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Summary of the phantom of the opera movie essay
Summary of the phantom of the opera movie essay
Phantom of the opera history essay
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The Phantom of Opera(Summery) This is about what happened in The Opera House in Paris. The Opera House, which was begun to build in 1861 and finished 1875 year for seven million francs, had 17 floors, ten of them were above ground and seven of them were under ground. That mysterious event happened in 1880 year. There was Phantom, who was named Eric from France, in The Opera House. Everyone in city spoke about it and every worker in Opera was afraid of him, except doorkeeper Madame Giry, whom he spoke only. He controlled everything there. Each director ignored him at the beginning, but they accepted his demands after some accidents happened to them or to their workers. The last time, the directors of Opera were Armand Moncharmin and Firmin Richard. They have two singers, one Christine Daae and the other La Carlotta. La Carlotta, whom all citizens loved, was very famous and main singer in The Opera. Christine was very young and inexperienced, but she was pretty beautiful. One day, when Faust would be pl...
This year’s last word in speeches was first presented in 1790. In August of 2015, Lin-Manuel Miranda’s hip-hop musical Hamilton (as in founding father Alexander) opened on Broadway. One of the musical’s most memorable moments, “Cabinet Battle #1,” includes arguments from both Hamilton — then Secretary of the Treasury — and his frequent political rival, Secretary of State Thomas Jefferson, persuading Congress to vote for or against Hamilton’s proposal of a national bank. For its presentation to an assembly and consideration of the most advantageous course of action, “Cabinet Battle #1” is a pair of deliberative speeches. They’re also, by the way, a rap battle. Though the speeches’ content is rooted in centuries past and the delivery is timestamped with today, the rhetorical strategies defined by Aristotle are as present in Miranda’s lyrics as they would have been in Jefferson
Enrico Caruso arrived in his cozy fifth floor room at the Palace Hotel after performing Carmen at San Francisco’s Grand Opera House the night before the earthquake. He says he “went to bed feeling very contented”, although he woke up feeling a very different way. “But what an awakening! … on the Wednesday morning early I wake up about 5...
The story of The Phantom of the Opera appeals to many types of personalities and people of all ages because of its archetypal characters and patterns. Carl Jung theorized that we are born with innate tendencies to perceive things a certain way: "a kind of readiness to reproduce over and over again the same or similar mythical ideas . . ."1. These repeated ideas are archetypes. The basic legend of The Phantom takes place in 19th century Paris, and is that of a young and talented, but untrained singer named Christine. Erik, the Phantom, is a disfigured genius of many fields, including music, architecture, magic, and science. His fatal flaw stems from his strong dislike and mistrust of the rest of the human race, which has been very unkind to him throughout his life. He encounters Christine in the Paris Opera House, becomes infatuated with her, and initially claims to be her otherworldly musical tutor. Conflict occurs when Christine is torn between Erik's dark and passionate world, and her innocent love for the well-bred Raoul. These fundamentals of the story of The Phantom are kept in tact among the versions, while changes are made to target the adaptation to a certain audience. Another common attraction is to the personality of Erik, a character often repeated in literature. Erik's relationship with Christine also encompasses many archetypal patterns, and the love triangle among Christine, Erik and Raoul is a recurring human behaviour2. In addition, there are several object-oriented archetypes throughout the story. Repetition of patterns and characters in The Phantom of the Opera creates a universal appeal for the tale.
Lloyd Webber’s widely regarded masterpiece Phantom Of The Opera uses key motifs and themes throughout the musical to establish its characters and scenes in an effective manner. Throughout the production the motifs, themes and songs all develop to reflect the changes their respective characters undergo. This is particularly evident when analysing The Phantom, his motifs and songs, and how they develop throughout the story.
English poet Alexander Pope said; “Our passions are like convulsion fits, which, though they make us stronger for the time, leave us the weaker ever after.” In the play Othello the Moor of Venice, Othello is faced with many different situations where he must decide if he will choose responsible behavior or to follow his passion. Throughout the play, the decline of Othello is very apparent; he began as a man who put work in front of all personal problems and made sure to put others in front of his own well-being. While following his passion gave him a feeling of temporary power, in the end, that is what led to his downfall. Love for Desdemona and soon after, envy and anger for Desdemona took control of Othello’s life in Cyprus. These feelings lead to Iago being able to take advantage of Othello which eventually lead to Othello’s demise.
“All the world’s a stage, and all the men and women merely players.” William Shakespeare may have written these words in As You Like It in 1600, but Erving Goffman truly defined the phrase with his dramaturgical theory. Dramaturgical analysis is the study of social interaction in terms of theatrical performance. Unlike actors though, who use a script telling them how to behave in every scene, real life human interactions change depending upon the social situation they are in. We may have an idea of how we want to be perceived, and may have the foundation to make that happen. But we cannot be sure of every interaction we will have throughout the day, having to ebb and flow with the conversations and situations as they happen.
Erika Miklosa has neither the range, nor the vocal skills, nor the temperament of the Queen of the Night. She might make a good Queen of High Tea. In short, a highly uneven musical evening, and one in which the music was never able to soar and beguile as The Magic Flute must. Komische Oper is the third tier company in Berlin, in budget as well as in ticket prices. This has the distinct advantage of making opera accessible to young people and there were plenty in the audience the other night, rarely seen, one would guess, at the other houses here and almost never in the US.
Dramatic Devices in Othello Many people will argue that soliloquies are outmoded, embarrassing and a thing of the past. They hold this idea because they believe audiences want to see more action, rather than talk. However, I disagree and believe that soliloquies are important dramatic devices. which are important in making any kind of drama successful.
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.
Is it not true that guilty dogs bark the loudest and, thus, is he projecting upon his wife that which he has previously committed with other women? Does this love of Desdemona feed into his hatred and jealousy of Othello? Back to Emilia and Iago's relationship, however, Iago indicated above that he suspects that both Othello and Cassio have (or will) seduce(d) his wife and that the jealousy thereof wracks his mind and causes him to want to get even. When Iago deceives Othello, and begins to plant distrust in his mind, he says a few things that may mirror his own inner truths. Iago states to
The Phantom of the Opera by Gaston Leroux was a gothic novel written in 1910 (add historical context) The main protagonist in the story her name is Christine Daaé and she is an actress. After lessons with a mysterious figure she calls the “angel of music,” she acquires a beautiful singing voice. The main antagonist of the novel is the phantom of the Opera a man who when he was young ran away from home because of his deformities. Now he lives within the Opera house and terrorizes the people within its walls. The main plot of this story involves the protagonist Christine Daaé and the antagonist phantom of the opera or also known as Erik. Christine is an actress at the opera house of Paris and a mysterious
In the play Othello by William Shakespeare Iago is the one seen as the puppet master, the orchestrator, which is mostly true. Although Iago does essentially get the ball rolling, Othello and Desdemona aren’t exactly innocent either. Both of them are prime examples of just how easily the human psyche/mind can be manipulated to hating, betraying, and even killing the people they love (Othello mainly). Other characters, like Roderigo, Cassio, and Emilia, are also blameworthy. They didn’t try to stop Iago, or refrain from their relationship with Desdemona (Cassio), they were so easily manipulated that it’s hard not to see their fault in the events that transpired. All of these characters, not just Iago, are at fault for what happened. Everyone
Analysis of Act 5 in Othello Iago's intelligence causes the self destruction of Othello. He appears to be the most intelligent person in the play, Othello, by the way he acts and handles some situations. Iago is set to plan revenge on Othello for not making him lieutenant. He gains the trust of Othello by telling lies to him, and these lies cause the destruction of Othello.
Oliver Parker's film interpretation of Shakespeare's Othello uses cinematic techniques to express to the audience two major themes that are present in the original play. Appearance verses reality and racial discrimination are both significant themes that Parker focuses on throughout the film. Through the use of camera angles, language, tone, symbols, costuming and voice-overs, Parker conveys clarity of the themes for the audience to interpret.
The Phantom of the Opera centers on the Paris Opera House which has over time become the Phantom’s domain. Upon the news that the opera house has been bought and is under new ownership, the Phantom demands that the new owners honor the “agreement” he has established with the previous owners and that the fifth opera box is kept empty for his use and that his salary of 20,000 francs per month is honored. The Phantom also demands that Christine, whom he has secretly been giving singing lessons to, replace Carlotta Giudicelli, the opera company’s prima donna. He also warns that if his demands are not met, that the opera house and the opera company will need to pay the consequences. Though the origins of the Phantom are unknown to the general population of the opera house, Madame Giry knows more about the Phantom than she lets on. It is later discovered that Madame Giry helped the Phantom escape a life of abuse from a freak show and that she hid him at the opera house where she was studying ballet. It was during Christine’s and the Phantom’s singing lessons that he began to fall in love with her and came to be obsessed and protective of her. The return of Christine’s first love, Raoul, threatens to tear Christine an...