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Legionnaire’s disease essay
Legionnaire’s disease essay
Legionnaire’s disease essay
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In this two-part piece, Angels in America tells the story of a number of characters living in New York City in the 80’s. The play predominantly focuses the life and journey of a young man named Prior Walter, who at the beginning of the play reveals to his lover, Louis (Lou) Ironson, that he has Legionnaire's disease due to AIDS. An overwhelmed Lou summarily abandons Prior and falls for Joe Pitt, a closeted homosexual who works as a clerk at the federal courthouse. Joe, a Mormon, struggles with his relationships with Louis; with his anxious and delusional addict of a wife Harper; and with Roy Cohn, the power broker who wants Joe to move to Washington to be his eyes and ears within the Reagan administration. Cohn is also in the closet and battling AIDS; his nurse, Belize, is close friends with Prior and ex-ex drag queen. The play predominantly focuses on the vilification and the stigma of the AIDS epidemic as well as the gay community in the 80’s. In addition to other concepts of love, life, and death, infidelity, heaven, and hell. Watching over all these twisted and tangled relationships is the Angel, who has a message for humanity and who chooses Prior to being the prophet who will deliver it. This contemporary view will look at Marvin Carson's theory of ‘haunting’ in the theatre by looking at the theatrical forms and use of technology. …show more content…
Faust. The Morality aspect of Angels lies in the dilemmas Prior and Roy deal with throughout both acts alongside the interactions of Prior with the Angel of America. This includes their reactions to the initial diagnosis as well as their feelings, interactions and reactions to their illness, the people around them and their reluctance. An example of this can be seen during the scene in which Roy argues with his doctor about his condition and ends his monologue with the phrase
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
The play “Cosi” by Louis Nowra is the story of a university student who is set the task of producing a play in a mental institute. The play uses many dramatic techniques including, but not limited to; the setting of the play, humour, and tension as well as role, to help draw the audience into the world of the play, the world of these ‘mental patients.’ The play also helps to bring forward people’s feelings and attitudes towards the mentally ill and people’s attitudes towards love and cheating, to further draw the audience into the world of the play, and the world of the 1970’s, when people with any kind of mental illness where treated as ‘outcasts’ and were not accepted as socially acceptable.
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.
Tony Kushner, in his play Angels in America, explores a multitude of issues pertaining to modern American society including, but not limited to, race, religion, and sexual orientation. Through his diverse character selection, he is able to compare and contrast the many varied experiences that Americans might face today. Through it all, the characters’ lives are all linked together through a common thread: progress, both personal and public. Kushner offers insight on this topic by allowing his characters to discuss what it means to make progress and allowing them to change in their own ways. Careful observation of certain patterns reveals that, in the scope of the play, progress is cyclical in that it follows a sequential process of rootlessness, desire, and sacrifice, which repeats itself.
In the novel Into the Wild, by Jon Krakauer, the protagonist, Christopher McCandless, displays isolation and independence almost to the point of narcissism but it was not until he set out on his journey into the wild that those closest to him realized the true height of his individualism. In McCandless’s eyes, people in his society have forgotten about the value in the pursuit of personal knowledge, the chase of individual happiness, and the existence without materialistic objects. On his journey, McCandless takes drastic measures to uncover, find and discover who he is and what he is capable of, isolating himself physically and mentally, driven by the idea that society urges men to conform.
This paper is a critique of a production of The Last Night of Ballyhoo, a play written by Alfred Uhry, which was performed and produced by the Ball State University Theatre. Gilbert L. Bloom directed the production and was very successful with producing a truly entertaining, comedic play with an important message about the personal dilemmas that we as individuals with different beliefs and values must encounter in our daily lives.
According to Sherrie A. Inness, “The Captive was hauled by critics as the first play on the American stage to deal openly with what one reviewer called a “repulsive abnormality.” Ten years prior, God of Vengeance was scorned for offending rabbis, Jewish men and women’s religion and abusing the significance of the Torah. Critics and reviews failed to deliver their remarks on the intimate lesbian love, but in The Captive, the lesbian undertones are concealed and carried out in a strategic fashion, yet these moments were censored and triggered. Due to these moments where the acts of lesbianism were not apparent, it was deemed with obscurity, causing the play to fall short overall. Similar to God of Vengeance, The Captive was confronted with “obscenity charges in the United States, and after a run of less than five months, the play was raided and closed down by police” (Inness 304). With this framework in mind, my case study is not diminished by the greater public opinion, rather Edouard Bourdet’s strategic approach to lesbianism and the way in which is portrayed in society juxtaposed the emergence of lesbianism in the United States in the early part of the twentieth
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Joseph Mankiewicz 1950’s ‘film du theatre’ All About Eve, provides an insight into the qualities needed to succeed in the star-studded world of the theatre. In particular, the protagonists, Margo Channing and her “carbon copy”, Eve Harrington, are portrayed as flawed characters because of their single-minded pursuit of fame and fortune. Whilst Margo eventually recognizes the absurdity of her dreams in a 1950s socially-conservative chauvinistic world, Eve appears to emerge triumphantly but discredited due to her wily, manipulative streak.
...blaming Satanic stimuli for unexplained phenomena"(43). Without their cultural and societal influences, it would be difficult for the readers to understand why certain events evolve and under what pretenses. At the end of the play, each person, some more than others, has developed from their sociological experience.
It is difficult to imagine a play which is completely successful in portraying drama as Bertolt Brecht envisioned it to be. For many years before and since Brecht proposed his theory of “Epic Theatre”, writers, directors and actors have been focused on the vitality of entertaining the audience, and creating characters with which the spectator can empathize. ‘Epic Theatre’ believes that the actor-spectator relationship should be one of distinct separation, and that the spectator should learn from the actor rather than relate to him. Two contemporary plays that have been written in the last thirty years which examine and work with Brechtian ideals are ‘Fanshen’ by David Hare, and ‘The Laramie Project’ by Moises Kaufman. The question to be examined is whether either of these two plays are entirely successful in achieving what was later called, ‘The Alienation Effect”.
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
Kushner, Tony. Angels in America, Part One: Millennium Approaches. New York: Theatre Communications Group, Inc., 1992.
Tony Kushner’s play, Angels in America, comments on a number of social issues of its time; ranging from political to societal. Additionally, it incorporates many concepts discussed in the Modern Condition courses. Thinkers such as Nietzsche, Borges, and DeBeauvoir are specifically represented in the play through the characters presented. Kushner uses his characters to convey the ideas of these thinkers in the context of the culture the play takes place in.
However, the political impact this performance had in the 1980’s versus the year 2017 are polar opposites. When this play was first shown at the Public Theatre in New York City, the performance confronted the issue of AIDS and HIV in the United States in a way that was not as openly accepted as it is today. During the AIDS crisis in these years, the consensus between the mass population was that this epidemic was strictly only a “gay cancer.” This belief led to the lack of funding to help fight this cause and ended up causing it to spread even more rapidly. The political difference between these two times vary drastically, during the 1980’s it is clear that the lack to help the cause is linked with homophobia and was a large part of society; as it is clearly demonstrated by the lack of compassion for the gay community.