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A new era of consumerism
A new era of consumerism
A new era of consumerism
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Equus is a play which was written by Peter Shaffer in 1973. The play won many awards for its controversial topics and revolutionary performance. During the time of the plays publication, consumerism was on the rise, causing what Shaffer referred to as a “worshipless” life. In Equus contrasting points of view around worship are utilized to demonstrate the effect of worship on the individual’s life. Alan is a 17-year-old boy who worships horses instead of God. Religion plays a strong role in Alan’s life. Dora Strang, Alan’s mother strongly believes in God and raises Alan to do the same. In Alan’s modified Christian religion, he replaced Jesus with a horse, Equus, which in turn became the object of his worship instead of the religion that Dora had taught him. After Alan had committed the act of blinding the six horses …show more content…
The pair are close friends but have quite contrasting opinions when it comes to Alan’s case. Hesther believes that Alan needs to be fixed in order to be a fully functioning member of society. Hesther often speaks of how Alan is in pain, and that Martin has the power to take it away and thus make him normal. In contrast, Martin believes this will destroy the passion that by creating just another person. “The Normal is the good smile in a child’s eyes—all right. It is also the dead stare in a million adults. It both sustains and kills—like a God.” This is one example of Martin’s beliefs of the normal. Martin speaks of how if he returns Alan to normality, Alan will become a shell of the man he once was, “He’ll be delivered from madness. My desire might be to make this boy an ardent husband – a caring husband – a worshipper of abstract and unifying god. My achievement however, is more likely to make a ghost.” Martin’s beliefs are represented in this contrast by Shaffer to demonstrate how taking away ones’ worship is just as damaging as having something to
He soon realizes that the boarding of a wild stallion upon the Drake causes the excitement in the air. With much struggle, the stallion is placed in a makeshift stall within the ship and it causes quite a ruckus as its hooves crack against the wood and its whistle pierces the air. Alec has an immense love for horses and one night he gets a chance to visit the stallion up close. He witnesses the horse with its head out the window of the stall staring at the expanse of the ocean, but once it sees him it whistles once more and retreats into the darkness. The boy leaves a sugar cube on the windowsill for the stallion and then returns to his cabin for the night. Each night after, Alec continues to leave a sugar cube for the horse to eat once he has retreated to his cabin for the night.
Recently, I had the pleasure of seeing the fall production of Argonautika at the Westmont High School Theater directed by Jeff Bengford and written by Mary Zimmerman. Mary Zimmerman’s adaptation of Argonautika carefully selects which pieces of a Greek story to emphasize, where to begin and end the story, and which characters to feature. Argonautika is very much an ensemble piece, with every actor standing out in multiple roles. Her version focuses on Jason and Medea and begins with an invocation by the chorus that summarizes the story of Helle and Phrixus. The last showing on November 21st of Argonautika by the Westmont High School Performing Arts Department, was exciting beginning to end. Bengford’s production Argonautika greatly captures the intentions of Mary Zimmerman’s playwright into an exciting play for the audience.
As well as how Martin suffers from his own dilemma and fears that his wife might cause to his social life and children due to her life consuming addiction.
Throughout Equus, Schaffer manipulates the idea of rejection between Alan Strang and his father, by means of Alan’s imitation of biblical motifs from the Christian religion, with the use of a horse to reveal a deeper connection between a human and their God. The family members disagree on religion because of a son who believes in a Godly stature, and a father who rejects this belief due to being a disbeliever of God.
Shakespeare’s use of role playing and metatheatre in 1 Henry IV and A Midsummer Night’s Dream call attention to the nature of theatre. Not only the nature of the play we are watching, but also the play of life. As the audience, we have a broader perspective. As if we are allowed to see through a different lens. We inhabit a world that is very different from the one we live and yet in some ways we see ourselves in the characters (Bedford).
In the play, Ruined, Lynn Nottage the playwright shows how alcohol is important to the people of the Congo and how alcohol changes oneself. The play is based in the war-torn Democratic Republic of Congo in a bar/brothel that is owned by Mama Nadie. People come in the bar for sexual service and for a drink. The people of this area come to the bar to let go of their regrets because of the war or there hard work. One important man comes to the bar and changes from alcohol. His name is Christian a salesman to Mama and an uncle to one of Mama's workers. Throughout Ruined Christian a once respecful sober man changes because of his new desire for alcohol instead of Fanta.
trouble with a horse, so he shot an arrow at it, but missed and killed another
In this shifting Greek society the cultural value that will experience the most dramatic shift is idealism. Fleming’s Arts and Ideas describes idealism as, “An idea or mental image that tries to transcend physical limitations, aspires toward a fulfillment that goes beyond actual observation and seeks a concept close to perfection” (55). Euripides begins his play with Dionysus describing the events that occurred until the present. Dionysus was a half-god, born of a human mother and Zeus; this is first example of the “ideal” being questioned. The fact that Dionysus describes himself as a god is the heaviest blow to the “ideal” however. Dionysus states on multiple occasions, “(I), appearing as a god to mortal men” (ln. 42), and “I was born a god” (ln.63). These statements reflect Dionysus’s ignorance to who he is, and the forgotten Greek sentiment of “know thy self”. It is not only the audience who recognizes that Dionysus is lacking the ‘ideal” attitude of a god but reasonable characters of the play will pick up on this as well.
A seventeen year old boy, Alan is brought to a psychiatric hospital because he has blinded six horses with a hoof pick. Dysart, a psychiatrist, works to “normalize” the boy, feeling that as he makes the boy “safe” for society, he is taking away his worship and sexual vitality, both of which are missing in the doctors own personal life. Dysart actually envies Alan and the sexual worship he has experienced. In spite of his own hang-ups, the doctor does help the boy work through his obsession, in which he identifies the horse Equus with God.
The world of the stage, of roles, masks, parts to play has been one of the most enduring ways of speaking about life and the world we live in. In fact, until four hundred years ago, the theatrum mundi metaphor was the dominant image in Western thinking. God was conceived on the analogy of a playwright who had created the script of the play that was being performed on the stage called the world. "All the world's a stage, / And all the men and women merely players ..."
“The conflict between virtuous mediocrity and feckless genius took hold of my imagination” (“Shaffer, Peter 1926”). The quote by Shaffer himself, helps to explain the reasoning for his plays; both the good and the bad. Throughout the past few decades, Sir Peter Shaffer has brought numerous plays to the stage, with each challenging society to be open minded to change. Sir Peter Shaffer has forever impacted the theatre world by bringing topics such as sexual choices, religion, and family values to the stage that challenged the ideals set by society through his use of plays as a means to help him answer many of his own questions about life.
Through comedy and tragedy Shakespeare reveals the vast expanses and profound depths of the character of life. For him they are not separate worlds of drama and romance, but poles of a continuum. The distinction between tragedy and comedy is called in question when we turn to Shakespeare. Though the characters differ in stature and power, and the events vary in weight and significance, the movements of life in all Shakespeare's plays are governed by the same universal principles which move events in our own lives. Through myriad images Shakespeare portrays not only the character of man and society but the character of life itself.
The Filipino American cultural production, Criers for Hire, addresses various issues in the Filipino-American community and gives visibility to Overseas Filipino workers’ narratives. Criers for Hire is used as way to express themes of assimilation, generational conflicts, and the meaning of “home.”
In Noh there are many things that are significant, and that have deeper meanings. For instance the simple way that they walk, sing, and move all mean something more. While doing the presentations on a Noh play I noticed something beautiful about the play that I had chosen. Spring was mentioned a lot, it had many cameos in the play. In Yuya the entire back story of the play is the discussions of going to see the cherry blossoms. Spring in Japan means a whole lot more than just another season. It means new life, and new beginnings, a way for family to come together and start anew. So while taking this course I really picked up on the seasonal aspect of Noh whether it be spring, autumn, summer, or winter. Each setting gave a new feeling of how people reacted, and it’s true in real life also. So in this essay even though spring will be the main topic I will be discussing all of the seasons and what they mean in Japanese culture, with some symbolic things and Noh examples also.
...man society was sane and normal,” and that he simply had “to come to terms with his society” because it was all he had (Head, When Rain Clouds Gather, p. 164).