Phantom of the Opera is the longest running musical to date, as it has been touring non-stop for 28 years. Phantom is known as being a tremendously heart wrenching performance that centers around a love triangle and angst. The love triangle involves Christine Daae, Raoul, and the Phantom, who is also known as Erik. Christine came to the Opera Populaire as a young child where she grew up mastering the arts when her father passed. The Phantom was a man deformed at birth and was shown in a freak show until he eventually ran away as child and found shelter in the lake beneath the Opera House, where he found Christine and became captivated with her. Raoul, who was once a childhood friend, became a benefactor of the Opera House where he sees Christine …show more content…
As someone who has seen the musical, the movie, and listened to the soundtrack multiple times, there is no one better to analyze this topic with. Christine was never destined to be with the Phantom, a man who embraced her into a toxic relationship through manipulation. Christine’s relationship with Erik was never healthy or mundane and should not be thought of as a relationship that could have lasted in any way. In the musical, she chose to be with Raoul, the man who helped save her from the Phantom’s grasp and end his reign of terror. This should be respected and accepted by the musical’s millions of fans. In "’Christine...Christine’ : A Different Perspective on 'Phantom of the Opera'’ the author states: …show more content…
If they go by this standard, kidnapping her so the Phantom could teach her to sing and attempting to ensnare her in his lair forever was all ‘for’ his and Christine’s relationship. In the article “The Phantom Of The Opera Is A Better Man Than Raoul,” the author includes, “Raoul wanted nothing more than to finish off the Phantom... He would go so far as to put his fiance in harm's way...The Phantom, though murderous, did everything for Christine because he loved her. All he wanted was her love. He wanted to showcase her abilities and hear her sing all the time because it brought him peace in a very troubled life” (Lodge). Though no one can argue against the fact that the Phantom loved Christine, his love and affection do not justify his manipulation or the murders he committed ‘for’ Christine. If anything, it makes this relationship even more dangerous and toxic. In addition, a fan on the forum “Walk in Christine’s shoes… would you choose Phantom or Raoul?” added, “I would personally chose the phantom...I would rather die at the hands of someone who loved me, then by [someone] who... thought they loved me after they saw me on stage [Raoul]” (CountessDaae). This shows how people romanticize the manipulative relationship with a dangerous
At night Christine is singing to Raoul, and makes him sad because he can tell she isn’t herself. Carlotta is singing when she suddenly can’t. Moncharmin and Firmin sitting in box five feel as if there is some else there. Carlotta keeps croaking the chandelier crashes to the ground killing a woman. Christine is suddenly gone after the night of the crashing of the chandelier. She is not found for two weeks; until Raoul finds out she was taken by her “Angel of Music”. He sees her riding in a carriage with a ghostly looking male appearance. The opera holds an annual masquerade ball. Christine comes with a man who is in a Red Death costume. Christine and Raoul get out together but only getting into their first fight. He has a confrontation with Red Death, which is presumed to be the Phantom. Christine comes back from the Angel of Music, but won’t answer any of the questions that Raoul ask. He notices on her left ring finger she has a simple gold ring. He wishes th...
(Act I.3. 129-169) explains how Desdemona came to love him. “She loved me for the dangers I had passed, And I loved her that she did pity them” (Act 1.3. 167-168). Othello convinces Desdemona’s father, Brabantio, and the senators that he did not use witchcraft or magic to win Desdemona’s love. “Being not deficient, blind or lame of sense, Sans witchcraft could ...
Othello is noble, tender, and confiding; but he has blood of the most inflammable kind. Unfortunately, Othello was naïve enough to be swayed by Iagos misplaced trustworthiness and the accusations cause the entire play to unfold. Once someone brings up a sense of all his wrong doings, he cannot be stopped by considerations of remorse of pity until Othello has extinguished all that fuels his rage and despair. Othello is described as a “Moor” by his critics (Brabantio, Iago). A “Moor” is a slang word used for the dark skinned appearance of the Muslim people from the northwest part of Africa.
The European Renaissance forever changed the life of the contemporary individual. Explosive advancements in education, technology, and trade broadened geographic and mental horizons; however, in England these developments were paired with population crises of poverty and unemployment. In addition, the increased interaction with foreign cultures fomented by various commercial and diplomatic engagements gave rise to apprehension in English sensibility. Eventually, Christian England would attempt to reshape these ‘strangers’ in their image and modern racial tensions sprung forth. Recursion of the trope of race, under the guise of blackness, heathenry, or even femininity occurs extensively in literary tradition, and especially within Shakespeare’s oeuvre. “There exists in all literature an archetypal figure who escapes both poles of the classic definition – appearing sometimes as hero, sometimes as villain, sometimes as clown…[he] has been named variously the ‘shadow,’ the ‘other,’ the ‘alien,’ the ‘outsider,’ the ‘stranger.’” It is with this borderline figure, mired in ambiguity, that this investigation is concerned: primarily with the stranger as the Moor in Othello, the Welsh in Henry IV, Part 1, and the woman in both.
When faced with the choice of true love or a soul mate, not many people would know what to choose until the last possible moment. They dream of a romantic beginning and a happily ever after ending. These are often found written in the dark and twisted romance novels. One of the many favorites is written by Gaston Leroux, and is one of his best works, The Phantom of the Opera (Le Fantôme de l'Opéra), which is a notable example of the Gothic genre, which was popular in the end of the eighteenth century and the beginning of the nineteenth century. By studying his early life,
In stark contrast to the dark and tragic "Othello," is one of Shakespeare’s lightest and funniest comedies, "Twelfth Night." The theme of love is presented in a highly comical manner. Shakespeare, however, once again proves himself a master by interweaving serious elements into humorous situations. "Twelfth Night" consists of many love triangles, however many of the characters who are tangled up in the web of love are blind to see that their emotions and feelings toward other characters are untrue. They are being deceived by themselves and/or the others around them.
Through studying Shakespeare’s and Cinthio’s Othello, I explored the concept of ‘The Moor’. ‘The Moor’ is a disrespectful and racist term , often used by white Europeans referring to arabs and blacks, and people of other races with relatively dark skin, such as Othello. During Shakespeare’s time, blacks are considered to be outsiders and are inferior to white people. In Cinthio’s work, it stated that moors are hot-headed as evident in this quote ‘you moors are of so hot a nature that every little trifle moves you to anger and revenge’ which is evident that moors are hot-headed. In scene 1 of the play, Iago told Desdemona father that his daughter was robbed by a thief, Iago uses metaphor to describes Othello as a “black ram”. Desdemona’s father was shocked that his daughter will fall in love with a black man. He believed that Othello must have use some magic to make his daughter fall in love with him; as there is social class difference at that time and it is unimaginable that a white woman will love a black men.
On Friday November 3rd I had the pleasure of attending an evening of Opera titled Love Through the Ages with Maria Fortuna and Nancy Townsend at the Sean O’Sullivan Theatre. Having never been to an Opera performance I had no idea of what to expect and was looking forward to this new experience. Fortuna was accompanied by multi-faceted pianist Nancy Townsend. These two musicians showed tremendous expertise and were able to keep my attention through the extent of the program.
As previously explained in the first paragraph, a key theme that arises in both texts is ‘Deception’. Although deception is a noun, the verb of deception is ‘to deceive’ and the definition of deceive is “cause (someone) to believe something that is not true, typically in order to gain some personal advantage.”. This is a very accurate way to describe both Viola and Blanche as they attempt to cause confusion amongst other characters about their personal characteristics. In ‘Twelfth Night’, Viola deceives the other characters into thinking that she is a man named Orsino, and she is convincing enough to do so. Viola was given the idea by the captain and she ends the ...
“A mother. A daughter. Three possible dads. And a trip down the aisle you’ll never forget!” MAMMA MIA! The Musical performed on Tuesday March 18, 2014 at the Hanover Theater by Work Light Productions written by the British playwright Catherine Johnson and directed by Phyllida Lloyd. A musical based on the 1970’s Swedish pop band ABBA top charter album ABBA GOLD: THE GREATEST HITS set on a Greek island vacation getaway unfolding the bride-to-be’s, Sophie, search for her self whom believes can find her answer by discovering the true identity of her father. Sophie encounters with her mother’s diary from the year she was conceived and learns the names of three possible fathers: Harry Bright, Bill Austin, and Sam Carmichael. Sophie sends all three an invitation to her wedding in hopes to uncover the identity of her absent father to join her in the walk down the aisle to give her away to her fiancé Sky. Sophie’s mother, Donna, a strong fierce independent mother whom vows she can get on with life without the use of a man beside her is in complete devastation to discover the arrival of her ex-lovers the day before Sophie’s wedding. Especially the man she cared about the most, Sam, whom she never wanted to see again for leaving her to be married off to another woman. A secret she hid all these years from everyone including her two best friends, Tanya and Rosie, whom together use to be known as the girl group Donna and the Dynamos. Except Donna herself doesn't even know which of the three is Sophie’s father because she slept with all of them in a very short amount of time one after the other. Sophie believed she would know which one of the three men was her father with just one look but is now even more confused then she was before feeling ...
All the relationships in the play are used to demonstrate the vulnerability of people when involved personally with other people. Each of the relationships in Othello portrays insecurities in each person, except Iago. In fact, all of the relationships with one character, Iago, are focused around him and his devilish plot for the demise of Othello. However, most of the relationships in Othello bring about unintentional frustrations and vulnerabilities. The marriages in Othello are the most important relationships in conferring vulnerability because they bring out the best hopes and attitudes, and the worst fears and emotions in each character.
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
...erent character, more Iago like than Iago himself. He has no regret for what he has just done, and no respect to his innocent wife Desdemona, whose obedience and naivety led to her untimely downfall as well. Othello is a victim in the sense that he was puppeted by Iago, but also a villain in the sense that he is controlled the strings all along. He goes along with Iago’s judgement instead of his own, refuses to shed light on the situation by simply asking the two involved if they were actually involved, and even as his wife pleaded that he recognise she was innocent of any infidelity, he was already in too deep in his own jealousy to stop himself from himself. It is important that we remember both sides of Othello, and that we learn to distinguish this transformation of him as a character, for the thing that makes one a victim can also be one’s own tragic flaw.
In Shakespeare 's well known play Twelfth Night, which takes place somewhere in Illyria, Lady Olivia is an independent, powerful, wealthy but single woman; the sudden deaths of her father and brother has left her in sadness alone in a big castle to herself. She has her relative Sir Toby Belch who was still around and visited her. Orsino, a duke, has a huge crush on her and is trying to have her to himself. Meanwhile, the jealous steward Malvolio who also has a crush on Lady Olivia, is a guy who is full of himself and acts like he 's king, he forgets where his place is sometimes. In Olivia 's house there is the weak and foolish Sir Andrew who has a crush on Olivia and is wishing one day he would get a chance with her. are also these twins,Viola and Sebastian. They have been shipwrecked and isolated from each other, so Viola thinks Sebastian is dead, and Sebastian thinks viola is dead. Later Viola decides to disguise herself as a messenger and call herself Cesario so she can work for Orsino. Since Viola was so pretty and the way she used her words were great, she won Orsino’s trust. Orsino tells Cesario
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...