IMPACT OF BUNRAKU ON CONTEMPORARY THEATRE The rise of Bunraku: Bunraku is a term commonly used for ningyo-joruri, which literally means puppets and storytelling. The combination of chanting and shamisen playing is called jōruri and the Japanese word for puppet (or dolls, generally) is ningyō. The term while describing a puppet performance, also alludes to its predecessors. In Japan, along with the tradition of travelling storytellers, who used biwa as their accompaniment, there were also travelling puppeteers. The period of confluence of these two arts forms is not known.
‘Still Angela’ by Jenny Kemp and ‘Ruby Moon’ by Matt Cameron are plays that evaded the norms of conservative and often straightforward theatre, into a dreamlike, surreal state. They portray life as a routine; and to escape it, the characters pursuit their own inner self journeys. Both playwrights Cameron and Kemp use contemporary theatre forms, which has created an interesting approach on story telling. However the theatrical techniques of Ruby Moon and Still Angela are completely dissimilar. Unlike ‘Still Angela’s’ jolted time frame, ‘Ruby Moon’ has a very distinct progression, as it is highly episodic.
Chikamatsu Monzaemon grew up in a Samurai family and became closely connected to Takemoto Gidayu, a puppeteer, and moved near his theatre. Monzaemon wrote a number of Kabuki plays, however then decided to write plays specifically for characters. He had two genres of plays, domestic tragedies and historical romances. Most of his works were based on real incidents, for example, double suicides of lovers. The Love Suicides at Sonezaki were actually based on a real incident of a double love suicide.
The dimension between the two characters create and showcase personal and social tensions throughout the play by utilising comedic and serious anecdotes, with dialogue and theatrical techniques. The play has other characters that are crucial to the main character such as Ben and Martin, but focuses primarily on the unlikely duo and their path of friendship. As a result of the also non-linear narrative which is presented in two acts, from a staging perspective, it is a challenging piece due to the sporadic changes in time and location. However through the use of sound, lighting and props, the personal and social tensions between the characters can be expressed on stage. The individual experiences explored in Neighbourhood Watch include a variety of theatrical techniques and utilises performance styles, whilst incorporating animal symbolism as a motif.
Poetry and drama have a few key features that emphasize their per formative nature. One is the use of rhyme, rhythm, meter, alliteration, and other types of sound symbolism. For example, in Gwendolyn Brooks' "We real cool", the poet uses a strong rhyme scheme, a consistent meter, and an almost sing-song tone to demonstrate the lack of education of the narrator and his or her youthfulness. It also emphasizes the last line "We die soon.". Another is in "unity of action".
Consequently, the story would be dry and less lively, and some important connections and meanings could not be made. Romeo’s true feelings for Juliet would be somewhat vague and blurry, and Juliet’s beauty would be imprecise and ambiguous. The way Shakespeare beautifully executes the language of imagery is what will make him be remembered for generations to
The play Our Town, by Thorton Wilder is a simplistic piece of literature with an outlook and overview on the larger and less prevelent topic of the need to look at what is infront of you, the need to treasure the small pleasures that life has to offer. Thorton accomplishes this modesty most acutly with three topics. the first being the scenes following the friendship, courtship, and relationship between Emily and George. The second is emily's untimly, and dauting passing. The third is the justly shown the through the setting and the story neing told through a lone man; the stage manager.
‘The Yellow Wall-Paper’ Argues without Argument ‘The Yellow Wall-Paper’ is a complex short story told though the point of view of a sarcastic and insane protagonist, who has rapidly changing ideas about her surroundings, other characters and even her own psychological state. Because of this, readers may come to a variety of conclusions about major plot points and themes. Puzzled, readers will identify the piece as a horror story—a vivid portrayal of insanity with unsettling realism. This is indeed the conscious conclusion that Charlotte Perkins Gilman intends for her readers to form. However, the piece is so much more than a simple horror story; it is a deceptively hidden but powerful essay on female equality and marriage, two topics about which Gilman wrote frequently.
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
However, the most incredible of all these passages is found in Act 4, Scene 1, Lines 164-177, where Macbeth contemplates his inner thoughts to himself. Here, Macbeth speaks to time, providing the audience with a more in depth image of its importance. Also, Macbeth’s diction is short and fierce, further pushing the play’s theme of insanity slowly taking over Macbeth’s mind. Lastly, the passage faultlessly illustrates Macbeth’s fatal flaw of ambition slowly ruining his inner being. With these things taken into account, it will be effortless for one to show just how lovely this passage is