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Assingment about greek tragedy
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Assingment about greek tragedy
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Miller's Use of Alfieri in A View From The Bridge and Theatre Traditions The play A View From The Bridge, which was written by Arthur Miller, is a play, which on the whole, is written in the style of an old Greek tragedy. A Greek tragedy has a chorus (narrator) telling the story from an overhead view and who can see the picture of the play from both sides point of view. In the play A View From The Bridge, the person who plays the chorus is a lawyer called Alfieri who plays a key role in the play mainly when Eddie visits his office for advice on the Rodolpho Catherine situation, he wants to know how he can stop them getting married. Alfieri is a key member of the community where Eddie and Catherine live. The community on the whole is very close and they strongly belive in justice which is what Alfieri is expected to help the members of the community with day in day out. Alferi is where the people of the community go when they are in trouble or needing advice. Alfieri is whom Eddie turns to when he needs advice about how to get Rodolpho out of the way so he and Catherine can be together. The community is close, none of the people who live there would turn any member in for committing a crime. This is exemplified when Eddie is in Alfieri's office and Alfieri tells Eddie that the only way to get rid of Rodolpho is to phone the immigration bureau and tell then how Marco and Rodolpoho had entered the country illegally. But Eddie's response emphasises how close the community is as Eddie replies "oh, Jesus no, I wouldn't want to do anything about that" This shows that Eddie would not do anything that would jeopardise his place in the community. The community would do anything to protect each and every member. On Eddie's street there is another family who have entered the country illegally from Sicily in Italy and the community has accepted them. In America the law is very powerful.
When Mary Zimmerman adapts a play from an ancient text her directing process and the way she engages with text are woven together, both dependent on the other. She writes these adaptations from nondramatic text, writing each evening while working through the pre-production rehearsals and improvisations during the day with the cast. The rehearsal process influences the text, and the text enriches the rehearsal process, so that one cannot exist without the other. Every rehearsal is structured the same but each production is unique because as Zimmerman states in “The Archaeology of Performance”, she is always “open to the possibilities”. The piece is open to everything happening in the world and to the people involved, so the possibilities are honest and endless.
“I believe that the common man is as apt a subject for tragedy in its highest sense as kings were” ( Tragedy and the Common Man). Arthur Miller follows his Millerian conventions of tragedy in the writing of The Crucible. Often literature uses tragedy to display a depressing theme represented by the tragic hero.
A Greek drama is a series of actions within a literary presentation in which the chief character has a disastrous fate. Many Greek dramas fall under the theatrical category of a tragedy due to the tragic events and unhappy ending that cause the downfall of the main character. During the famous play “Antigone” the Greek author Sophocles incorporated several features of a tragedy. These features include a morally significant dilemma and the presence of a tragic hero. The grand debate over which character can hold the title of the tragic hero has been discussed in the literary world for ages.
Plays at this time were a representation of life. People, at this time, did not have modern visual luxuries upon which to garner entertainment. Plays, as well as playwrights, were supposed to bring life to the people and life to the story,
Exploring the Themes of Arthur Miller's A View From the Bridge East of Staten Island is Brooklyn, the second largest borough and the
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
In Euripides’ play The Bacchae, the ideals that were the foundation of Greek culture were called into question. Until early 400B.C.E. Athens was a society founded upon rational thinking, individuals acting for the good of the populace, and the “ideal” society. This is what scholars commonly refer to as the Hellenic age of Greek culture. As Athens is besieged by Sparta, however, the citizens find themselves questioning the ideals that they had previously lived their lives by. Euripides’ play The Bacchae shows the underlying shift in ideology of the Greek people from Hellenic (or classical), to Hellenistic; the god character Dionysus will be the example that points to the shifting Greek ideology.
At the start of the play (first staged in 1998) is a good place to see how classical literature is treated, when Charon makes his reference to Aristophanes quite clear. Stoppard does not spell it out, but gives enough information to allow the audience to make an educated guess that he is referring to an ancient play.... ... middle of paper ... ... 1/2 (Autumn, 2002), pp.
"Different Types of Greek Drama and their importance." PBS. Public Broadcasting Station, n.d. Web. 23 Nov. 2014.
Greeks believed at the time of the play's writing that a man's life was "
The play was considered comic by the ancient Athenians because of its rhyming lyricism, its song and dance, its bawdy puns, but most of all because the notion and methods of female empowerment conceived in the play were perfectly ridiculous. Yet, as is the case in a number of Aristophanes’ plays, he has presented an intricate vision of genuine human crisis. In true, comic form Aristophanes superficially resolves the play’s conflicts celebrating the absurdity of dramatic communication. It is these loose threads that are most rife with tragedy for modern reader. By exploring an ancient perspective on female domesticity, male political and military power, rape, and efforts to maintain the integrity of the female body, we can liberate our modern dialogue.
who helps him on the way. The presence of law and justice is always in
William Shakespeare's Hamlet and Sophocles Oedipus the King have long been included on academic lists for scholarly study as literary texts. As someone who has studied both texts in just the manner Hornby mentions, I would suggest that what is lost when a scholar treats a play text as literature is precisely that `central part of the play's meaning' which is illuminated by consideration of how a play was `designed to work on stage'. I intend to look at the crucial opening moments of each play, heeding Hornby's words, and keeping the text's status as `pretext' to an eventual performance very much at the forefront of my analysis.
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.