‘Ochres’ performed by Bangarra Dance Theatre is a work choreographed by Stephen Page. ‘Ochres’ is performed in four sections, Yellow, Black, White and Red. Each section represents a different aspect of the aboriginal culture and its meaning. ‘Red’ demonstrates the youth, the obsession, the poison and the pain involved with the customs, laws and values associated with the relationship of men and women. Page was born in the working class suburban area of Mount Gravatt along with his other 11 siblings. Page is of descent of the Nunukul people and the Munaldjali clan of the Yugambeh tribe from South East Queensland ("Stephen Page | Bangarra Dance Theatre", 2016). He choreographed works for his high school concerts showing potential from a young age. At the age of 16 he joined the Aboriginal and Torres Strait Islander Legal Service as a law clerk. This gave him an immense knowledge of the black legal cultural and political …show more content…
The section based on youth was successfully portrayed by the effective use of the shirt. It was symbolic of many elements of childhood play such as jump rope and elastics. This was a reflection on the Page’s childhood in Mt Gravatt not so much his cultural background. However, children that grew up with the traditional upbringing of his culture would still be able to relate to this representation. The two female dancers were shown teasing the male dancer at the front of the stage. This was a shown as a re-enactment of childish behaviour that Page and his 11 other sibling would have conveyed at a young age. Also, the male dancer could have represented himself at home being teased by his other sibling who would tell him that he was adopted and belonged to the milkman down the road as he had fair skin and his hair was blonde until the age of 12. Page says that, ‘all he (I) wanted to be was aboriginal,’ ("Belonging and identity: Stephen Page addresses the big questions",
Yesterday night I reviewed the play “The Miss Firecracker Contest” In Wilmington, North Carolina at Big Dawg Productions. The play started out as Carnell Scott, 24-year-old orphaned southern girl who lives in Brookhaven, Mississippi. She is tap dancing in her room with a purple leotard and some kitchen utensils used as creative batons practicing her routine for The Miss Firecracker Contest.
In a similar vein to Duras, in Pour un oui ou pour un non Sarraute employs a cyclical narrative to replace the linear style traditionally adopted. However, Sarraute pushes the divergence further and creates a “play within a play,” comparable to Savannah Bay, but with less fragmentation of the narrative. Sarraute introduces her play in the middle of a conversation between two almost nameless characters, H1 and H2. An argument ensues forcing H2 to consult a jury consisting of the closest people nearby, in this case his next door neighbours. H2 had already expressed his upset to H1 from a previous encounter when, upon asserting “j’ai été… me targuer de je ne sais quel petit succès,” he was met with the condescendingly toned “C’est biiien… ça…”, resulting in H1 belittling H2’s feeling through the tone and rhythm of his words, “Ce que tu as senti dans cet accent mis sur bien… dans ce suspens, c’est qu’ils étaient ce qui se nomme condescendants.” With the jury in place, H2 re-presents his grievances with an audience of his peers present.
...e on her part. Throughout the story, the Mother is portrayed as the dominant figure, which resembled the amount of say that the father and children had on matters. Together, the Father, James, and David strived to maintain equality by helping with the chickens and taking care of Scott; however, despite the effort that they had put in, the Mother refused to be persuaded that Scott was of any value and therefore she felt that selling him would be most beneficial. The Mother’s persona is unsympathetic as she lacks respect and a heart towards her family members. Since the Mother never showed equality, her character had unraveled into the creation of a negative atmosphere in which her family is now cemented in. For the Father, David and James, it is only now the memories of Scott that will hold their bond together.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
The tale of the flying African represents a common dream, a common disappointment, and a group identity. As the object of Milkman's quest, it suggests a multi-leveled equivalence between individual identity and community. Simply as a folktale, it is an artifact of Afro-American history; its content links Afro-American to pan-African history; it is localized to represent Milkman's family history. His discovery of the tale thus repre-
Paula Vogel’s play, How I Learned to Drive, artistically tackles the disturbing issue of incestual pedophilia. The play’s protagonist Li’l Bit narrates the action as she goes through her memory of specific events. Much like stream of consciousness, her narration does not lead chronologically to scenes in her past. Rather it jumps back and forth between the present and different points in her life. She tells of her memories of youth and her sexual and emotional relationship with her Uncle Peck. Rather than simply telling about her experiences, though, Li’l Bit shares her memories through vignettes which show the audience her role in the affair within the context of learning to drive (Greene 425).
When two siblings are born together, and are close in age, many people wonder whether they will be the same or different altogether. A “River Runs through it” shows two brothers who grew up in the same household, and grew up loving to do the same activity fly fishing. Both brothers were raised in a very strict presbyterian household. Norman is the older brother, and he is much more responsible and family orientated. Paul is the irresponsible younger brother; Paul as an adult was not at home much anymore. Both brothers were loved equally as children, but how they view and use love is what separates them. Paul and Norman differ in behavior and character.
...pulls its strings. For the narrator and the black community, the Sambo dolls are a constant reminder that they are unable to neither form their own identity nor control their very movements. Ellison’s incorporation of the Sambo dolls educates us on an important lesson in life, that it is important to be ourselves and choreograph our own choices and movements in life. We must not allow others to hold reign of our strings and steer us in the direction they feel is right. “Life is to be lived, not controlled;” our full potential in life lies within our ability to control our movements and decisions in life (Ellison 577).
In Fyodor Dostoevsky’s Notes from the Underground and Margaret Atwood’s Oryx and Crake, discuss the modification of the natural world and human nature. The books come from different perspectives but discuss these same ideas. Notes from the Underground comes from the perspective of a man who is somewhat in hiding in a small corner of a room with a servant in an attempt to escape the outside world of Petersburg, Russia. While Oryx and Crake comes from a boy who is also living on the outskirts of society but travels in an effort to escape the tragedy at home.
Highlighting the theme of conflicting perspectives throughout Geoffrey Robertson's, 'The Trials Of Oz,' in particular his essays, The Romans in Britain and The Trials of Oz, is the bias nature of Geoffrey Robertson as he attempts to adopt his view of events, personalities and situations, to convince the reader on the validity of his argument. A perspective is a point of view, and a conflicting perspective is where two point of views clash. Similarly to this, is Jason Reitman's film'Thank You For Smoking' which is a satire of the perception of promoting smoking, but not to the level in which it is disregarded, as no character smokes on film.
The pointedness of the play is created through a distinct plot path. The observer is lead through the story, seeing first how greatly Amanda Wingfield influences her children. Secondly, the play-goer notes how Tom Wingfield desperately struggles and writhes emotionally in his role of provider- he wants more than just to be at home, taking care of his all-too-reminiscent mother and emotionally stunted sister. Tom wants to get out from under his mother’s wing; his distinct ambitions prevent him from being comfortable with his station in life. Lastly, Laura struggles inside herself; doing battle against her shyness, Laura begins to unfurl a bit with Jim, but collapses once again after Jim announces his engagement and leaves her, again. Each character struggles and thrashes against their places in life, but none of them achieve true freedom. This plot attests to the fact that true change and freedom can only come through the saving power of God Almighty and Jesus Christ, and by letting go of the past.
June, wearing a very feminine outfit, dances to the song of “Let Me Entertain You” while Louise has a more masculine appearance. This gender division continues in the dance, as June seems to be more elegant then Louise. This is a clear example of Frye’s definition of sexism, as both June and Louise are buying into the gender binary. Extrapolating from how June and Louise are contributing to the gender binary, it can be assumed that June and Louise’s guardian also does the same, which is not the case. Rose, their mother, comes onto the stage to critique the children and make it apparent to the director that her kids deserve the part. The dedication and strong will Rose elicits when talking about her kids is empowering, and contrasted by the other stage moms who emphasize the binary by being pushed around and rushed off the stage. Uncle Jocko emphasizes this strength of Rose’s character in his comment “Decisions, Decisions, Decisions” when Rose is talking about the technical parts of the act, implying that he is actually listening to what she has to say (4:50). Rose is different and refuses to fit into this normal feminine category that allows them to be pushed around and get told what to do. This ambiance of individualism is inspiring, but starkly shows how she does not imbue these values on her
People go through rough times, but the author A Man Called Ove, Fredrik Backman explains how one life changing event can affect a person for a lifetime. Some people never recover from lost love ones. Ove was able to make a change in his life to compensate for the love one that he lost. Ove’s journey leads to the happiness that every single person deserves. All the people in the neighborhood changed him and allows him to be successful on his path to happiness.
In the play Master Harold and the Boys, Hally demonstrates, through repeated acts and expressions, the sentiment of the entire African society at the time the play takes place. In 1950, the policy of apartheid was beginning to be practiced in South Africa.
of the true nature of the clown. This is a key element in the play as