...One of Shakespeare's longest, most perplexing, and, for a lot of people, most frustrating play, Hamlet stays one of his most convincing and the most read play and it lives up to expectations, too. Hamlet can be better seen by analyzing Hamlet's soliloquies. The majority of Hamlet's monologues demonstrate Hamlet's self-loathing and even a readiness to bite the dust. The soliloquy "To be, or not to be: that is the question" shows up in Act 3 Scene 1. It is, maybe, one of the best-known soliloquies by Hamlet in the play, which produces significant scholarly investment even today. Hamlet is feeling profound agony and distress in light of his father's passing. It appears that he is not able to acknowledge this partition. He would like to live. Considering suicide, he doubts himself rationally in the event that it is legitimized to live with so much agony and anguish or if finishing his own particular life is the best conceivable choice. "To be, or not to be: that is the question" Hamlet makes this a stride further and works on the supposition that everybody would rather be dead than living, and is alive simply because he has a trepidation of slaughtering himself. Hamlet is no more addressing whether he needs to die, yet just whether or he finds himself able to slaughter himself, on the grounds that murdering himself clashes with his religion. Hamlet’s sadness over his father's demise and his mother's snappy marriage made him wish for death even before he discovered that his uncle...
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...MONOLOGUE Ten seconds left. I can barely hear anything. I feel the vomit creeping up in my throat as the milliseconds go by. Everything is getting very blurry. Tension is rising. Who would have thought that we would be down by one point and I would be the one trusted to hold this basketball? Why did my coach want me to shoot the last shot in the first place? What do I bring on this court that is any different from what my teammates would bring? Every face on my bench is almost frozen, their eyes locked on to me and the ball. There are hundreds of people in the stands watching my every move. Deep breath. Every little thing has to be on point. Nine seconds. I just want to pass the ball away over to my teammate, get rid of it. Why not? Who cares what my coach says? He’s the one who put me in this situation anyways. Eight seconds left. Its just too embarrassing to miss THE final shot in THE final game of the season. I have earned every second I stepped foot on this court and worked too hard for this shot to be a miss. All the time spent practicing and all the injuries, I just cant let myself and everyone down. Seven seconds. I see everyone in the stands jumping up and down but can barely hear them. What do they want from me? i’m 18 years old for crying out loud! It’s not like I’m in the NBA here! I want to see them try and step foot in my shoes right now... Nonsense, focus. My defender looks really intimidating. His muscles contract as his thumbs rub against his fingertips...
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...states of mind in two or three works of fiction you have studied. Introduction: Throughout both novels, The God Small Things by Arundhati Roy and As I Lay Dying by William Faulkner, characters often lack rational thought and, speak in Most authors have distinct styles, and in both novels, Roy and Faulkner embed a deeper meaning within them with the use of a subtle and discreet narrative manner, such as stream of consciousness and interior monologues. This is particularly true in As I Lay Dying, a novel of a dysfunctional and unstable family told through fragmented chapters. Each character reveals their perspective in different chapters, but the perspectives are true to life in that they all reveal information about the Bundren family and their struggles to exist. Although stream of consciousness proves to be prevalent in the progression of the plots, a series of flashbacks and flashforwards unfold the secrets of these characters' unhappiness. Through the use of literary devices such as stream of consciousness, interior monologue and analepsis and prolepsis, Roy and Faulkner allow for the flow of impressions coming through a character’s mind to be represented on the surface. Outline: I. Stream of Consciousness A. As I Lay Dying 1. Faulkner imitates the way the human brain works; the progression of thoughts passing through the mind as they occur represents a selective omniscience a. I am I and you are you and I know it and you dont know it and you could...
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...due to the fact that Amanda of an affluent decent and so such things as table manners when she was growing up, would have been of more importance than perhaps to Tom and his current financial situation. Tom does not appear in the second scene and so this could elude to the idea that Tom is trapped by financial burden. As we have discovered from Toms opening monologue, his father disappeared leaving Tom to be the sole provider for the family. This could perhaps suggest, through the theme of being male, that Tom is perhaps trapped by his gender, as in 1937 it was the role of the man in of the house to provide for the women. As a result of this societal norm, tom had to take work wherever he could find it, and so works in a low paid, low skilled job in a shoe factory. Perhaps the shoes are a metaphor to the running he is so longing to do away from his family, but more specifically, Amanda due to the burden of expectations she places on his shoulders to be the perfect gentlemen in a social class where, perhaps such thing does not exist. It could be argued that in scene three, the pivotal moment is not in the monologue when Tom breaks Laura’s glass menagerie, but the prior conversation he has with Amanda. Tom confirms the...
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...Character Monologue It destroys me that they all come running up to me when they need someone to listen to them whine. They just carelessly suspect that I'm immune to sadness and depression. What they don't know is that I'm just like them. To them, I'm this person filled with joy and God knows nothing can drag me down. They assume I don’t have any troubles in my daily life, nope, all just rainbows and sunshine. They don't stop to consider that maybe all this depression surrounding me gets me down once in a while. No, how selfish of me, they've got their own problems to deal with first. They want to hear me say that everything will be okay, and that things really aren't as bad as they seem to be. You know, generic bullshit that’s on every page of social media. I’m having to listen to them ramble on about their crushes not liking them and their boyfriends not spending every minute of every hour of every fucking day with them. Maybe, it's my fault. I put on this front like I'm always so happy and cheery, so they naturally gravitate to the happiest person they can find within a mile radius. Maybe they're hoping a little bit of what’s left of my happiness will be passed onto them. Maybe they think that they'll be happier if they're like me. Oh, God. Stop me. I'm going on an ego trip again. But they wouldn't want this happiness spared onto them, it’s not happiness, quite the opposite. I can barely handle it anymore. People say that I'd make a good psychologist, and maybe they're right...
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...Monologue 7/19.15 Monologue He was a man, cold like his steal knife. I could still feel it on the tip of my skin…so sharp…so lifeless. The blood dripping down my flesh, tears streaming down my face. He could have got me? Oh no…he could have. But did he? She was the first one to go. Who’s she you ask? Hmph…That does not matter anymore. I could hear her screaming as she called for help she grew limp, her voice cracking as he dragged her away. Do you think I am crazy? Doctor. Do you? The blood, the lives. Oh no but she came back, she came back but I knew it wasn’t her. The skin was there, but it was being worn by someone else, someone whom wanted to be her. I knew he wanted to smile, but her skin wouldn’t let him. He wore it, he wore what was hers. I stayed silent as he played dress up. The mirror he stared at was covered in dust, and each day I stared with him. He must have forgot about me? Though he enjoyed her skin a lot more than the others. He continued to wear it as if he knew I was watching, dolling her up as if she was his own. As he was her. This man wasn’t the prettiest, the lights dimming down on his harsh features, even with someone else’s face he couldn’t achieve beauty for he was a monster. How long did it take me to leave you ask? You tell me Doc am I really here or are you the one who’s...
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...My Last Duchess Robert Browning was in his 50s before he achieved universal popularity but the lean years prior to his recognition allowed the poet to experiment with genre, form and language. As well as poetry, Browning had a great love of theatre and one of his early ambitions was as a playwright but after failing to find success on the stage, he accepted that he lacked the skill to engage audiences for several hours. However, his apprenticeship was not wasted for Browning, honing his skills by endlessly editing scripts, took the dramatic monologue (a new genre of poetry invented by Tennyson) and perfected it. His preoccupation with individual introspection that was a disaster in theatre, once transferred to poetry, added richness and depth. And by employing dramatic techniques learned in the theatre, he created complete poems that could be viewed as vignettes of a larger text. In other words, he was able to successfully write shorter pieces but in a new dramatic fashion. My Last Duchess is not only an example of a dramatic monologue, it is also one of Browning’s most famous and, generally regarded as, his best work. Published in 1842, the poem is the influence of a month-long trip to Italy, a country where he ultimately spent a large part of his life, and can be considered one of his ‘Italian’ poems. The back story is usually considered to be that of the last of the Este line, the fifth Duke of Ferrara, Alfonso II, a Renaissance aristocrat who is famous for imprisoning...
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...The State Theatre Company’s recent staging of Things I Know To Be True, is both a moving and beautifully crafted piece that succinctly captures the dilemmas present in contemporary Australian life. Set against the backdrop of the southern suburbs of Adelaide, the Price Family’s children face a series of tough choices at the turn of each new season. Co-directors, Geordie Bookman and Scott Graham produce an intimate family drama that explores the themes of familial love, change and paternal expectations through physical theatre, staging and music, to create a piece that has the ability to make its audience laugh and cry at the same time. Scott Graham’s artistic direction, focusing on characterisation through physical theatre, effectively explores...
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...I entered McGinnis theatre with low expectations for 1776. The only thought running through my mind is how boring this musical will be. Looking around the only other people who were attending were family members of the actors and fellow theatre kids coming to support their department. The more I looked around the more my expectations lowered. My roommate was next to me literally jumping in her seat. Truthfully, she was the reason I went, I couldn’t turn her down after she spent money on my ticket. My roommate chose our seats towards the center back of the theatre in front of the lighting board. Most would consider these the nosebleed seats but with the way McGinnis is designed, I could see the full stage in its entirety. The director Robert Caprio gave an honest anecdote on his first experience with the musical in the playbill. Caprio talks about life in the sixties and the disappointment he felt when “the establishment on Broadway” chose 1776 as the best musical of the year. He continues to talk about him...
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...For this Friday's assignment, I'm considering writing about my experience in the theatre, especially in regards to performing in my first opera. I want to tell the story of the narrative in the form of an internal monologue, taking place before I step on the stage. So, in a sense, I want to tell the story from the first person present point of view, about a past event. I would like the narrative to begin standing on a stage. I am franticly worried about stepping on stage; this is my first role in an opera ever, and I have to enter and immediately begin singing. To prepare myself, I wildly chant my lines under my breath, speaking over five words a second, running through my entire scene ten times before coming onstage. While this is going on, I am watching my love interest, one of the primary characters of the narrative, finish her scene, but I am completely tunneled into my mental rehearsals. At last, after fiddling with my hidden prop, I step on stage and the lights hit me. In a sort of disassociated state, I approach, curtsy, and sing. The primary focus of this story will be demonstrating a time where I used all of my musical literacy. This story also has an interesting angle because it focuses on a part of entertainment that the average person never sees, and it is an...
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..."The Santaland Diaries” by David Sedaris is about the time when he was in his 30's and out of work, had to suffer the indignities of taking a job as an elf at the Macy's Santaland in New York City. The tale was first performed as a monologue by Sedaris on National Public Radio in 1992. This production was presented at the Alley Theatre. The theatre was big and it was a square, the audience surrounded the stage from all of the four sides. Majority of the audience were in their 30's to 60's, with mixed diversity. Unlike the other plays I have seen, this play has only one cast member named Todd Waite (Crumpet). He does an amazing job performing the whole play. It felt like he was directly speaking to me. Crumpet’s costume was modern and casual at first, and then he changed into a velvet bright green elf costume for the rest of the play. The set is a square, anchored at one corner by a giant red Christmas ornament, at another corner by a giant Santa, and at another by a chair into which an exhausted Crumpet crumples at times. There’s a side table which has water, milk and cookies. The lighting didn’t have any special effects. The lights would go off when they had to do a scenery change and also when a recorded voice turns on. There were sound effects and it was Christmas music. It played in the beginning of the play and a little bit towards the end as well. Also, there was a recorded voice of a lady throughout the play. For example, when it was Crumpets break time the voice would...
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...Directed by Sharon Graci and written by College of Charleston Alumni David Nelson, the play Folly Beach was produced and showcased at the PURE Theatre. David Nelson explores real life circumstances such as marriage, infidelity, and forgiveness. Although these are serious and sensitive subjects, Nelson reveals problems and solutions to these ideas in a comedic manner. I believe Nelson’s objective was to keep the audience engaged and filled with laughter. Nelson presents subjects that the majority of the audience could relate to. With Jeremy getting married, Tom happy to get away from his wife, Alice having an affair with Andy, Brent suffering from a heartbreak, and Daniel going through a divorce Nelson successfully conveys their feelings on...
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...memorizing it on their own. B) Meiningen Players: Georg II, Duke of Saxe-Meiningen, ran this company. He wanted his costumes and setting to be very accurate to history. Crowd scenes displayed each actor as an individual character, while at the same time working in unison with the other actors. C) Naturalism: Andre Antoine used naturalism in his productions. In La Terre he used real hay and live chickens in a farm scene. He also used natural lights from candles showing that a real barn is being presented. 4. A) Choosing the Text: This is the first job of the directors. They may want to address an important issue or present themes that the director wants to explore. A director may want a script that accommodates a particular actor or theatre space. The director also has to take into account the audience as they play a key role, having to decide what they might enjoy or if there are any problems in the community that should be addressed in the text. B)...
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...Choose a play we have not read, and write a paper in which you interpret the play and its lasting significance. Begin by carefully reading the play itself and deciding for yourself how you interpret it. Then, do background research on topics such as the author’s life, the times in which the play was written, the production history of the play, critical essays on the play, etc. Write a paper that demonstrates how this information illuminates your interpretive understanding and appreciation of that work. Be sure to clearly state your interpretive thesis clearly in your first paragraph, and substantiate that thesis throughout the paper by citing your research sources along with appropriate passages from the text of the play itself. 50% of your research must be from actual books and print sources that you find in the stacks of our library, or from interlibrary loan. Include footnotes and bibliography in MLA format. Class Presentations: Each of you will be in charge of one class presentation in which you decide how best to historically illuminate a play on the syllabus for the class. I am open to your creative approaches to this assignment, so long as your work is grounded in solid script analysis and careful historical research. Regardless of the kind of presentation of you choose to do, your goal is to convince the class (and me) that the historical perspective you have provided has deepened our understanding and appreciation of the play as an artistic achievement. ...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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