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Shakespeare dramatic conventions
Gender roles in other plays
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“SAY WHAT THEY MAY!” is arguably the funniest, and most memorable quote of the play Learned Ladies directed by Professor Culbert. In the beginning of the rehearsal, Act III - Scene III is in process. The director corrects the actors on their speech pacing, when to sneeze, and regularly answers questions asked by the actors. Next, I see the character Trissotin trying his best to impress the ladies in the scene. Mainly Philaminte because this is his golden ticket to the notary to marry Henriette (as the play later portrays). Then, the director decides that the act done by the actors was good enough and the prologue starts. Initially, the prologue seemed very confusing. A bunch of characters dancing and moving fast, opening and closing the doors. Afterwards, the director stops the scene in progress and gives advice to the actors. She tells the actors to be open/creative and try new voices and actions to, “see what works”. One of the most interesting details about this scene is that during the fast transitions where different groups of actors go through the doors, there is never two groups of people on the …show more content…
Armond doesn’t want Henriette with Clitandre because she likes him and he apparently was her ex-boyfriend. The audience can see Clitandre hiding behind a plant, and then a chair as he gets closer to Henriette. Clitandre seems to be eavesdropping on the ongoing conversation. However, suddenly, he stops hiding, and in a very didactic manner tells Armande that he loves Henriette, and not her. Afterwards, Clitandre asserts that he will convince Philaminte to give him her blessing/ permission to marry Henriette. In addition, Belise enters the scene and contends that Clitandre loves her, and believes that he might be making a mistake by being in love with her. Belise’s interesting traits make her seem delusional and a bit over-sexualized. What makes her seem this way is her very seductive
“Disrespect towards women” occurs many times during the play. In my opinion, women should not be disrespected just as much as men shouldn’t and especially not the way that they show this in the play. One case of disrespect
The prologue introduces several of the novel's major themes, the most prominent being that of winter harshness. Hence, it foreshadows the major events in the book and provides insight into the personalities of the characters.
The play also highlights the position of women in Elizabethan times. At the beginning of Act One we are introduced to Sampson and Gregory who are servants of the Capulet's and they are in the market place of Verona. They are messing around joking to each other and in the process puns are used such as collier, choler and collar. In the time this play was shown, this would have being considered very funny to the audience.
Not only is there sexual talk about physical appearances, but there is also talk about what will happen when the two of them are together alone. She is at one point looking for him and when she finds him she says that she held him and had him follow her and would not let go, ".
Typical of the male dominant frame of mind, the men’s view of the women in "A Jury of Her Peers" is condescending from start to finish. Putting a slight twist on Shakespeare’s famous metaphor, "The world is a stage", the men are the puppeteers, and the women "merely" puppets, evidences the men’s beliefs (Act II, scene 7, lines 143-144). The men believe they are superior and more intelligent than the women are. The feeling of superiority is evident in Mr. Hale’s comment, "women are used to worrying over trifles" (Glaspell 186). Similarly, these feelings of superiority are shown in the county attorney’s musings over whether the women would "know a clue if they came upon it" (Glaspell 187). Glaspell uses this emotion to create the irony in the story. She shows how ...
Much Ado About Nothing. Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365. Dash, Irene G. "Wooing, Wedding, and Power: Women in Shakespeare Plays."
It was impertinent for a wife to dismiss her husband’s advances, yet Mrs. Pontellier took the risk anyways in order to maintain some possession of herself. However, as a woman, Edna had no asserted authority over her own body, therefore Alceé Arobin had no problem with taking advantage of Mrs. Pontellier during her times of loneliness. Chopin stresses the fact that Mrs. Pontellier has no intention of eliciting an immoral, physical relationship with Mr. Arobin, yet her strikes at her most vulnerable moment: “He stood close to her, and the effrontery in his eyes repelled the old,vanishing self in her, yet drew all her awakening sensuousness.” (81). The intimacy present between Edna and Alceé was not based off of the protagonist’s desire for happiness, but rather her lust for freedom. Alceé makes Edna feel alive; as though her senses finally awakened from the dreariness of her arranged marriage. Mrs. Pontellier does not distinguish her relationship with Mr. Arobin as an affair, yet merely viewed the young playboy as a source of entertainment. Her real awakening, however, was inspired by her the only man she ever truly loved, Robert
“The treatment of women in ‘Trifles’”, a web site that analyzes the demeanor of women throughout the play, states “ The women are betrayed as if they are second class citizens with nothing more important to think about, except to take care of the medial household chores like cooking, cleaning, and sewing.
Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare’s Plays. New York: Columbia University Press, 1981.
In Shakespeare's The Tragedy of King Richard the Third, the historical context of the play is dominated by male figures. As a result, women are relegated to an inferior role. However, they achieve verbal power through their own discourse of religion and superstition. In the opening speech of Act 1, Scene 2, Lines 1-30 Lady Anne orients the reader to the crucial political context of the play and the metaphysical issues contained within it (Greenblatt, 509). Lady Anne curses her foes, using strong language to indicate her authority. She speaks in blank verse, by which she utilizes imagery to emphasize her emotions and reinforce her pleas. Her speech clearly illustrates the distinction between the submissive female role within the male sphere of war and the powerful female voice within the realm of superstition.
Les Femmes Savantes The Learned Ladies is an astounding play. As each new character enters time transforms characters are bedazzled, enchanted and wigged we know we are sharing the stage with royalty. The women’s gowns are extremely detailed with hoop shirts to make them puffy the men are wearing exceptionally detailed waistcoats. This comical drama is set in the living room or “salon” of the family. This plays plot is focused on one major couples chaotic and forbidden love. The characters are joined by blood and lead by the controlling wife, Philamonte (Maya Jackson) and her weak spouse Chrysale (Edward Brown III). Jackson’s voice is directing with a profound tone that would have the capacity to stop anybody dead in their tracks. It is not
Also the play would not get anywhere else. No one would watch it. The use of the prologue in giving an introduction and background to the conflict is a wise one. As it was certain phrases and words, to show how. the families are in anguish and don’t like each other.
"Trifles," a one-act play written by Susan Glaspell, is a cleverly written story about a murder and more importantly, it effectively describes the treatment of women during the early 1900s. In the opening scene, we learn a great deal of information about the people of the play and of their opinions. We know that there are five main characters, three men and two women. The weather outside is frighteningly cold, and yet the men enter the warm farmhouse first. The women stand together away from the men, which immediately puts the men against the women. Mrs. Hale?s and Mrs. Peters?s treatment from the men in the play is reflective of the beliefs of that time. These women, aware of the powerless slot that has been made for them, manage to use their power in a way that gives them an edge. This power enables them to succeed in protecting Minnie, the accused. "Trifles" not only tells a story, it shows the demeaning view the men have for the women, the women?s reaction to man?s prejudice, and the women?s defiance of their powerless position.
If the reader was to analyze the title very closely, then the reader would realize that the title “Trifles” is the perfect example of how women were treated by men in this play. In the time period that the play resembles, back then men wo...
Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare's Plays. New York: Columbia University Press, 1981.