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How can theatre cope and survive with the changing society
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The performance that I attended is Rooted: Tim Miller. Tim Miller’s one-man show is his personal exploration on what comes next after marriage equality as a gay man by looking backwards and searching for meaning in his forefather’s own pursuit for equality. He plays as himself in his autobiographical account on an empty stage in an unassuming black shirt and pants. The only embellishment in his performance are the mostly magenta lighting on the background and his invisible props, actors and his husband, Alister, that he hand-gestures into existence. Miller’s voice dominated almost everything auditory in the performance with the exception of an instance when a very old but up-tempo song played counter to his monologuing in a frantic but …show more content…
He described a moment, as he recreated it with gestures, where his friend responded to a homophobic heckling by turning around and exposing himself to the culprits. That incident drew the loudest crack-up from the crowd while I was only mustering a decent chuckle at the same instance. I took a moment to reflect on why that obvious joke felt flat to me compared to a room full of giggling viewers. I concluded that perhaps my exposure to the gay community and how sexuality is a very strong part of our culture and identity made the lewdness seem …show more content…
The title gives hints about a reflection looking back to our roots, but I think that it didn’t telling the story of two men who are in love and will fight to keep each other from being driven apart. Perhaps this was not the point and the focus of Millers show. I think this is in part due to a generational division within the gay community as the older bracket were at the forefront of the civil rights movement and us in the younger end are finding our own way and searching for the meaning of what is it to be married. On the surface level, the story told by Rooted: Tim Miller was an account by the performer of the years leading up to the legalization of same-sex marriage. On a grander scale, it is a story of resistance and fighting for the wider civil rights by bridging the progress gained throughout the past with the present. After the show, Miller conjected that theater is the strongest when voices are being silenced and that the stage are the first responders of cultural upheaval. He mournfully believes that we are currently in one of those
This whole play by Arthur Miller shows how our community will turn on each other to save ourselves no matter if it’s right or wrong and it’s true in our society today. It also shows how a good man regained his happiness and holiness by standing up for what’s right against the lies and sacrificed himself for the truth.
Chris McCandless lived a life in which he disgusted by human civilization, and left it, eventually being led to his death in Alaska. McCandless entered the Alaskan wilderness severely unprepared, a brutal error that cost him his life. In the novel, Into the Wild by John Krakauer, Chris glances into his mindset by they way of his journal, history, and analysis of his life reveals that Chris McCandless as an arrogant and judgemental narcissist, while not mentally unstable, had a condescending attitude towards society and perished not only from his reckless stupidity but also from his unparalleled ego. Chris McCandless was immune to love and had an obsession with nature and society, him showing characteristics that created the appearance of McCandless
Arthur Miller’s success first began with his Broadway play, All My Sons, in 1947. This award winning play “Struck a note that was to become familiar in Miller’s work: the need for moral responsibility in families and society”. (Anderson 1212) Later, his production Death of a Salesman left him the group of America’s top playwrights....
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
This case study is about a man, Miller, who has worked at a factory for 27 years. He is a pocket setter and is able to run two machines in an efficient manner. He is happy with his job as well as happily married to his wife who works at the same factory. He has children but they are raised and moved out of the Miller’s home. He wants to work another ten years before retiring but is rethinking this decision due to the company hiring a consultant firm who has recommend a job enrichment program and his job will be the first to be effected by this program. Right now he just uses the machines and sews but under the new program he will also have to get his own materials, get his own needles, perform routine maintenance on his equipment, and deliver his work to the next station. He believes this will be having him to do three jobs instead of two and that he could go elsewhere and not to have to deal with something like this.
Arthur Miller wrote plays as a way of showing people the real picture of what life was really like during the Great Depression and after World War II. Before the Great Depression many Americans were living in a significant time period, the Roaring Twenties. People had radios, automobiles, and movies with sounds. Then it all suddenly came to an end with the Stock Market Crash, leading to the Great Depression. During the Great Depression, Americans faced poverty, and had no income because jobs weren’t available. Throughout his life Miller influenced many people with his plays, and his contributions to this day because people want to read and understand what was truly happening in past history. For example, “The Crucible” is a play about the Salem Witch Trials, giving a good understanding of the basics that went on in this time period. Another example of Miller’s influential work is “The Death of a Sales Man”, which is his way of showing what life was like when people were struggling financially during the Stock Market Crash. Overall, Arthur Miller is one of the leading American playwrights of the twentieth century.
In the beginning of the article, Lukianoff and Haidt explain how one word can offend a college student really quickly, even if the person saying it didn’t intend to insult them. The authors then tell the audience how popular comedians, like Chris Rock, have stopped performing on college campuses, because the students cannot take a joke.
the critics accepted Miller’s piece as informative work through a piece of american history. Miller makes his political
It is human nature to tell stories and to appreciate and participate in theatre traditions in every society. Every culture expresses theatre and may have their own traditions that have helped pave the way for how they are today. The involvement of African-Americans has increased tremendously in theatre since the nineteenth century and continues to increase as time goes on. African-Americans have overcome many obstacles with getting their rights and the participation and involvement of Theatre was something also worth fighting for. American history has played an important role with the participation of African-Americans in theatre. Slavery occurrence in America made it difficult for blacks in America to be taken seriously and to take on the characters of more serious roles. With many obstacles in the way African-Americans fought for their rights and also for the freedom that they deserved in America. As the participation of African-Americans involvement within the theatre increase so do the movements in which help make this possible. It is the determination of these leaders, groups, and Theaters that helped increase the participation and created the success that African-Americans received throughout history in American Theatre.
Back in my younger days, I feared to lose my social and economic privilege as being seen as a homosexual female, so I policed myself to present this ‘straight girl’ persona, to avoid being publicly and institutionally sanctioned. Reflecting on Adam’s readings, “Adult heterosexuality was not taken to be an inevitability; it was an achievement of safe passage through adolescence.” (p***) Regardless, of how I felt back when I was young, I still do “act” heterosexual (acting heterosexual is the performance of the traditional straight sexual identity). Be that as it may, now I don't distress when peers around me don’t follow the social rules of normative femininity and heteronormativity in public.”Years ago I would have shunned them, or best, ignored them” (76); and yet with several developed friendships that I have made along my life journey, and a lot of courses that bring awareness to homosexuality; I’m proud to say that “gradually my awareness...was no longer the source of my shame, but the beginning of my empowerment”. (p.75-76) I have reached the point in my life, that now I force myself to acknowledge and not fear the social retaliation of the practices and normalization of heterosexuality by the women I know. Meanwhile, I may still be self-conscious around those women who don’t fit this normative, yet I won’t be imposing my opinions on them, those opinions are up to me
“The Miller’s Tale” perfectly incorporates all of the necessary components that make up a winning tale. In Chaucer’s, The Canterbury Tales, “The Miller’s Tale” fully satisfies every rule required by the Host, in a humorous and intriguing way. He uses the misfortune of the characters to grasp the reader’s attention, and keep him or her interested throughout the story. In the tale, Chaucer includes the idea of religious corruption happening in England during the fourteenth-century. He takes this negative idea and manipulates it into comedic relief by making both Nicholas and Absalom clerks. The actions of those characters, who were supposed to be revered due to their religious position, proves Chaucer’s negative view of the Catholic Church in England at that time. Through Chaucer’s incorporation of fourteenth-century religious corruption,
...pressing of emotions, identifying with other systems of thought. Theatrical arts have managed to transcend ethical issues, racial differences, and many other facets of discourse in society. If theatre is indeed an engine for social change it should not be held from the people who need it the most. Those who are incarcerated. Programs across the nation have already started to see success in the prisons they operate in, so to think about the effect that theatre in prison would have on a nationwide scale is indeed a beautiful thought. If theatre programs in prison would be funded by the states or nationally, potentially the idea of professional prison playhouses could become a reality, and the world would be introduced into a new era of art that is truly a beautiful thing to behold. Shakespeare writes in Hamlet, “We know what we are, but know not what we may be.”
The family unit has always been a treasured and revered dynamic on television and in movies. Dating all the way back to I Love Lucy, storylines focused on the relationship between man and woman. Ozzie and Harriet introduced us to the quintessential American family—father in a suit, mother in pearls, and two exceptional children. It wasn’t until the 1970s that gay characters and lifestyles began to emerge. In 1973, An American Family, a PBS series featured one of the family’s sons revealing his homosexuality. In 1977, the television show Soap costarred Billy Crystal as an openly gay man. In the 1980s, it became trendy to feature gay and lesbian characters in ensemble casts. If you watch reruns, you can always find the token gay, that is, the really flaming homo or the butch lesbian gym teacher. The motion picture Mannequin, starring Andrew McCarthy and Kim Catrall, featured Meshach Taylor as Hollywood, an eccentric, finger-snapping homosexual. Many stereotypes such as these continued until the early nineties.
Pieces written and produced were created to shine a light on the social problems within America, as well as the growing concern about money and personal financial wellbeing as well. American theatre was already established during this time, thanks to the “two potent young dramatists: Arthur Miller, who turned the ordinary man into a figure of tragic stature in Death of a Salesman (1949) and drew a parallel between U.S. Sen. Joseph R. McCarthy’s anti-Communist ‘crusade’ of the 1950s and the Salem witch trials of 1692 in The Crucible (1953), and Tennessee Williams, who created a world festering with passion and sensuality in plays such as A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1954).” (Rea) America had had a history at this point in time with using theatre as a device to reflect society, something once again seen by the popularity of Sondheim and Andrew Lloyd Webber who used their art to highlight the emphasis society had placed on the rich and classism. In the sixties and seventies, there was also an exaggerated emphasis on the development of African American, Asian, and Hispanic theatre companies in an attempt to further diversify a white-dominated field. Women’s companies and LGBT+ friendly companies also became popular during this time. Both of these things showed a transition in a field dominated by straight, white men to an artform that could better represent our culture and society by being
He has portrayed an overly masculine bigot in an entirely ridiculous manner that pokes fun at those characteristics. It comes down to his comical portrayal of issues that would be a much bigger deal in any other setting coming from any other actor, and it is extremely refreshing. Ferrell’s films and his comic fame certainly raise stimulating thoughts within a grander discussion of contemporary masculinity, sexuality, and social politics. The majority of his films, present idiotically archaic varieties of “normative” masculine conduct and in nearly every case, Ferrell’s humor develops completely on devaluing and growing these gender norms. He instills both earlier and existing representations of manliness with both a juvenile approach and comedic tendency to go over the top, thus discrediting these stereotypes and opening them up for ridicule.