“Girl, Interrupted” raises a lot of essential questions, but hardly gives any simple, clear-cut answers. We may say that this film questions the existence of mental illnesses itself. The reason, why the main character of the film, Susanna is staying in the mental hospital is an impulsive attempt to commit suicide by taking a lot of aspirin with a bottle of vodka. Instead of becoming a student of the prestigious Ivy League college, Susanna has a will-o'-the-wisp dream to become a writer. A couple of years before the events described in the movie, she took an overdose had her stomach pumped.
This movie tells the story of Kristen, a young woman who is arrested after burning down a farmhouse, and ends up in a remote ward of a mental institution with no recollection of her life before. Here therapist Dr. Stringer is treating four other disturbed young women; Prim and proper artist Iris, Flirtatious Sarah, Self-harmer Emily, and the shy childish soft-toy-bunny-cuddling Zoey. Soon Kristen notices that the malevolent spirit of young girl is haunting the ward and one-by-one her fellow inmates are brutally killed. The other girls clearly know more than they are letting on and Kristen realizes the only way to survive is to escape. As she struggles to escape, she will uncover a truth far more dangerous and horrifying than anyone could have imagined.
Check your notes; below is a succinct synopsis of that introductory discussion: “Waiting for Conventions” In Waiting for Godot, Beckett implements broken conventions of traditional theatre in order to successfully satirize the detrimental nature of the human condition symbolized throughout this absurdist play (which seems to have no plot). A certain level of tension is created by this plays lack of plot which leaves the audience expecting something to happen that never comes. This lack of plot to some overshadows the reasoning behind why Beckett does this. Although these broken conventions can act as a looking glass into the true meaning of the play, they require the audience to do a certain amount of searching to crack the nut which is Waiting for Godot. Waiting for Godot, unlike many plays follows no specific plot, a concept in which most conventional plays ought to have in order to rope in an audience member to the contents and morals of the play.
Girl Interrupted is about the story of a nineteen year old girl during the 1960's named Susanna who, after a suicide attempt, gets admitted into a psychiatric institution (Claymore) and is diagnosed with Borderline Personality Disorder. During her stay at the Claymore Hospital, Susanna quickly becomes familiar to a number of the institution's residents. These residents included Georgina, a pathological liar, Polly, a terminally fearful burn victim, Daisy, an incest victim and extremely withdrawn agoraphobic and Lisa, a charming, but manipulating sociopath. The focus of this paper will be the symptoms, diagnosis, and treatment that Susanna experiences throughout the film. Borderline personality disorder is characterized by extreme shifts in mood lasting only a few hours at a time.
Though I believe this power quest is best shown through Nurse Ratchet’s power over the patients in One Flew Over the Cuckoo's Nest by Ken Kesey. Ken Kesey begins his novel by showing the protagonist Randle McMurphy arriving at an Oregon mental institution in a police car, this shows that McMurphy is already suppressed and most likely not enjoying it. McMurphy was sentenced to the mental institution after getting in trouble with the law and at the prison. While at the institution McMurphy is monitored by nurses both male and female. The head nurse, Nurse Ratchet, is the main antagonist and the person most interested in attaining power.
It is mainly visual theatre and the actors. It used mainly love or tragic stories which are the same really. The charecters have no names and it is always performed in streets. What is the purpose of this style of theatre? • The purpose of Artaud’s style of theatre was to shock the audience as much as possible • The purpose of Brecht’s theatre was to give a
April 15, 2013 OTHELLO Extra Credit Response According to Aristotle’s six elements of drama, Othello was the tragic hero whose weakness for having faith in those who he thinks tell the truth (Iago) allows him to be manipulated and blinded his jealousy that Iago created as an illusion. This downfall of his led to the death of Desdemona. Othello’s lack for evidence, such as proof of the handkerchief, allowed tragedy to occur in the play. Seeing the play Othello live rather than reading it from a book allowed me to understand the writing and meaning of Shakespeare. Watching Othello, I already knew the underlined themes and symbolism, etc.
The exceptional range of The Bard’s works makes it difficult to define them and even a closer look at most of his plays will not expose things in black and white. Nevertheless, one of Shakespeare’s most admirable tragedies is fairly clear, but still, there is an ambivalent aspect to it, carried out by its main characters: a tragic hero and a villain in the same person; an apparently cruel woman that finishes being consumed by her own guilt. Their actions are truthfully appalling, but the audience may not help to feel compassionate by the afflicted state of their souls. All set in an atmosphere of darkness and darkness is probably the best word to talk about Macbeth, the last and perhaps the most obscure of the four “great tragedies” (KERMODE, 1997, p. 1355). But in order to understand the elements that make Macbeth, it is important to analyse the concepts of tragedy.
Have you wondered if your life is chosen by fate or if it is your own fault? There are two possible answers to this question; it states the obvious that to our own minds we do not believe in fate, as there is not enough proof to prove the existence of fate. In Shakespeare’s “Romeo and Juliet” the tragic ending in the play can conclude to this question. Throughout the play the reader must choose to either believe it is the stars or heavens that lead them to their deathbed or if it was their own personal choice. Shakespeare uses the element of foreshadowing to help build suspense, but does he also use it to prove the myth of fate?
Socrates knew that he knew nothing. Othello also infiltrates the minds of the audience on an epistemological level by diverting their attention. In attending to the problem of knowledge, Shakespeare invokes the following questions: is theatre damaging to public welfare? Is it possible to allow for the transition of theatrical knowledge to pass into the public domain? And can the public acquire synthetic knowledge from a play?