Characterization:
Christine - This adaptation portrays Christine as ditzy, but not stupid. She has no idea that Raoul has fallen in love with her and sees him only as a friend. She is pretty, naive, and nice (mostly, however, very protective over her solos) which makes for a bad combination. She doesn’t fully understand the power she holds over the other characters. For example, if she had told Raoul to go away, he probably would have. She really moves the story forward as it revolves around her actions and reactions to events. Her overall motivation consists of furthering her singing career and finding love with someone who allows her to have her freedom. The other characters like her and she has no problems connecting with those around her,
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However, this portrayal isn’t uncommon and she is the character that fits most accurately both with her stage and movie self. She acts as an antagonist to Christine and competes for the leading lady role in the opera house’s productions. Carlotta often appears only for a few moments at a time and leaves shortly thereafter, mostly due to her quitting a lot! I think Carlotta actually embodies a good person deep down (especially in “Learn to Be Lonely”), but she learned to be thick-skinned in the cutthroat world of opera singing. She probably had a very hard time making personal relationships work out due to her busy schedule. The opposite to Christine, like Phantom versus Raoul, she puts her career first and Christine put love first. Carlotta will wear the same thing as Christine as the same actress will play the pair. Tone changes between Christine and Carlotta, are of extreme importance, as well as actions, in order for the audience to follow character changes. Overall, Carlotta plays the jerk whose soft side went out the window when she picked her singing career over personal …show more content…
Likely due to his lack of human contact (if the backstory from the stage/movie version applies to this). He just doesn’t know how to talk to them. He also loves Christine, or at the very least likes her, because he gets jealous when overhearing the conversation on the roof between Raoul and Christine. Phantom’s main purpose in this play consists of causing mischief, mostly by sabotaging Carlotta and helping Christine through tutoring her singing and making sure she gets better roles in the opera productions. He has a disfigured face, which explains why he wears a mask. However, he won’t really wear a mask because many times other characters hold it for him. Characters occasionally use this against him in a humorous way. I picture him in a black shirt and black pants. This shows him as the evil or villainous character in comparison with Raoul, seen as the hero as he “saves” Christine (especially in the stage/movie version). Overall, Phantom acts as a diva who wants acceptance by those around him and doesn’t know how to accomplish that
She wants to see how and what other people are doing, wanting to improve. her writing skills, asking for help from her grandfather at one point. in addition to just having some way to release all her thoughts and emotions. The snares are a lot of fun. These letters, being a window into her mind, show us the progression of her as she grows.
...portant than anything and she did not let anyone or anything stop her from her main goal. This plays themes were based on love, passion, rage and vengeance.
These masks are upon each character, placed there by either society, self-ignorance, or guilt. Ophelia, Polonius' daughter and Hamlet's lover, hid behind a mask, just like Queen Gertrude's. It was, according to the society and the culture of the time, in the best interest of the woman to display a passive behavior for their personal preservation, which served as Gertrude's mask. Gertrude was brought up to believe that when a woman protests her innocence, in any matter, too much then people will begin to think otherwise. Gertrude revealed the idea of her mask, when responding to Hamlet inquiry of her likes to the play, her response was a bold reply, "The lady doth protest too much methinks" (Gertrude - 3.2.254), while viewing "The Murder of Ganzago." Hamlet's disgust with his mother's lack of strength, in regards to Claudius' sexual temptations, was evident in his soliloquy, after Gertrude begged him to stay with her and Claudius in Elsinore. "And yet, with a month let me not think on 't; fratility, thy name is woman." (Hamlet - 1.2.149-50) Gertrude's submissiveness is also evident in her refusal to face the pain of the true nature of her husband's murder. Gertrude begs "O Hamlet, speak no more! / Thou turn'st my eyes into my very soul, / And there I see such black and grained spots / As will not leave their tinct" (Gertrude - 3.4.99-103). In relation to Gertrude, Ophelia is even weaker and more passive. ...
She suffers many different identity crises throughout the novel. Her personality is describe as being cold and aloof, yet her actions of volunteering for her sister and subconsciously caring for Peeta have contradicted
Her character is very quirky and fun but had a sentimental attribute as well. Brenda Aulbach depicted the various aspects of the character very accurately. However, in some parts, she was not very consistent with the confident feature of the character Beatrice. Despite minor inconsistencies, her display of the character really drove the presence of Beatrice on the stage and in the plot.
Strutting with elegance, Elizabeth Arden, played by Ebersole, made her way down the winding staircase demanding all the attention in the room. Throughout the show, Ebersole showed great vocal range and power. Her voice soared above the notes and came out in such a clear bell-like tone, especially during the “Finale.” Lupone, on the other, belted with such amazing vibrato in her feature songs as Helena Rubinstein. She
However it also symbolizes the ability to hide from society and its morals. This was evident to the boys as the novel said the mask “appalled them” This shows that the idea behind the mask was known to the boys, yet they also decide to put on a mask to hide from their ideals and morals. This is shown when Sam and Eric are reluctant to paint their faces but “the mask compelled them.” The decision to put on a mask to hide from society’s ideals proves that they have been out of society for long enough to leave their lifelong morals behind when given the opportunity to act out and fulfil their primal urges without consequence.
The Phantom is also known to perform acts of high malevolence. A short while after the performance of Christine, there is another performance of Faust, and in that performance, Carlotta, is cast as the lead. This upsets the Phantom, as he is in love with Christine, and he wants her to cast as the lead in the play. In this play, the phantom does something very bad, during the performance, he makes a giant grand chandelier fall on top of head, and, as anyone can guess, it kills her, it squashes her like a little
She gets situations and uses them to help incorporate into the story which helps to make it more
Intentionally or not, the original tale of a horrific-looking outcast and cold-blooded murderer whose “death’s head” appearance and heinous crimes would make it impossible for Christine to choose him—even though her character has always felt a great connection to him. Instead, the show emphasized the Phantom’s isolation, his musical vision, and the mysterious attraction Christine feels for him. It also brought to life both the emotions of despair and hope: the leading ladies have always needed to depict Christine’s enduring grief for her late father, her tragic relationship
The Phantom of the Opera directed by Joel Schumacher is the 2004 adaptation of Andrew Lloyd Webber’s 1986 musical of the same name. The Phantom of the Opera stars Gerard Butler as the Phantom, Emmy Rossum as Christine Daaé, and Patrick Wilson as Raoul, the Vicomte de Chagny, who are embroiled in a love triangle. The film was met with generally mixed and negative reviews: Schumacher’s use of mise-en-scène, cinematography and editing, as well as symbolism contributes to the production of The Phantom of the Opera.
The Phantom has fallen for the young Christine, yet he is not the only one, a childhood friend Victome Raoul de Changy has also fallen for Christine. The Phantom is outraged by the love connection between the two. He kidnaps Christine and takes her to his lair, unaware of the length that Raoul will go to get her
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
After the opening sequence, the musical moves to the stage of the theater, which displays a mixture of opera and ballet performance. With the entry of Christine Daae, the musical soon moves to the phantom’s lair as he lures her in with hauntingly beautiful music. They cross a lake underneath the opera house to reach the phantom’s watery domain. The trip across the lake is simulated on stage with smoke and a rolling boat as the title song is sung. After discovering her “angel of music’s” disfigurement, she retreats back to the opera house above and back to the arms of Raoul, the rival for her love.
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...