In “Andre’s Mother” by Terrance McNally a family is departing their loved one, Andre who died of AIDS. Andre is homosexual with a boyfriend Cal who he kept secret from his mother. The setting of this play late 1980’s in New York City, a time period were homosexuality was not accepted throughout society and demonized as to being the root of the HIV/AIDS disease. Art forms responded to this problem much like this play did. Andre’s Mother never knew his secret and never made her own verbal stance on it. The symbols – language used, hamlet, and the white balloon -throughout this play show that McNally is persuading his audience to accept homosexuality and AIDS.
Language in this play or lack thereof changes the entire mood and theme of the play. The use of Andre’s Mother lacking language and only giving actions persuades the audience to accept Andres’ secret like his mother does. “Her lips tremble. She looks on the verge of breaking down. She is about to let go of the balloon when she pulls it down to her. She looks at it awhile before she gently kisses it.”(McNally 3) Her actions noted in the stage direction shows her acceptance of Andre in any form that he is. At this part of the play when she learns his secret she still respects him and shows him love by kissing the balloon. “Cal: I wish I knew what you were thinking. I think it would help me…When he was sick if I asked him once I asked him a thousand times, tell her. She’s your mother. She won’t mind.”(McNally2) Andre and Cal always talked about Andre’s fear to voice to his mother that he was homosexual due to her narrow-minded views. Without actually knowing what Andre’s Mother was thinking the love of her son was greater than any disapproval of his sexuality. Penny Cal’s sist...
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...ed via unprotected sexual intercourse homosexual/heterosexual. During this time period this information was well believe and not readily available. Cal, on the other hand was very open and intimate in his relationship with Andre. Cal loved Andre just as if they were already married. Even with this deadly syndrome and his personal belief’s he still ascends to heaven just like anyone else.
In conclusion “Andre’s Mother” was a play to persuade the audience to accept AIDS and homosexuality during the 20th century. Instead of thrusting the audience into his opinion he gently guides the audience to his outlook on the famous social issue. Using the symbols: language used, hamlet, and the white balloon completing admission of Andre.
Works Cited
McNally,Terrance. “Andre’s Mother.” Backpack Literature. Fourth Edition. New Jersey: Pearson Education, 2012.Print precioud
In Tony Kushner’s Angels in America, the interconnection of people and events, that might ordinarily be viewed as disconnected or unrelated, is implicitly presented in the characters section. Dual roles are implemented by a playwright that has one actor portraying the roles of two or more characters, with or without thematic intentions. The use of “dual roles” in several scenes of this play can be viewed as a demonstration of Kushner’s effort in maintaining the interconnectedness between characters, communities (i.e. queer, heterosexual, AIDS and political communities) and events to which they are relative. This essay will argue that Kushner’s use of dual role’s effectively interconnects characters, events and their communities that may be seen as usually unrelated. Analysis of four specific characters, Antarctica, Oceania, Australia and Europa, in Act Five, Scene Five of “Perestroika”, will demonstrate the connection of each Act Five, Scene Five character, to the actors main character based on the implicit evidence presented in the actors “primary” and “secondary” roles, the scenes dialogue and the character interactions. As one will see, by implementing dual roles, Kushner is able to expand or preserve the concept of a major character while the actor portrays another character, keeping the audience from having to completely renegotiate their knowledge between what they physically see of new characters and actually use the new context to view triumphs and struggles for a major character.
Vogel’s writing exudes symbolism from the first word of the script to the last – from the rise of the curtain to its close. The glimpses into Li’l Bit’s past are sometimes explicitly and literally described, but Vogel also often uses extended metaphors to act as a detailed commentary on the action. Why, however, did the playwright choose symbolism to convey the effects of sexual abuse – as heavy as its subject matter may be – during the late twentieth century when seemingly nothing is censored in America? In order to answer this and better understand the way in which Vogel uses symbolism –in the smaller elements of the play and extended metaphors – the terms must first be defined.
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Pontellier does not doubt nor desire for something beyond society’s standard for women. Leonce Pontellier, Edna’s husband, is about fifteen years older than Edna; this age divide causes a drift in what principles Leonce feels that Edna must adhere to. He maintains his belief that Edna should follow a pattern of behavior that is in conformity with what society expects of a mother-woman. A mother-woman, was defined to be one “who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals…” (Chopin 16). This principle definition of a ‘mother-woman’ was expected to be followed by the women of the late 18th century; and was viewed as an ‘unwritten law’, or simply a regulation known to obey but not question. At first, Edna does not object to this expected behavior as Leonce’s wife. She fulfills her domestic duties without complaining and she stays loyal to her husband. Mrs. Pontellier never protests or confronts any inward doubt or apprehensions she may have imagined. Instead, Edna conforms by being quiet, reserved and calm; she suppresses her own feelings to try and please society and its strict standards. Yet, all this external conformity and compliance forces Edna to question her role in the society. Is this all she can expect in
The Modern Hamlet attempts to fluster his parents throughout his film, “The Mousetrap”. The movie lacks a chorus and is made of vague clips cut together that are meant to evoke different eras, families, and the jumble and the circles of his mind. It resembles the play within the original text. In this method, Modern Hamlet achieves the goal of the ridicule. But the montage reflects a concerted effort of a director to achieve a goal. Victorian Hamlet accomplishes his objective to a much higher degree. Branagh’s use of Shakespeare’s original words brings out the terror within Hamlet. Both his and the audience’s skin crawl as the words flow. Every insult makes the situation more awkward, and every response enables Hamlet to continue speaking. Hamlet traverses every possible avenue to insult his mother and stepfather. For example, Hamlet remarks during the prologue (line 144) “Is this a prologue or the posy of a ring?” To which Ophelia responds “‘Tis brief, my lord.” Seeing the opportunity to insult his mother, Hamlet turns around, faces her, and at the top of his lungs yells, “As woman 's love.” This insult refers to how Gertrude remarried just days after becoming a widow. No planning; just reactionary, at the
...Gertrude, as does the incestuous Claudius; thus, Hamlet places his identity with his mother. Ultimately, Hamlet seeks not to avenge the death of his father, but to save his mother from her own destructive sexuality, and by extension his own self-destruction. Of course, Adelman prescribes an existential reason to Hamlet's need to rescue his mother; Hamlet needs to "recover the fantasized presence of the asexual mother of childhood" (277). Hamlet needs to separate his mother from all sexuality in order to reap the stability of her selfhood for his own. After refusing to sleep with Claudius, Gertrude restores herself in her son's eyes to the status of "an internal good mother" (279). Hamlet, now, by "trusting her, can begin to trust in himself and in his own capacity for action; he can rebuild the masculine identity spoiled by her contamination" (279).
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
Hamlet, a play that centres on the crisis of the masculine subject and its "radical confrontation with the sexualized maternal body," foregrounds male anxiety about mothers, female sexuality, and hence, sexuality itself. Obsessed with the corruption of the flesh, Hamlet is pathologically fixated on questions of his own origin and destination -- questions which are activated by his irrepressible attraction to and disgust with the "contaminated" body of his mother. (1)
With particular reference to Hamlet, feminist critics might explore the characters of Ophelia and Gertrude and how they challenge—or fail to challenge — the domination of male characters. Feminist critics would also be interested in exploring how the play expresses ideas about femininity that were common in Shakespeare's lifetime and how complicit Shakespeare is in Hamlet's personal misogyny. … Elaine Showalter's essay "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism" explores the difficulties, even embarrassments, that feminist critics have had in approaching Ophelia. The problem is that Ophelia has tended to be overshadowed by Hamlet, even by feminist critics, who then feel the need to liberate Ophelia from obscurity. However, even liberated Ophelia is problematic for she suggests some potentially troubling connections between femininity, female sexuality, and madness.
Analysis: Gertrude is playing the common role of a caring mother. She wants her boy to win and do well so she comes out
In William Shakespeare’s Hamlet, women are oversexualized, and are given no role other than to be the item of a man’s desire. The promiscuity of the only two women in the play, Gertrude and Ophelia, detracts from their power and integrity, and allows Hamlet a certain amount of control over them. Gertrude’s sexual lifestyle is often mentioned by her son, Hamlet, and Hamlet uses his knowledge of Gertrude’s sexuality as a means to criticize her. Ophelia’s sexuality initially appears to be controlled by Laertes and Polonius, and Hamlet takes advantage of the naive image that she is required to keep. However, in her later madness, Ophelia taints this image by revealing that her innocence is feigned. By exposing the sexual natures of both Gertrude and Ophelia, Hamlet strips these women of any influence they may have had, and damages their once-honourable names.
Heilbrun, Carolyn G. (2002). Hamlet's Mother and Other Women. 2nd ed. West Sussex: Columbia University Press.
In "Man and Wife Is One Flesh": Hamlet and the Confrontation with the Maternal Body, Janet Adelman argues that the motivating force behind the plot action in Hamlet is the collapse of boundaries between relationships of individuals, sexes, and divisions of public (state) and private (love) life. The primary cause of the breakdown results from the bodily contamination spread through overt sexuality, specifically maternal sexuality. Janet Adelman asserts her feminism into the sexist view of psychoanalysis to define the contamination as that power of women that men fear.
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
Michael Almereyda’s movie adaptation of Shakespeare’s Hamlet brings about a new perspective through its performance. The movie adaptation, Hamlet (2000), retells the original play in a modernized setting, bringing out various different elements of characters, which highlights a new reading of these characters as individuals, and a newfangled reading of the play as well. Throughout the movie, Ophelia and Gertrude, the woman-leads, are advanced in a progressive manner compared to the original play. In particular, Gertrude from Hamlet (2000) is noticeably altered from Hamlet, the play. This new interpretation of Gertrude and the play created by the movie adaptation advances the position of Gertrude as a woman, as well as motifs of incest, misogyny,