). It was a memorial to one of the most gifted artists to have ever graced Broadway."
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"Oedipus the King", 2005.
An analysis of Sophocles' play "Oedipus the King."
1,581 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
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Abstract
This paper analyzes the relationship between gods and mortals in Sophocles' Greek tragedy "Oedipus the King". The paper first briefly describes the plot of the tragedy and then analyzes Sophocles' message that the gods merely use the power that they have, and have always had, over Oedipus and indeed over all mortals and that we are all always at the mercy of the gods, for better or for worse.
From the Paper
"The Greek tragedy Oedipus the King by Sophocles has, as its main character, Oedipus, the King of Thebes, a man both blessed and cursed by the gods. As an infant Oedipus is cast out to die by Laius after hearing prophesy that his son will kill him. Here, Laius seeks to control his fate by killing Oedipus before Oedipus kills him. But baby Oedipus already has his own fate cut out for him - he is rescued by a shepherd, grows up, and still (accidentally) kills Laius. First Oedipus seems (since he is allowed to live) to have much favor from the gods in store. True, his ankles have been bound so tightly by his murderous and rejecting father that even after the shepherd unties them, Oedipus's feet, ankles, and legs (the literal meaning in Greek of "Oedipus" is "swollen foot") are damaged, and he grows up to walk with a limp. Still, early on Oedipus seems more blessed than cursed overall. But the gods are fickle in this play, and relationships between gods and mortals are extremely unpredictable. By the end of Oedipus the King, the gods have painfully reminded Oedipus of his mere mortality vis-a-vis them, and thus his basic subservience."
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"A Raisin in the Sun", 2004.
An analysis of the play, "A Raisin in the Sun" by Lorraine Hansberry.
1,401 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
This paper discusses Lorraine Hansberry's play, "A Raisin in the Sun". The paper examines the central theme of the play as it relates to the American dream. It explains how this theme is significant to each character of the play and also contends that the characters represent the spectrum of personalities found in any American society.
From the Paper
"We learn how people can become blinded by their dreams through the character of Walter. Part of Walter's problem is the fact that he feels desperate. He realizes that he is getting older and still has not really achieved anything. He tells his wife, "I'm thirty-five years old; I been married eleven years and I got a boy who sleeps in the living room . . . and all I got to give him is stories about how rich white people live" (Hansberry 2209). In dealing with this realization, Walter tries to find a quick way to make his dream of having lots of money come true. He becomes blinded by desire. This kind of blind dreaming is something that happens to a lot of people. Their desire becomes so strong that they cannot see that risks often outweigh possibilities. "
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Shakespeare, 2004.
An analysis of the literary work of William Shakespeare and the issue of patronage.
1,022 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.
From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."
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Lucille Ball, 2005.
This paper discusses actor Lucille Ball, one of the premier actors in American television and considered the paramount women in the television world.
3,685 words (approx. 14.7 pages), 7 sources, MLA, $ 102.95
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Abstract
The paper explains that Lucille Ball, once regarded as one of the 'B-grade' cine-star, found the new medium of television as the true opportunity to exhibit her expertise of physical comedy. The author points out that "I Love Lucy" was considered unique in that it was one of the first television programs to use live film, utilizing a multiple camera technique before a studio audience and creating a permanency that allowed Ball and her husband, Desi Arnaz, to benefit from re-runs syndication and foreign distribution. The paper relates that Lucille Ball attained four Emmy Awards, a Lifetime Achievement Citation from Kennedy Center and a Presidential Medal of Freedom. She became the first actress to be incorporated into the Hall of Fame of the Television Academy.
From the Paper
"Ball could search out the key to success of televisions and generated a character that the Americans found indispensable. While 'The Lucy Show' was telecasted, Ball was engaged in reformulating the show and starring in yet another series concentrating on the same character. "Here's Lucy" was immediately approved by the networks and became prime time telecast up to 1974. At this moment, Ball found it worthwhile to divert and began performing outside lines of comedy. She was rewarded with enthusiastic reviews for her acting on Broadway in 'Wildcat' of 1961s. With continuance of the success, Ball co-starred Bob Hope for two feature films and acted with Henry Fonda in the critically acclaimed "Yours, Mine and Ours". Thus, the accomplishments of Ball include more than seventy films, hundreds of television appearances and the struggle of running a studio that could succeed in producing major television series like "Mission: Impossible" and "Star Trek", depicting her true understanding of the potentialities of television even prior to the understanding of itself."
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Willy and Walter's American Dream, 2004.
A comparison of Arthur Miller's "Death of a Salesman" and Lorraine Hansberry's "A Raisin in the Sun".
811 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper presents a contrast between the plays, "Death of a Salesman" by Arthur Miller and "A Raisin in the Sun" by Lorraine Hansberry. The paper explains how Willy in "Death of a Salesman" and Walter in "A Raisin in the Sun" share some similarities and major differences. The paper contends that the two men both have a dream that is burning within them and they both try to succeed and fail miserably. The paper concludes that Willy and Walter not only represent the American Dream, they also illustrate that how we face failure and mistakes has a significant impact upon our lives.
From the Paper
"Arthur Miller's play, Death of a Salesman and Lorraine Hansberry's play, A Raisin in the Sun are plays that focus on individuals that fail to achieve their dream. Willy Loman dreams that one day he will be recognized for his exceptional sales ability. Walter Younger hopes to invest money in a liquor store and find his way out of poverty. While both characters share this experience, each man is effected differently by what he gains from his loss. Willy and Walter teach us that dreams are not always easy to reach and if we are so lucky to reach them, they seldom arrive without painful lessons. These men show us that there are two paths in life when it comes to failure--one is fatal and the other is fruitful and it is ultimately up to us to decide which way to go."
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The Supernatural in Renaissance Drama, 2005.
An analysis of the supernatural in the plays "Hamlet" and "Midsummer's Night Dream" by Shakespeare, and "Dr. Faustus" by Christopher Marlowe.
1,154 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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Abstract
The theme of the supernatural in Renaissance drama emerges more as a 'problem' than as a unified theology. This paper explains that the use of supernatural and characterization thereof, says more about the playwright's ability to use language to characterize, than about the ideology of the period. It explains that Shakespeare's stress on characterization results in more human fairies and spirits than in Marlowe's world.
From the Paper
"These questions of truth and reality become even more sharply defined in "Hamlet." Ironically, Hamlet begins the play wanting to go back to Faustus' Wittenberg to study-but ends up meeting the supernatural on his own doorstep. Rather than the comic Faustus, stewing over his books, Hamlet's meeting with his father is frightening, and causes Hamlet to consecrate his life to revenge. (1.3) But Hamlet is never sure if the ghost is true or false, hence he uses a play as a truth-test of his uncle's guilt, noting that the devil has a power to assume a pleasing shape. By the end of the play, the supernatural has virtually retreated from the play entirely-the ghost disappears after preventing Hamlet from killing his mother in anger, and Hamlet does kill Claudius, but without the satisfaction of revealing to the court with his own words, or before his mother what really happened to his father."
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"Henry IV", 2004.
A discussion of the art of the drama in Shakespeare's "Henry IV" and "Hamlet, Prince of Denmark".
1,322 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper compares the characters of Prince Hal and Hamlet in William Shakespeare's plays "Henry IV" and "Hamlet, Prince of Denmark". The paper analyzes the dramatic aspects of each character. The paper illustrates the personas that each character creates for himself, in addition to their personality as defined by the author. The paper highlights the constant contrasts between Prince Hal and Hamlet.
From the Paper
"Shakespeare is of course a dramatist, that is, he was an author of plays with fictional characters in them, portrayed by real people known as actors. Yet quite often Shakespeare's fictional characters are themselves 'actors' in their own life stories, creating personas that they play in addition to acting out their true, 'real life' struggles of the plot as defined by the author. For instance, Prince Hal, of Henry IV, Part I and Hamlet are two such individuals-the first pretends to be a rouge, even though he is really a skillful prince and politician destined to be a king, the second is an avenging son who assumes madness as a truth-telling device, and also as protection for his eccentric actions and behavior in a fraught Danish court. "
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Museum Exhibit: Lenny Bruce, 2005.
Critique and analysis of an exhibit on Lenny Bruce at the Museum of Movie and Television in Los Angeles.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper describes the exhibit on 1950s comedian Lenny Bruce. The paper also gives background information about Lenny Bruce and explains why Bruce's form of comedy was so shocking for its time.
From the Paper
"Long before there was John Stewart and Comedy Central, long before David Letterman gritted his gap-toothed smile on CBS, Lenny Bruce held comedic sway as the nation's satirist of record. But unlike John Stewart, or even edgier comedians like Chris Rock and Margaret Cho, Lenny Bruce during his heyday was considered a transgressing presence upon the American comedic stage, rather than a popular mainstay of talk shows and popular entertainment. Today, comedians of strong words and even stronger personalities are common. But before Bruce, much of American comedy was decidedly non-abrasive. Even the Marx Brother's cutting humor was more intended in silliness, than to have a explicit cultural or social bite to it."
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Women in Ancient Tragedy and Comedy, 2005.
Examines the way women were portrayed in ancient Greek theatre by looking at the plays "Medea" (Euripides) and "Lysistrata" (Aristophanes).
1,224 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
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Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.
From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."
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Revenge in Plays, 2005.
An examination of the concept of revenge in the William Shakespeare's "Hamlet" and Thomas Middleton's "The Revenger's Tragedy."
1,101 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
Shakespeare and Middleton explore the depth and range of the human psyche in their plays, "Hamlet" and "The Revenger's Tragedy." This paper discusses how, through the characters of Hamlet and Vindici, we discover different motivations to their feelings of vengeance, illustrating the complexity of human nature as it relates to revenge. It explains however, that while both plays operate under the same theme of vengeance, they are quite different in terms of how each protagonist is portrayed and how each play is received. Hamlet, because he relates his father's death to the state of the world, represents a larger social commentary on mankind while Vindici and his antics represent a play that shocks rather than provokes thought.
From the Paper
"Hamlet is also motivated by an outside force, which is the ghost. The presence of the ghost guarantees that hamlet will find no rest from his sorrow or his shock until he avenges his father's death. The presence of the ghost adds a supernatural element to Hamlet that The Revenger's Play does not have. This element allows us to believe Hamlet when he compares the rankness in Denmark to the fallen state of the world. The ghost heightens Hamlet's inner conflict not only because it exists but because of its request. Hamlet's religious upbringing has taught him that murder is wrong and Hamlet tries to get out off killing Claudius by wasting time trying to determine of the ghost is legitimate or simply a "goblin damned" (Shakespeare i.iv.44). Even when hamlet decides that the ghost is good, he experiences difficulty following his orders. The ghost in Hamlet opens the play up to spirituality and thus spiritual conflicts."
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The Unforgivable Othello, 2005.
A brief discussion about whether it is easier to feel sorry for or to forgive Othello in Shakespeare's play.
1,113 words (approx. 4.5 pages), 1 source, MLA, $ 38.95
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Abstract
This paper discusses that, while it is one thing to feel sympathy for Othello, the protagonist in Shakespeare's play, "Othello", it is another thing to forgive him for his anger and other bad behavior. It shows how Othello proves himself to be a man that acts spontaneously in addition to acting irrationally when it comes to matters of the heart.
From the Paper
"This question tells Iago that Othello respects his opinion. In addition, Othello allows himself to be influenced by Iago when Iago warns him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9). Iago knows that there is no reason for Othello to be jealous and Othello should know better but he does not. It is unforgivable that Othello allows Iago to have so much influence when it comes to matters of his intimate life with Desdemona."
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"The Secret Garden", 2004.
A review of the play "The Secret Garden" by Frances Hodgson Burnett.
1,377 words (approx. 5.5 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper examines the main characters of Frances Hodgson Burnett's play, "The Secret Garden", Mary and Colin. The paper describes both characters as victims of their forlorn childhood. The paper explores their growing relationship and illustrates how they manage to help each other achieve self-awareness.
From the Paper
"Writing in the Washington Times about a musical production of the play created from The Secret Garden, Jayne M. Blanchard (2002. P. DO2) noted that the children, Mary and Colin, "are spiritually and physically revived, actually given a reason to soldier on, when they coax back to life a long-neglected private garden." Blanchard found the production overly gloomy and filled with "adult angst." But then again, she thought the death in childbirth of Colin's mother was too Victorian. Unfortunately, while the setting of the book may have been Victorian, The Secret Garden was written thirty years after that era had ended. While Mary and Colin, two children as unlikable as they come, may have been a product of their age, the angst Blanchard mentions certainly sounds modern."
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Sociology, 2004.
An analysis of social structure and interaction - dramaturgy and social construction of reality in a formal work environment
808 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
The study of sociology requires that it study the macro and micro aspects of it-that is, human society must be studied based on the social structures existing in the environment and social interaction happening among individuals and groups. To illustrate how sociology works in everyday human life, this paper brings into lucidity how the processes of dramaturgy and social construction of reality is operationalized in a formal workplace environment. For this paper, dramaturgy represents the social interaction among individuals and groups while the social construction of reality puts into context these human interactions into a larger framework, which includes social structures and institutions established in the society.
From the Paper
"Dramaturgy or dramaturgical analysis, developed and introduced by Erving Goffman, is a sociological theory that posits that "social life is like a drama or stage play" (97). By this, Goffman means that individuals follow particular roles and adapt specific "scripts" through which they represent their own selves. Furthermore, this theory states that people maintain a "front stage" and "back stage," concepts that are synonymous with the idea of the public and private selves, respectively. The front stage or the public self is the personality or image that we want to project in public, which often is parallel with the role that the individual assumes in his/her society. The back stage, meanwhile, is the private self that is undisclosed to everyone except for the individual's family and close friends. The back stage self is often shown in the individual's moment of candor."
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Musical Theater, 2005.
Examines the history of musical theater in the United States.
1,371 words (approx. 5.5 pages), 8 sources, MLA, $ 45.95
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Abstract
Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper
"Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
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"Waiting for Godot", 2005.
A discussion of religion in Samuel Beckett's play "Waiting for Godot".
3,415 words (approx. 13.7 pages), 7 sources, MLA, $ 96.95
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Abstract
"Waiting for Godot" which was written by Samuel Beckett is considered to be his most famous work. This paper focuses on the meaning of the religious themes within the play. One of the key themes found in the play, is a call to action for the Christian audience. It explains that the scene and the players are suggestive of any man and any place. It is meant to be universal in its reach; with each day representing not only a new beginning but a continuation if what came before.
From the Paper
"Nothing is completed because nothing can be completed. The despair in the play , which is never defined as such but which pervades all the lack of action and gives the play its metaphysical color, is the fact that the two tramps cannot wait for Godot, and the corollary fact that he cannot come. The rigorous use of the unities is demanded by the implacable interpretation of human life. The denouement of the play is another beginning ((Fowlie, pp 210-214).
Just the mere fact of the spelling of Godot's name adds to the metaphysical essence of this play. Godot is often seen as being short for God and the fact that these two tramps wait for his coming in reminiscent to waiting for the final coming of God."
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Revenge in ?Hamlet?.
This paper discusses the concept of revenge in William Shakespeare's "Hamlet".
1,745 words (approx. 7.0 pages), 10 sources, MLA, $ 56.95
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Abstract
This paper explains that, through the 20th and 21st centuries' psychological and individualistic lens, "Hamlet" often is thought of as a drama primarily about one man's relationship with a dead father and a living and murderous stepfather, but it also can be seen as a play almost completely about the circular economy of revenge, which, during the Elizabethan and Jacobean era, was one of the ways individuals remained connected to the past and the world of the dead. The author believes that the most chilling display of the ideology of revenge is the scene in the graveyard, where Ophelia's corpse is wrestled between her brother and Hamlet. The paper relates that, in Act 4, when Hamlet returns from England, the site of Protestantism, he no longer sees revenge as a positive thing; the Elizabethan audience would have approved of this attitude, which despised revenge and purgatory as anti-humanist, but still acknowledged the need to survive in a bloody, politically uncomfortable, and divided society.
From the Paper
""Hamlet" begins with a Denmark under siege in Scene 2, with the Norwegian Fortinbras demanding revenge for his dead father in the form of restitution of Norwegian lands. Upon meeting the ghost of his dead father, Hamlet vows revenge upon his uncle. He says he will forget all of his studies, even his identity, until this is accomplished. Hamlet does not kill his uncle at prayer, because the revenge will not be full and fitting if Claudius does not suffer in purgatory, calling this hire and salary, rather than true revenge. Laertes vows revenge upon Hamlet, the man who killed his father. Ophelia bedecks herself in flowers and uses the flowers to communicate, through the riddles of her broken mind, to say what she could not say while sane."
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