While a good majority of stories and plays concentrate on setting as the environment or location of their story, the setting of Romeo and Juliet shows important ideas and ways of life in Elizabethan times, while also backing up all of the most important ideas in the play. When analysing setting, the cultural environment is just important as the actual time and place. Shakespeare uses a number of Elizabethan beliefs in Romeo and Juliet. This is to help the audience relate to the storyline so they understand what is going on. For instance, fate is one of the most important cultural beliefs in Romeo and Juliet and to show this, the prologue tells the audience that Romeo and Juliet will take their own lives.
These selections are made through the script or playwright among each actor within the play. Diction also has a great effect on the characters by announcing and exhibiting their very own personality. Aristotle requires these six main elements to create a perfect
THEA 101 Comparative Essay Cloud nine and Trifles Question Two: Compare the ways in which characters are developed and distinguished one from another in your two chosen plays. Ensure that you consider the performative requirements and potential, as well as the relationship between dialogue, plot, and theme. In any play, characters are the most important element. They influence everything, from the plot to the costumes to the lighting and action. Remove a protagonist from the textual play and everyone else will be impacted; relationships will change, themes will modify and the plot will be altered.
Through reading ‘The Crucible’ and ‘Othello’ we can see how this is true, as it us both a greater understanding of the genre of drama and of tragedy, as well as the characters, values, and themes in both plays. Every play contains a crucial scene which decides the audience’s attitudes towards the characters and the values that the play promotes. In In The Crucible, this is the scene with Abigail Williams, when she is accused of consorting with the devil. “I want the light of God, I want the sweet love of Jesus! ...I saw Sarah Good with the Devil!
“An individual’s interaction with others and the world around them can enrich or limit their experiences of belonging.” Discuss this view with detailed reference to your prescribed text and ONE other related text of your own choosing. While the nature vs nurture debate still faces a hung jury, it is true that nurture, or our exposure to the outside world, plays a key role in human development, particularly concerning each individual’s evolving perceptions and experiences. Both the dramatic tension of Arthur Miller’s play The Crucible and Jon Turteltaub’s 90’s romantic-comedy While You Were Sleeping explore this concept, especially in regards to belonging. Characters from each text reveal that though belonging in its many forms is an inner need, it comes from, and is either nourished or left unfulfilled by interactions with the outside world. In Act One of The Crucible, Arthur Miller uses an omniscient overture to reinforce the secrecy of something “no hint of [which] has yet appeared on the surface” – that John Proctor, “respected and even feared in Salem, has come to regard himself as a fraud.” The next scene reveals the source of this dramatic loss of self-respect – Proctor has committed adultery with Abigail Williams, his former servant girl.
Tall tales and fables push human beings toward each other, encouraging them to link together and form the bonds that enable them to survive. The traveler Ibn Shariyar knew the values of storytelling. A
Main points include that this source of praise for the play by critics and readers comes from the parallelism between imagination and love, and the specific ways the author of the play, Shakespeare, constructs the plot. Expanding on Dent’s assertions, the author includes that imagination in itself is necessary for the functionality of most works and the idea of love has specific characteristics that act as reasons for the actions and decisions made by characters in the text. The author maintains the emphasis on the relationship between imagination and love. Their interaction in this play specifically causes confusion and folly which produces the comedic effect so praised by audiences. Imagination is used to describe the ambiguity of love itself, by having fairies implementing magic on the characters to cause them to fall in love with the “wrong” people.
Thus we knowingly or unknowingly create an effect upon who we are speaking to through language, gestures, and physical behavior. He has offered great insight into social relationships. Goffman explains his view of human life around the idea that everyone is actors who have both a front and back stage behavior. He say’s from early ages we become skillful actors who move in and out of roles. When we are on the front stage we follow the society rules or expected behaviors, in other words playing the script and role that society has made for us.
The idea of someone getting up and giving information to others in the form of plays, songs, recitals, dance, stories, poems—in other words, by a method that requires one person or persons to perform before others, is universal. Perhaps the question that we should consider is what type of historical and cultural constructs would lead to the formation of a community in which theater is important. III Community as an Historical Construct One source describes “community” as an evolutionary process that is closely tied to the concept of citizenship. Beginning with the ancient Greeks, citizenship has been an integral and important part of community. “Citizenship” in this context means more than simply being born in a specific place, it means actually taking an active part in public life, being aware of the issues and taking part in governance.
It can also be related to all of human interaction. According to Melanie Beddie (2006) in her studies in The Dramaturgies Project, the study of dramaturgical theory has recently become popular in theatre. “What is clear is that ‘dramaturgy’ is now conducted and continually re-created in process through engagement with the terms, the means, the grounds, the suppositions and the questions that emerge in the space of and place of performance.” (Beddie, 2006,