Review of Rupert Goold’s Macbeth I’ll admit, though it may get me beaten by some theater lovers, I’m not the biggest fan when it comes to Shakespeare productions. However, this rendition created by Rupert Goold with Patrick Stewart as lead man playing Macbeth, left a good taste in my mouth. The film opens in what seems to be a hospital ward in a time of fascism and violence; probably around the 1930’s if I had to guess. There’s enough blood, screaming, and morbidity to go around in what is just the preamble to the production which really sets the tone for is what to come. The actors speak Shakespeare’s dialogue eloquently and beautifully which I can personally deem as poetry in motion.
The play portrayed a vivid illustration of each myth’s theme such as greed or love. The style of the play was a mix of classical and contemporary because although the play is speaking about the past, the myths and morals are accepted in the present as well. For each myth, there would be a narrator who explains the background of the characters, the events during the scene, and the
We search for a place to be familiar and feel a sense acceptance, not realising that Belonging is a dynamic process of identification, which establishes a relationship with individuals and their society. The bonds we form with people play a fundamental role in shaping our self of belonging and also transforms through new experiences. The crucible by Arthur Miller demonstrates a constant composition of dramatic techniques throughout the play. Tension is generated throughout the play by the constant struggle to distinguish what is true from what is perceived to be false. Miller’s use of juxtapositions, dialogue, irony, symbolism and imagery implicates his techniques to help implement his ideas into this play.
“Macbeth Essay” In Macbeth, a play written by William Shakespeare, the use of motif is extremely prevalent and not only adds depth to the play itself but also teach valuable lessons about life, the world, morality and humanity. A motif, a recurring idea, phrase, object, situation, or symbol that possesses a deeper meaning, is commonly used to illuminate and unify a written piece. Among the many motifs included by Shakespeare, two significant and valuable motifs are the “unclean hands” and the “sleep no more” motifs. These two motifs present the theme of guilt, the driving force behind Macbeth’s actions and ultimately the driving force of the play following King Duncan’s death. The recurrent “unclean hands” motif establishes the torturous and debilitating feeling of guilt that stains ones soul and conscience after having committed an evil act.
Macbeth Language There are many different types of metaphoric language. Metaphoric language helps emphasize and enlarge things that may not be seen clearly. Some examples of metaphoric language are similes, metaphors, alliterations, and many more. William Shakespeare uses metaphoric language throughout the play to show Macbeth’s lengthy downfall. Throughout the play Macbeth, by William Shakespeare, Shakespeare uses various types of metaphoric language to demonstrate Macbeth’s downfall.
Defining Romanticism Napoleon Bonaparte once said, “Music, of all the liberal arts, has the greatest influence over the passions” (Machlis et al., 2003). This quotation clearly captures the essence of romanticism. Romanticism is characterized by a personal, subjective approach to the arts. Thus, expressions of intense emotions are often evoked through this style of art. In the following articles, “Beethoven’s Instrumental Music”, written by the music critic and composer, E.T.A.
‘Why is Sixty Lights worthy of critical study and inclusion on the HSC Prescriptions List for module B- Critical Study of Text?’ The novel Sixty Lights has been included on the HSC Prescriptions List for Module B because it is worthy for critical study as it is a diverse piece of literature covering significant topics that have been ignored in the modern world. We enter the lyrical and image-laden world of Sixty Lights. It’s a tale, resplendent in colour and imagery, set across two worlds - the constrained and stilted world of Victorian England, and the chaotic danger and abandon of India. Gail Jones creates literature, like Shakespeare, but in this particular piece explores the significance behind photographs and what they represent.
Pacino’s Looking for Richard (LFR) draws on Shakespeare’s play King Richard III in his ‘docudrama-like-thing’ pursuing the goal of making Shakespeare more accessible for a notoriously uninterested 20th century audience. Through the connections implicit and explicit between the texts my understanding of the idea of legitimacy and language have been enriched through a relationship between the two texts where the appropriation affects the original text as well as the text influencing the appropriation. Despite differing contextual circumstances, the contestable nature of legitimacy and its fabrication of credibility is reflected in both LFR and RIII, whether it be over Shakespeare or monarchy. The reshaping of ideas in RIII has also illustrates
Allegory in A Midsummer Night’s Dream Allegory was an established feature of Elizabethan life, and was mentioned by a range of contemporary literary commentators. As Sir John Harington emphasized in the introduction to his translation of Orlando Furioso (1591), the honeyed sweetness of the verse is not where the underlying meaning of an Elizabethan text is to be found, and those of stronger stomachs should look beneath the surface to digest the allegory. Traces of allegories being employed on the English Renaissance stage include the plays of John Lyly, personified figures such as Rumour in the plays of Shakespeare, the stage directions in Wilson’s plays, the administrative papers that describe the symbolism of Gorbudoc, and occasional accounts of audience reactions to plays like The Cradle of Security or the political allegory in The Game at Chess (qtd. In Hudson 3) A Midsummer Night’s Dream is a comic play penned by Shakespeare in the Elizabethan era when allegorical plays were used to amuse the spectators as well as provide a commentary on any situation in indirect and subtle meanings. A Midsummer Night’s Dream is a play that is an allegorical discussion of the Roman and Jewish war of 66-73 C.E.
Flawless costumes, masks, poetry, dialogue, and music are used for visual effect, and there is frequent use of symbols and metaphors to accentuate unworldly themes. The peripheral story and characterization are less important than the internal emotions, theoretical questions, and spiritual foundations delivered by the drama, therefore a great deal depends on the audience's imagination to appreciate the essence or soul of the play and its ideas. The main character of a Noh play is called the shite. Often the shite appears in the first half as an ordinary person and reappears in the second half in his “true” form as the apparition of a famous person. Plays also feature a freelance priest who questions the main character, as well as friends of the hero.