From the beginning of the play, there is a building of tension amplified by the use of stage direction and music. This continues throughout and culminates in the final scene when the audience feels the sense of loss experienced by all the characters and empathises with Blanche's plight. The first thing one notices when reading Scene 11 is Williams' use of descriptive and metaphorical language to underline the tension between the protagonists, Stanley and Blanche. The description of Blanche's "tragic radiance in her red satin robe" alludes to her loss of innocence at Stanley's hands in Scene 10. In the 1940’s it would have been totally unacceptable to describe rape explicitly.
Priestley had witnessed the horrific events of both wars and realized the people in upper classes were still snobby and pessimistic when it came to changing their views in the class system. In creating Sheila's character, Priestley was hoping the audience would take on board his powerful message. Priestley uses a range of interesting techniques in order to present Sheila's change, the most obvious methods he uses is language techniques to convey certain messages. At the beginning of the play, Sheila is presented as a stereotypical middle class young woman - immature and spoilt. Priestley brings this out through Sheila's character through her childish language such as "I'm sorry Daddy and "go on Mummy".
A streetcar named desire is a play with elements of tragedy, pathos and suspense as well. Tennessee Williams uses various tones for the plat in the opening scenes. He does it through the characters of Stella, Stanley and especially Blanche. The blue piano playing throughout the play is used to convey the sad moments in Blanche’s life. There are critical moments in the play and it usually occurs when Blanche fell apart.
How does Miller make this such a dramatic ending to the play? Using many effects in his writing techniques; Miller finishes his play spectacularly with a dramatic ending which keeps the audience on the edge of their seats until the last word. Using dramatic irony he slowly unfolds the truth to each character and critically analysing the ending shows the embedded effects Miller uses to achieve this intense conclusion. One way Miller achieves his intense conclusion is in his rapid change of tone. At the beginning of the passage the tone is confrontational.
‘Is Così more about love than madness?’ Sarah Smith Louis Nowra’s play Cosi focuses deeply on the madness of each character, what makes them mad, how they are truly insane, but throughout this play we unfold a side to each of them that shows the audience how much love is incorporated in their lives. It may not be the typical type of love as in love for another person, but it just may be the love they have to something they care about in Roy’s case the theatre and performing, In Cherry’s case it was love at first sight between her a Lewis and for some it is definitely the love that each shares with another person. Cosi is beyond doubt about more than love than madness. Roy seems to be the over the top, dramatic, mad man that he is. But through madness
Every play needs a temptress, bully, saint and a fool; furthermore that’s where Blanche, Stanley, Mitch and Stella come in. Watching “A Streetcar Named Desire” and reading the book one can get a great characterization of the characters built up in their mind, and so that is what will be pored forth in the next set of paragraphs. Blanche, ah the wonderful girl who could very well be the definition of ‘simile’, caught this audience’s heart ablaze with curiosity. Showing up unexpected with little explanation of why she was there. Being over the top with how she looked and worrying about a secret of her past made her look a bit loony.
The audience sees this play as a play filled with verbal irony, dramatic irony, however it is most... Romeo and Juliet Act 3 Scene 5 Act 3 Scene 5 is a crucial factor in the entire play as it symbolizes the change which takes place in so many relationships. It is the last time Romeo and Julie see each other alive. This is the scene in which the death of
She has the ability to build up a climax into a higher level and then to defuse it by ending an act – turning it into an anti-climax. Moments of high tension include the initial accusations of witches, and John Proctors attempt to undermine Abigail. This could suggest that Abigail Williams is only part of the play to relieve or exacerbate problems occurring in the play, demoting her from the category of being the most important character in, “The
Miller encourages the responders recognition of Abigail as an autocratic power within the play by threatening the weak and vulnerable. This is show at the end of Act 1 with the repetition of "I saw ________ with the devil!" The climax of Abigail's confession creates such intensity within the scene the girls join in. Through Miller's use of dramatic stage structure exposes ____________ between John Proctor and his wife Elizabeth, *Elizabeth pauses, and turns her back on Proctor* this shows her reluctancy to confront Proctor on his affair with Abigail. As Proctor own feelings of disgust overcome him, his confession to the affair with Abigail brings him forward to the court where Danforth's ultimatum, "you are either with the court or you will be courted, there is no in between" conveys the juxtaposing value the town of Salem holds, you conform or become exiled.
As I said earlier red also symbolizes war and anger. The color was so much of a pop that my eye kept going back to the things that were red in different times of conflict and when each couple entered the room. I noticed that the red in the living room belonged to the Novak’s as a whole but when Annette and Alan showed up, Annette had on the garments of red. Throughout the play, you could see how she was dominant and was the power in her relationship rather than her nonchalant husband. God of Carnage was a great play.