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"Eurydice", 2005.
Analysis of the play, "Eurydice", by Jean Anouilh.
1,027 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper introduces and analyzes the play, "Eurydice", by Jean Anouilh. Specifically, it discusses the contrasting idealism and realism in two representative places in the story and whether Eurydice is innocent or not. It examines how the themes of idealism, innocence, and realism intertwine to form the backdrop for a startling group of players, with the innocent and yet worldly Eurydice at the pivot point of the play. It also looks at the underlying meaning the author is attempting to get across to his audience. This tragic story shows how love can affect people and bring out the best and worst in people.
From the Paper
"The play contrasts idealism and realism quite effectively. Idealism shows itself from the start, when the two characters fall in love with each other without knowing a thing about each other. Playwright Anouilh writes, "'I'll never leave you.' 'Will you swear that?'" (Anouilh 66). These two do not know each other, and yet they already are pledging themselves to each other. This is the ultimate in idealism. Here it is shown as young and innocent love that believes anything is possible. The two "children" have not lived enough to understand the difficulties and realism of life, and so, they believe their love is possible, which of course, it is not. Eurydice sees this dimly when she says, "'D'you think you'll make me very unhappy?'" (Anouilh 66). She says it almost as if she does not believe it, and yet, she is worldly enough to know that the idealism of youth is soon replaced by the reality of age, because she was ravaged young, and has lived a hard life. Orpheus embodies the innocence and idealism of the couple, because he will do anything to stay with Eurydice, even abandon his father and consort with the devil. Orpheus is idealism personified, while Eurydice leans toward realism, because her life has actually been more difficult even than Orpheus' life."
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"Othello", 2004.
An analysis of the concepts of strength and weakness in Shakespeare's play, "Othello".
1,374 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
"Othello" by William Shakespeare is a play demonstrating that we all have strengths and weaknesses and that, while the best of us will focus on people?s strengths, the worst of us will not only focus on their weaknesses, but use them in destructive ways. It discusses how, throughout the play, the weakness of jealousy directly or indirectly brings the destruction and downfall of all the major characters, including not only Othello and his bride Desdemona, but Iago, his wife Emilia, Roderigo, and Cassio.
From the Paper
"Othello is particularly vulnerable because, being a Moor, he is somewhat an outsider (Weller, PAGE). He is accepted as a leader in society and as a great military man, but he is aware of his differences. He used them to charm those around him, wooing and winning the beautiful Desdemona and then defending her marriage to others, but the villain of the play, Iago, knows that it can be easy to cast doubt on an outsider, and he uses Othello?s differences to his own perverted and personal advantage."
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Drama, 2004.
This paper discusses the history of drama and the reasons for its survival.
2,055 words (approx. 8.2 pages), 3 sources, MLA, $ 64.95
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Abstract
This paper explains that the best dramas contain compelling characters, situations that strike a chord with the viewers, and offer solutions that apply to the ?drama? of the viewers? hectic lives. The author points out that drama has survived for so long, not only because it is an important form of entertainment, but also because it makes the audience feel something. The paper relates that, throughout history, dramas have been engaging, entertaining, and imminently popular; they show people at their very best and at their very worst.
From the Paper
"Drama gradually went out of style in the ancient world, but interest was renewed in medieval times, when church performances grew and were enhanced into outdoor plays. Secular plays were performed during this time, and the dramatic form of comedy regained popularity, too. Interest in all forms of drama continued to surge during the Renaissance, and scholars began to study the many forms of drama, and develop new types. The old dramas of Greece and Rome that had contained a chorus along with the actors were studied and reformed into a new form of entertainment ? opera. Drama continued to spread, and its' popularity paved the way for some of the world's most famous playwrights, including Shakespeare. Queen Elizabeth loved drama, and Shakespeare's work was extremely popular in her court."
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?Death of a Salesman?, 2004.
A look at the portrayal of Willy Loman as the tragic hero in Arthur Miller?s play, "Death of a Salesman".
1,655 words (approx. 6.6 pages), 8 sources, MLA, $ 53.95
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Abstract
This paper examines how Arthur Miller?s play, "Death of a Salesman", is an illustration that focuses on the theme of social and personal tragedy and, how, within this theme, the character of Willy Loman emerges as an individual who is misled by false values. It looks at how Willy?s flaw is believing in grandiose dreams and allowing them to blind him to the realities of life. It also shows how the play is considered a success because Miller presents the story of Willy Loman in such a way that it is perceived as a common experience. In other words, Willie is a modern-day tragic hero.
From the Paper
"Biff is a realist that sees things for what they are. He antagonizes his father. Biff?s anger forces Willy to come face to face with the lies with which he has been living. For instance, he places the rubber hose on the table and asks his father if that is supposed to make him feel sorry for Willy. He also forces him to admit that he was not salesman in the store but a clerk. Biff also reveals the lie that Happy was not an assistant manager. He tells his father, ?I never got anywhere because you blew me so full of hot air that I could never stand taking orders from anybody!? (Miller 1108). He also tells Willy that the two of them are a ?dime a dozen? (1109) and no leader for any men. To make it worse, he tells him that he was ?nothing but a hard-working drummer who landed in the ash can like all the rest of them? (1109)."
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Sophocles?s ?Oedipus, the King?, 2004.
This paper analyzes the structure of Sophocles?s, ?Oedipus, the King?.
1,085 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
This paper explains that the play, Sophocles?s ?Oedipus, the King?, has a more episodic structure than a climactic one because of flashbacks and prophecies introduced as episodes throughout. The author points out that the ?rising action? is when Oedipus threatens that he will have Creon killed or exiled for conspiring with Tiresias. The paper contends that tragedy is better as a work to be read than as a drama to be performed and watched on stage. The reason given by the writer is because there is much more to perceive and understand from the reading than in the watching and listening, although visuals and sounds enhance or intensify the underlying messages in the play.
From the Paper
"The setting is Thebes around the fifth century. The "inciting incident" right away turns up with the plague that now afflicts the citizens, whom King Oedipus calls the ?new blood of ancient Cadmus.? Cadmus was the founder of the mythological Thebes. These citizens crowd at the king?s palace for his action on the feared plague, and as was the custom at the time, the king has already sent his brother-in-law, Creon, to consult with the Oracle (or diviner/fortune-teller) at Delphi (Sophocles c 430 BC) for advice and he tells this to the people. Creon returns to relay the Oracle?s message to Oedipus that the plague will end only if the murderer of the former king of Thebes, Lauis, is caught and driven out. The message also says that the murderer is still in Thebes. King Lauis was killed by thieves while on the way to consult an oracle.To pacify the people and bring peace to Thebes, Oedipus promises to find that murderer and drive him out. This part represents the "point of attack".
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Doctor Faustus, 2004.
An examination of Christopher Marlowe's play, "The Tragical History of the Life and Death of Doctor Faustus".
3,014 words (approx. 12.1 pages), 8 sources, MLA, $ 88.95
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Abstract
This paper examines how this play illustrates Marlowe?s contribution to Elizabethan drama. It first discusses the play in the context of the Elizabethan period, and then gives a summary of the plot and characters of the play. The writer finally provides a personal analysis of Marlowe's classic drama.
From the Paper
"These translations illustrate an interest traditional verse and, at the same time, demonstrate his ability to improvise upon them. When he was 26 years old, he wrote the play Tamburlaine, whose protagonist is the ?vehicle for the expression for boundless energy and ambition, the impulse to strive constantly upward to absolute power? (Abrams 792). These same characteristics are reflected in Doctor Faustus. M. H. Abrams asserts the English theater had not seen characters like this before. After the success of Tamburlaine, Marlowe lived with fellow playwright Thomas Kyd, who informed the Privy Council in England that Marlowe was guilty of atheism and treason. In May of 1593, Marlowe was stabbed and killed in an argument that took place in the Widow Bull Inn. His short live leaves us to wonder what might have been, especially when we consider the popularity of Shakespeare."
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Henrick Ibsen?s ?A Doll?s House?, 2004.
This paper discusses the relationship of husband and wife, Nora and Torvald, in Henrick Ibsen?s ?A Doll?s House?.
800 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper explains that, as Henrick Ibsen?s play, ?A Doll?s House?, progresses, the relationship between Nora and Torvald Helmer changes from that of a well-to-do husband and wife with cheerful children who seem to live the happy marriage life. The author points out that, towards the middle of the play, Nora seems to step away from her fantasy life, observing the fact that she is concerned about what her husband thinks of her. The paper relates that, during the third act, Nora finally opens her eyes to realize that her life with Torvald is over; and, as the play ends, she walks out of her "doll's house" into her new world of dependence, leaving Torvald to raise his three children on his own.
From the Paper
"In the beginning of the play, Nora is a doll in her husband?s eyes. She is a trophy he has won. He wants to keep his trophy pretty, pampered, and kept on a high pedestal. When he talks to his wife, he treats her like a little girl. He feels as if Nora should no nothing about their financial situation or any important issues in the household. It is a man?s job in life to take care of the family. Torvald adores his wife, but treats her like she is not on the same level as him. "Look, Nora, in lots of things, you're still a child. I'm older than you in many ways and I've had a little more experience" (Act 2, pg. 184). He has pet names for her such as skylark, squirrel and featherbrain."
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Bob Hope, 2005.
A look at the life and career of comedian and entertainer, Bob Hope.
964 words (approx. 3.9 pages), 3 sources, APA, $ 34.95
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Abstract
This paper provides biographical information on song-and-dance man, comedian, and actor, Bob Hope. The paper details his rise to stardom, his influence on other comedic actors, and his commitment to U.S. troops overseas as demonstrated by the many live performances he gave for the soldiers throughout his career.
From the Paper
"Bob Hope started out as a young man as a vaudeville song-and-dance man, but moved rapidly to comedy. By 1930, Hope had reached vaudeville?s pinnacle, the Palace, and moved on to leading roles in Broadway musicals such as Roberta and Red, Hot and Blue. Next, he began appearing on radio, and then moved to Hollywood, where he starred in 50 films, and had cameos in 15 more. (Fagan, A01) His first movie was The Big Broadcast of 1938 and his last appearance was a cameo in Spies Like Us in 1985."
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20th Century American Drama, 2005.
A look at the themes in the plays of many of the great American playwrights of the 20th century.
4,595 words (approx. 18.4 pages), 5 sources, MLA, $ 119.95
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Abstract
This paper looks at the various themes in the plays of such playwrights as Eugene O'Neill, Thornton Wilder, Tennessee Williams, and Arthur Miller. Themes of power, conflict, dehumanization, the immortal value of life, addressing and accepting reality, and the American dream are all touched upon in this paper.
From the Paper
"Eugene O?Neill?s play, ?The Emperor Jones (1921),? is the horrifying story of Rufus Jones, the monarch of a West Indian island, presented in a single act of eight scenes of violence and disturbing images. O?Neill?s sense of tragedy comes out undiluted in this surreal and nightmarish study of Jones? character in a mighty struggle and tension between black Christianity and black paganism (IMBD). Jones is an unforgettable character in his powerfulness and fatalness, made most evident by the support of language, sound and other stage effects, such as the dreadful drumming sounds and the Emperor?s hallucinations. This psychological drama delves into the nature of power, the inevitable pull of history and in the belief in the supernatural as these were experienced in the first two decades of the last century."
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Restoration Drama, 2004.
An analysis of the significance of the 'rake-hero' as a symbol of social disorder in Restoration drama.
4,760 words (approx. 19.0 pages), 10 sources, MLA, $ 122.95
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Abstract
This paper examines how one of the distinctive features of Restoration comedy is the figure of the rake as romantic hero. The image of the rake-hero is of a witty, cynical, calculating, and self-serving man who pursues his own pleasure above all other considerations. It looks at the significance of the rake-hero as a symbol of social disorder by considering three plays, "The Careless Lovers" (1673) by Edward Ravenscroft, "The Man of Mode"? (1676) by George Etherege, and "Love?s Last Shift" (1696) by Colley Cibber.
Outline
Introduction
The Rake and his Times
Careless in ?The Careless Lovers?
Dorimant in ??The Man of Mode?
Loveless in ?Love?s Last Shift?
Conclusions
From the Paper
"The character of Dorimant can be regarded with a similar ambivalence as that of Careless. If he is intended to act as a warning against libertine behaviour and to fit into the character of the ?penitent rake? he does not do so very successfully, for as Robert Hume has observed, he is ?too glamorous and successful ? Dorimant is undeniably glamorous ? he has wit, spirit, an amorous temper, charm for women? and he provokes ?a combination of fascination and disapproval? (Hume (1976), 93, 95). His conduct is hardly estimable; he rids himself of one mistress, Mrs Loveit, by exploiting Bellinda, whom he seduces in the process, before apparently falling in love with the heiress Harriet Woodvil. It is perhaps only because he meets his effective match in Harriet that he can be viewed with indulgence. It is she who seemingly brings about his reformation."
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Costumes for "Othello", 2004.
A look at the factors involved in designing costumes for Shakespeare's play, "Othello", and some of the problems associated with this task.
2,198 words (approx. 8.8 pages), 8 sources, MLA, $ 68.95
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Abstract
This paper discusses four different productions of "Othello" and examines whether the costumes in each production adequately reflect the personalities of each of the characters and the era in which they lived.
From the Paper
"Designing costumes for Othello, in whatever form--play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona has to be understandable in the context of her own time, and of ours. While it may have been usual then for a woman to trust even when reason would tell her not to, it isn?t so today."
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The Theater of Dionysus, 2004.
This paper discusses the ancient Greek theater and the area in which the drama was presented called the Theater of Dionysus.
1,110 words (approx. 4.4 pages), 6 sources, APA, $ 38.95
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Abstract
This paper explains that the evolution of theater in Greece may be linked directly to the festivals of Dionysus, the Grecian god of wine and misrule. The author points out that Greek theaters, including the theater of Dionysus, were not free-standing works of architecture, but rather they were built into hills in amphitheater forms. The theaters of Lycurgus replaced the original wood of the Dionysus theater with stone, reaffirming the importance of theater in the city of Athens' civic and religious life, which continued well into Hellenistic times, culminating in the Romans' added changes to the structure and including the addition of the Bema.
Table of Contents
History of Theater in Ancient Greece
Architecture of Greek Theaters
Parodos
Bema of Phaidros
The Central Section
Marble Throne of the Priest of Dionysus Eleutherios and Other Priests' Seats
Skene
The Stoa on the South Side of Skene
From the Paper
"The parodos of the Theater of Dionysus was a gangway leading into the orchestra over which chorus and actors made their entrances. There are two parodoi, one on each side of the orchestra. Parodos was also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play. This is another indication of the fusion of the role of ritual, the role of the chorus, and the role of architecture in early Greek theater."
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Homer's "Iliad" and "Odyssey", 2004.
Examines the art of storytelling and the role of women in these two works by ancient Greek poet, Homer.
2,612 words (approx. 10.4 pages), 3 sources, MLA, $ 78.95
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Abstract
The poetic verses of Homer as found in his "Iliad" and "Odyssey" were handed down through the generations via the oral tradition, being the transmission of traditions from the past in the form of storytelling, which is closely related to the poetic style of oral presentation. This paper examines the form of poetry in both of Homer's works. In addition, it looks at the role of women in both plays and shows their importance in the overall structure and plot of the tales.
From the Paper
"Out of all the female characters that play major and minor roles in the Odyssey, Penelope is by far the most important, due to being the wife of Odysseus, the mother of Telemachus, and the object of desire by the numerous suitors who attempt to take the place of Odysseus, thinking that he has perished at the hands of the gods. Her attitude toward these suitors is somewhat ambivalent, but ?the reader is assured several times that her faithfulness to her husband is unswerving and Odysseus himself is also assured of this fact by Anticleia and Agamemmon in the
world of the dead and by Eumaeus in the land of the living? (Page, 215). It is also quite clear that Penelope has done everything she possibly can to avoid the pressures brought about by the suitors to marry one of them and forget about Odysseus."
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Moliere's "The Misanthrope", 2004.
A look at the central theme of honesty in Moliere's play, "The Misanthrope".
931 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper explores the theme of honesty in this play and how the characters convey Moliere's message that, while honesty is much appreciated everywhere, it is important to use tact while being honest or else we risk alienation from society.
From the Paper
"The play revolves around four important characters, Alceste, Celimene, Philinte and Eliante. It is through the characters of Alceste and Celimene that the author conveys his views on honesty. Philinte serves the important purpose of balancing honesty and deceit by adopting a middle path, which is both sensible and practical. Alceste is the protagonist of the play who is a man of rather unfriendly disposition and t5his unfriendliness emerges from his desire to be complete and even bluntly honest about everything."
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?The Glass Menagerie? by Tennessee Williams, 2004.
This paper discusses the character, Laura Wingfield?s, role as the author's alter ego in the play, "The Glass Menagerie" by Tennessee Williams.
1,050 words (approx. 4.2 pages), 5 sources, APA, $ 36.95
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Abstract
This paper explains that, although ?The Glass Menagerie? centers its attention on Tom, another character, Laura Wingfield, Tom?s sister, emerges as a powerful individual in the story. The author points out that establishing Laura?s character takes more than physically describing her deficiencies, such as her being crippled. Laura is also characterized as a woman who has lost all hope of attaining a wonderful life in being a wife and mother. The paper relates that author Williams achieves self-actualization through Laura?s character in the same way that Tom and Laura finally free themselves from their emotional burdens in the play, ?The Glass Menagerie?.
From the Paper
"Laura?s low regard for herself is not only developed within her but also by the people who are with her, especially Amanda, her mother, and Tom. This observation is expressed among critics who have illustrated Laura?s character as ?symbolic,? i.e., laden with hidden meanings meaningful only to Williams?. Indeed, she is identified as the character who is ?burdened by self-consciousness,? experiences a ?sense of worthlessness,? and ??yearning for ? ideal or mystical beauty and spiritual or romantic love? absolute emotional and artistic fulfillment??. The third symbolic description of Laura, which pertains to her inherent likeness for ?mystical beauty? is symbolically represented by her fascination of her glass collection, considering them as objects that compensate for her imperfection."
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Moliere's "Tartuffe", 2004.
An analysis of Moliere's play, "Tartuffe", and the notion of hypocrisy in the play.
1,930 words (approx. 7.7 pages), 3 sources, MLA, $ 61.95
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Abstract
"Tartuffe" (Hypocrite) became public in the year 1664 for the first time as a three-act play that, when produced, attracted unfavorable denigration from religious factions. This paper discusses the hidden matter or the message of the play in addition to critical analysis from scholarly sources. In the play, one sees hypocrisy of the characters, especially hypocrisy of the main character in the play. However, it is not always clear that what one sees is true, and it is also true that seeing does not always leads to believing. In the play, the writer, Moliere, derided unnecessary godliness that he views as being a true from of hypocrisy; he did not condemn the actions of the pious people, but those who appear to be religious and, thus, are hypocrites.
From the Paper
"Thus, the hypocrisy that is evidently ridiculed in the play is specifically related to religious hypocrites. In fact, the theme and message of the play is convened to the public by means of satire and comedy in the play. If we go in to the history of the play, the time and the situation when it was written, we come to know that the play was directed most probably at the Company of the Holy reparation. This was a furtive society that was instituted in the year 1627 and the main aims of the society was to oppress unorthodoxy and religious opposition, where other aims concerned with spreading the extreme religious faiths by means of charity as well as other missionary work, in addition to improvement of its well defined standards ethics and morals. In effect, the society was a sort of a representation of a pious police from whom the private lives of the people were no secret."
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Tartuffe, 2004.
An examination of the social message being portrayed in Jean-Baptiste Poquelin Moliere's play, "Tartuffe".
1,875 words (approx. 7.5 pages), 8 sources, MLA, $ 59.95
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Abstract
"Tartuffe" narrates the story of how a scoundrel and a hypocrite disguises himself as a pious man of religion. By affecting religious behavior, Tartuffe charms his way into the house and the favors of Orgon, a local rich man. Orgon is unfortunately unable to see through Tartuffe's duplicity, and in the process, almost loses all his possessions to the scoundrel Tartuffe. Only the fortuitous intervention of the king saves Orgon?s family from the machinations of the unscrupulous Tartuffe. This paper argues that "Tartuffe" is best read as a satire against the hypocrisy of political and religious authority figures of Moliere?s day.
From the Paper
"The satire contained in this play made its author a target of 17th century religious authorities. After all, the main audience of this play was the Parisian elite in the late 17th century. This audience would have understood that Tartuffe had an underlying critique of both bad kingship and lying religious leaders (Baker, "Tartuffe as political parable"). The authority figures evidently understood this as well. When Moliere died, he was originally denied burial on consecrated ground. Only through the intervention of the king swayed the Archbishop of Paris's mind, smoothing the playwright's burial in holy ground (Bloom, ?Chronology,? p. 208)."
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"Hedda Gabbler", 2004.
An analysis of the play by Henrik Ibsen, "Hedda Gabbler".
911 words (approx. 3.6 pages), 1 source, MLA, $ 32.95
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Abstract
The paper analyzes the main character of the play, Hedda Gabler, daughter of General Gabler, who married Tesman out of sheer frustration because she was getting old and could not find a suitable and rich match for herself. The essay examines the reason behind Hedda committing suicide at the end of the play.
From the Paper
"The character of Hedda is that of a woman who had to live by the norms of the society that are mainly laid by men and who did not find the rebellion to these norms as an alternative to fulfill her desires to living a wishful life. Rather she endures the cultural limitations thinking that these are the boundaries that are set for her and crossing over would tarnish her much beloved repute. Being too much caring of the societal norms, she selected a life of comfort and respectability that was guaranteed in marrying Tesman. However, she soon became bored and frustrated with this life where there was no love and passion. Tesman was unaware of the feelings of his wife Hedda and also to her physiological and emotional state that demanded love and caring and affection. Instead, he was too engrossed with his own occupations."
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"Death and the Maiden", 2004.
An examination and comparison of Ariel Dorfman's play, "Death and the Maiden", and Roman Polanski's movie version.
1,301 words (approx. 5.2 pages), 3 sources, MLA, $ 43.95
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Abstract
This paper shows how Ariel Dorfman's play and Roman Polanski's movie, "Death and the Maiden", strongly indicate that Paulina's accusations that the man in her house is the same man who tortured and raped her twenty years earlier. The writer points out that the use of sound and isolation create an atmosphere where the audience must use its imagination, thus encouraging audience members to accept the man as Paulina's accuser. While there clearly is some room for the audience to consider Paulina's actions as invalid, both the clearly sympathetic portrayal of Paulina and the dramatic movement of the play and movie ultimately lead the audience to believe her accusations.
From the Paper
"Dorfman's play and Roman Polanski's movie share a common plot. They are set in a South American country as a democratic regime takes over from a brutal dictatorship. Paulina is a woman who was repeatedly raped and tortured during the regime, who comes to believe that a man who stumbles onto her home is the man who tortured her in the past. While the general details of the plot remain true between the play and movie, there are important differences as well."
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