Harwood begins her piece with a display of Eisenbart’s strong view of anti-feminism. He is “asked to attend/a girls’ school speech night” and hand out some prizes. This, he could not stand at all, “rudely” declining the offer that he was given. At this time, feminism was rising strongly within the Western world, and Harwood delicately tells the readers of how the world viewed this movement. In a way, Harwood is using Eisenbart as a representation of the all the stereotypical men of this time, and to the women readers, this foreshadows the events that are coming, of Eisenbart's – and hence the men’s – demise, as women rise to the level of men.
Throughout most of the play Mary is accepted by the girls and the court as she just follows along with them without and disturbance. However she chooses to defy Abigail, to do what’s right and an automatic disassociation began between her and the girls. Miller uses stage directions to express the exclusion to the audience “[She glances at Abigail who is staring down at her remorselessly]”. However under the pressure Mary breaks and she once again makes a decision to follow along with the girls’ hysteria to once again belong. Once again Miller uses stage directions to show her reunite with the girls “[they all watch, as Abigail, out of her infinite charity, reaches out and draws the sobbing Mary to her].
It Has Been Argued That Scene 10 is The Tragic Climax, to What Extent do You Agree With This Statement? Whilst Scene 10 of A Streetcar Named Desire is the physical climax of the play, it is clear from the language used in the book and the emotions of the characters in scene 11 coupled with Blanche's "faintly hysterical vivacity", that scene 10 is not the tragic climax. For, it is during scene 11 that the audience feels most "pity and fear" both for Blanche and the other protagonists of the play and therefore, according to Aristotle, is a perfect example of tragedy. Williams breaks the book down into several key parts which build up the audience's pity for Blanche and ultimately lead to a total catharsis of emotion from them in Scene 11. From the beginning of the play, there is a building of tension amplified by the use of stage direction and music.
Priestley’s stage directions also note that the lighting should be ‘pink and intimate’, but when the Inspector arrives it should become ‘harder’ i.e. greater contrasts, and these would show how different the Inspector and the Birlings are. To begin with everybody is relaxed and the whole family are very happy, but when the Inspector turns up and starts to talk about the suicide, it becomes clear that everyone in the room is hoping that he will leave before long – Birling speaks ‘somewhat impatiently’ to the Inspector, as if to hurry him – so that they can get back to their party. But when it becomes apparent that he isn’t going to leave anytime soon, which is marked at the point when
2012/05/14 Monologues of Nora’s Power: An Adaptation of Acting Style in A Doll House By adapting the acting style of the characters in my production of Ibsen’s A Doll House I will show how people abuse their power upon realizing that their situation has become advantageous. I will use a scene from Act 1lines 534-616 to show that Nora takes advantage of her situation when she becomes aware of how powerful her husband is soon to be. When this realization occurs in a scene, time will freeze on stage and Nora will come out to address the audience with a monologue. The first time we see Nora abuse her situation is when she disregards her conversation with Dr. Rank and Mrs. Linde about the “sick society”. Instead she says “it's perfectly glorious to think that we have--that Torvald has so much power over so many people” (1.587-589).
At the end of the scene, Blanche moves in on the boy and kisses him, and without waiting for his response, she tells him that he should be on his way now. In the play, when Blanche approaches the young boy, he becomes nervous and is a little shocked. The stage directions for the play indicates, “The young man clears his throat and looks yearningly at the door” (Williams
So my female friend named Kelly I call her kels she fuckin calls me and tells she she said fuck her when she did bob I just gasped and said bitch why you lie but I didn’t fucking care I wanted to kick bobs ass already then I said ill be over there don’t worry were friends for life I fucking arrive over there and see this nigga bob I punch this nigga in the face and kick him in the nuts then I head upstairs and said why the fuck is he here she says I wanted to date him so I slap the spit out of her fucking mouth then I rip her clothes off and fuck the shit outta her it was fucking fun.i mean damn don’t worry I have a new fucking friend hes awesome and don’t worry that shit wont happen with him hes a true best
Pea 3: Shakespeare really extrudes Lady Macbeth’s disturbed nature to the audience with her clear ignorance of conscience early on in Act 1 scene 7 when describing killing a child for Macbeth if she said she would do it. “I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out, had I so sworn as you Have done to this.” The instantly noticeable violent imagery with “pluck’d” and “dash’d” provides clear ignorance of conscience to claim she would carry out an act like this and not be affected. Pluck’d provides an image of the baby being easily accessible and exposed to just be pluck’d. Dash’d provides the effect of violently thrusting the baby in an evil manner at increasingly high speeds to see the splatter of evilness and pain of the brain symbolising the end for the baby. Shakespeare has used “brain” because the imagery is further emboldened due to the fact it is gruesome.
In my stars I am above thee; but be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon 'em. Thy Fates open their hands; let thy blood and spirit embrace them; and, to inure thyself to what thou art like to be, cast thy humble slough and appear fresh. Be opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity: she thus advises thee that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered: I say, remember. Go to, thou art made, if thou desirest to be so; if not, let me see thee a steward still, the fellow of servants, and not worthy to touch Fortune's fingers.
The reason for this is the fact that you feel a part of this little world that is on stage and you watch each scene on stage being performed instead of imagining it in your head whilst reading the play. Actually witnessing Hero being shamed at her wedding day to then finally see her reunited with her groom Claudio is much more emotional compared to reading the book. The audience feels the pain Hero is going through and this is something the reader might struggle with. An example of this is when Leonato says to Hero “do not open thine eyes” after Hero has fainted. The fact that the audience actually sees Hero faint and the audience actually hears Leonato wish that his daughter would die is drastically more emotional than simply reading the words from the book.