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Musical analysis of lloyd webber's phantom of the opera
Phantom of the opera Musical analysis
Phantom of the opera Musical analysis
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That friend you turn to, or the sibling you can always confide in, those are confidants. A confidant is a common recurring theme in many literary styles, and is found in almost all pieces of literature. However, no piece of literature has a confidant character as complex as the Phantom in the musical "The Phantom of the Opera". The Phantom is a turn from the traditional confidant, who would be a friend of the heroine, or Christine in this case, and turns from a confidant to the main antagonist. The Phantom of the Opera used the Phantom as a confidant to add depth to his and Christine's relationship, and also to be able to contrast the different ranges of human emotion. The Phantom was used in the play "The Phantom of the Opera" as a confidant
to add depth to his relationship with Christine. He added depth to the relationship because instead of being portrayed as a case of Stockholm Syndrome, where the captive bonds with the captor, he has a long relationship with her where he is her "angel of music" that her father sent to her to guide her and help her through her struggles. "He loves me! He lays at my feet an immense and tragic love. ... He has carried me off for love!..." (INSERT CITATION HERE). Because the Phantom had many years as Christine's confidant before he started forwardly proclaiming his love, she felt emotional bonds to him because she knew him as a different person. Being her confidant allowed him to get into situations otherwise impossible, such as bringing her to his underground layer, something that she wouldn't do with a normal person. By being Christine's confidant, the Phantom could add depth to their relationship and increase the effectiveness in which he courts her.
be easily manipulated and influenced by love can take a toll on the weakest and the strongest people living on earth. Manipulation fueled by love is something that is invariably unrecoverable from. Like the rest of society, Othello, a fictional and heart-struck character in the play Othello, let his heart and the people around him manipulate his mind and take advantage of his authority. Dependent on the thoughts of others, Othello is a gullible person with an emotionally unstable nature that would shatter his love for the innocent and graceful Desdemona.
as an extra plan Iago is making Othello trust in him because only a good friend
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.
A Midsummer Night’s Dream is one of Shakespeare’s most popular and frequently performed comical plays (Berardinelli). The play transformed into a cinematic production by Michael Hoffman has not changed in its basic plot and dialogue, but the setting and some character traits have. The play setting has been gracefully moved from 16th century Greece to 19th century Tuscany (Berardinelli). The addition of bicycles to the play affects the characters in that they no longer have to chase each other around the woods, but can take chase in a more efficient fashion. As far as characters are concerned, Demetrius is no longer the smug and somewhat rude character we find in act 1, scene 1 (Shakespeare pg. 6, line 91), but rather a seemingly indifferent gentleman placed in an unfortunate circumstance set to delay his wedding to Hermia. Perhaps the most noticeable change in the character set from stage to film occurs in the characters of Puck and Nick Bottom.
...stablish that Desdemona has sacrificed many relationships for the sake of her marriage to Othello, though there is textual evidence that suggests that Desdemona might not have friends. Like Cassio, Emilia uses “friend” as a manipulative rhetorical device, though her use is more effective. Bianca uses “friend” to show her displeasure and provide insight into her relationship with Cassio, proving the superficiality of their relations. Most notably, Othello believes that he and Iago are mutual friends, which also shows that their relationship is superficial. Throughout Othello, the term “friend” is repeated to show that there is something wrong with these characters’ idea of what it is to be a friend or simply to advance one’s standing. In its truest sense, what we consider a friend is not referred to by name in Othello, the very reason its reiteration is unsettling.
Confidant or confidante is someone who is often a friend, hero, etc. that is a sympathetic listener to confide in. In the famous play Othello, written by the great William Shakespeare, we see a character be morally ambiguous confidante. The character Emilia demonstrates that she is a a confidante through her words and of course her actions. Throughout the play we see Emilia, specifically, be a confidante to the loved Desdemona by being a loyal friend, and truthful caregiver. Along with this, Emilia also has the purpose to expose the evil (even if it involves her) and tell the truth. It’s safe to say, Emilia is a crucial character to this play.
What keeps mankind alive? Answer the question with reference to the actions of characters in The Threepenny Opera. In The Threepenny Opera, Bertolt Brecht, through the writing of the song “Second Threepenny Finale What Keeps Mankind Alive” in Scene Six. gives us the idea that “mankind is kept alive by bestial acts”. 55, line 18). In my opinion, although the idea to associate human beings with beasts, or more specifically, human behaviour with “bestial acts” look peculiar, some characters, in their pursuit of.
The whole time, Othello holds Iago to be his close friend and advisor. Iago knows that
Honesty can be a way of life for many people. For some it can define all that they really are and for others it can define how they view all of their peers, friends, and family. But whichever way you cut it, honesty can affect you greatly and every solitary day. This idea was one of the most specific and open parts of the plot of William Shakespeare's Othello. In the play Shakespeare gives us brilliant insight as to what can happen as a result of believing and trusting in the honesty and words of others. Though they might seem sincere, he seems to say, everyone has their own agenda. The three characters: Iago, Desdemona, and Othello himself all seemed to view honesty and moral values in their own personal ways; some were deserving of trust, some not.
William Shakespeare's Othello is a tragic drama that shows the overwhelming power of deception and the damage it can lead to. Othello's right-hand man is Iago; on the surface a die-hard friend and confidant, in reality comparable to the devil himself. Iago uses other characters as though they were his puppets, planting lies and watching the sorrowful fruit born. Iago deceives virtuous, yet weaker men (such as Cassio and Roderigo) with ease, but feels greatly threatened by the most powerful, virtuous general in the land - Othello. Othello's only flaw is jealousy, and Iago exploits this to no end, using him to get what he wants. Iago's talent to manipulate the truth and control other people with his lies is what gives this play momentum.
William Shakespeare’s Twelfth Night, which is commonly believed to criticize society’s romanticized idea of love, demonstrates that even though love may seem unachievable, it is still possible to find it even in the most unlikely places. Shakespeare illustrates this idea in Twelfth Night through the characters Antonio and Sebastian by subtly suggesting that Antonio and Sebastian are more than just friends. It is Sebastian’s physical beauty that attracts Antonio to him, which leads him to devote himself to Sebastian as a sign of love. Antonio’s love for Sebastian grows to obsession; however Sebastian considers their friendship to be completely plutonic. In addition Sebastian generally tries to save Antonio from his own desire; however he does a bad job by leading him on unintentionally due to his passive nature.
Throughout Shakespeare’s Othello, the villainous character, Iago, is referred to as “honest” up to fourteen times throughout the play by its main characters The term is said by multiple characters throughout the play- including Othello, Cassio, Desdemona, and Iago himself- with Othello stating it the most. The term is clearly ironic because Iago is the complete opposite of honest. As the arch-villain, he lies, manipulates, and betrays others with his words and actions throughout the play. At times, it refers to chastity, the question of whether a woman is "honest" or whether she is promiscuous. At other times, the word refers to personal honesty, whether or not a person is telling the truth. It can also refer to whether or not a person is a
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.
Twelfth Night or What You Will is one of Shakespeare’s most famous comedies. It has been performed hundreds of times and adapted into a number of modern films. The main plot of the play follows Viola, a girl who is rescued from a shipwreck and enters into the service of the Duke Orsino disguised as a man. Rising quickly in his estimation, Viola begins delivering messages of love on his behalf to Olivia, a noble woman who has no interest in Orsino’s advances. Over the course of the play Olivia falls in love with the disguised Viola, Viola falls in love with Orsino, and Viola’s twin brother Sebastian, who supposedly died in the shipwreck, returns. Following Sebastian’s return the twins are mistaken for each other, leading to both misunderstanding and marriage in the final scenes of the play. Alongside the main plot of Twelfth Night is an almost equally prominent subplot involving Malvolio, a servant of Olivia, who falls in love with her and who falls prey to a prank planned by the other members of the household who despise his abhorrence of fun. In the article “The Design of Twelfth Night” by L.G. Salingar, Salingar examines the plot and structure of the play and addresses the significance of the subplot. The purpose of this essay is to examine both evidence from the play and articles from other authors, with a focus on Salingar, who have written on the subject in order to determine the purpose of the subplot. In his article, Salingar comes to the conclusion that the purpose of the subplot is to provide a comic mirror of the main plot while amplifying the main themes of delusion, misrule and festivity. Salingar presents a solid argument, however he has neglected another lesser but significant element of the sub-plot which illustrate...
Imaginary friends are a very common phenomenon for young children. As of 2007, imaginary friends occurred in about sixty-five percent of children (Klausen & Passman, 2007). Karen Majors and Ed Baines gives the definition of imaginary friends as, “Imaginary friends are invisible characters that a child plays with and/or talk about over a period of several months or more and that has an air of reality for the child” (Majors & Baines, 2017). Imaginary friends are also known as pretend companions, imaginary companions, and imaginary playmates (Klausen & Passman, 2007). The children who have imaginary friends know their friend really well. When the children are asked what their imaginary friends look like, they have no problem describing them (Taylor