Pirates of Penzance - Critique
The Pirates of Penzance was an opera performed by the Southwest Texas Opera Workshop. The Pirates of Penzance, composed by Gilbert & Sullivan, is a light-hearted parody of the traditional opera. This opera takes place somewhere in the British Virgin Islands. It is about a boy, Federic, who is to be apprenticed by his nurse, Ruth, to become a pilot. Ruth mistakes the word pilot for pirate and apprentices him to a band of pirates. She, too, remains with them as a maid-of-all-work.
Act I opens with the celebration of Frederic’s coming of age. He is planning to leave the pirates and devote his life to the eradication of piracy. Now that Frederic has come of age, Ruth wishes to become his spouse and he reluctantly agrees, believing that she is as beautiful as she says. Soon after he agrees to marry Ruth, Major-General Stanley’s many daughters stumble upon the island. After Frederic sees their beauty, especially that of Mabel’s, he renounces Ruth and pursues Mabel. The other girls are seized by the pirates and threatened with marriage. When the Major-General shows up he too is captured by the pirates. The Major-General eludes the pirates by telling them a lie about being an orphan. Having been orphans themselves and having a place in their hearts for them, the pirates let the Major-General and his daughters go. Over the next few days, the Major-General’s conscience gets the best of him and he confides to Frederic ...
Ethel Waters overcame a very tough childhood to become one of the most well known African American entertainers of her time. Her story, The Eye on the Sparrow, goes into great detail about her life and how she evolved from taking care of addicts to becoming the star of her own show. Ethel was born by her mother being raped at a young age. Her father, John Waters, was a pianist who played no role in Ethel’s life. She was raised in poverty and it was rare for her to live in the same place for over a year. Ethel never fit in with the rest of the crowd; she was a big girl, about five nine when she was a teenager, and was exposed to mature things early in her life. This is what helped shape Ethel to be the strong, independent woman she is.
I don’t recall if Gutman said it in the movie about the Falcon being coated by lacquer to obfuscate that it’s really made of gold and jewels. I think it was implied that nothing is what they really seem to be. This is what I believe Dashiell Hammett was trying to communicate through his novel, ‘The Maltese Falcon.’ In this paper I will write about why I believe what is Hammett trying to convey through his cast of characters. These characters are unlike the image and stereotype cast upon their roles.
At the end of act one a lot of questions are left unanswered such as
The Hunchback of Notre is a movie that was acted and was able to premier in their year 1939.This film has several issues that get portrayed in it.In this movie the issues that were represented in it were items on the real life situations that had happened in the country of France during the fifteenth century. The focus of this movie is mainly on the way ignorance, cruelty and also a lot of superstition had spread throughout the country of France during that period. This kind of issues in this was an experience of what happened mainly during the fifteen the century and all sorts of problems and challenges that the people able to undergo during that period. In this movie, the Hunchback of Notre Dame, several characters are involved, and each
In A Tale of Two Cities, Dickens explores the concept of rebirth (physically, spiritually, mentally, and emotionally) through the exploits of Doctor Manette, Charles Darnay, and Sydney Carton. Some major keys in his ideas of being resurrected are physical and mental recovery, escaping an unworthy past for a worthy cause, and the nobility of sacrifice.
The first aspect I would like to touch on is that Frederic Henry is a well-rounded character. As the story progresses we learn more and more about the character Frederic Henry. Though it may seem like a small point, a good example of how we learn more about Frederic as the story progresses is the fact that he is nameless in the first four chapters. Throughout the first four chapters, Frederic Henry is referred to as “lieutenant” by his peers and “baby” by his girlfriend. Its not until chapter five that he is referred to as “Mr. Henry”. Then we learn his full name, Frederic Henry, in chapter thirteen. Another example of Frederic Henry being a round character is that he is closely involved in just about every part of the story. Of course he would have to be involved in the majority of the story because it’s basically the confession of his life. The entire story we learn about Mr. Henry, and we watch him grow to become a good man. Even when Frederic is not...
The theme of deception runs very strong in Act One. Almost all the characters seem to either be deceiving someone, or being deceived themselves.
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
While watching the scene of Joel getting his memory wiped clean of clementine in “Eternal Sunshine on the Spotless Mind” you see a few different strange occurrences happen. This leads me to believe Joel is in REM sleep during his procedure. I have come this conclusion because our book states dreams during REM are “often emotional, usually story like, and richly hallucinatory” (Myers and Dewall, 11: 103). Throughout Joel’s procedure you see he experiences all three of those dreams. An example of Joel having an emotional dream would be when he cries out for the people working on him just to keep this one last memory. Also Joel is emotional while frantically trying to escape memory lose by running with Clementine.
In William Shakespeare’s play, Othello, the power that Iago has over Emilia in their relationship helps manifest the unfairness of gender roles thus, leading to a distortion of the worth of women. The power that Iago has over Emilia hurts Emilia’s self-confidence. The distortion of the worth of women ultimately leads to misunderstandings in Emilia’s view of relationships.
The first act starts off by telling us that Torvald has gotten a new job as the manager of a bank by where they live. When he accepts the job him and Nora are happy because they will not have to worry about their money problems anymore. This shows us that the couple is a middle class married couple who has problems with money, just like the rest of us. His wife Nora is very supportive of him getting this job so that their money problems will become better.
Critique of the Film Shakespeare in Love Shakespeare in Love is a fictional movie about the great writer and poet, William Shakespeare. The story is of a young William Shakespeare barely making ends meet and trying to write a play for the local theatre. However, Shakespeare is suffering from writer's block, and is seeking inspiration by having a muse. A muse is a power, in this case a female, used to inspire a poet. Of course, a love story proceeds.
The first act introduces us to the charming and affluent Conway family; Madge, the intelligent socialist teacher, Alan, the unambitious yet good-natured son, Kay, the aspiring novelist, Hazel, beautiful and haughty, Robin, a former soldier, Carol, the sweet youngest child, and Mrs. Conway, the innocently frivolous mother. The family spends the evening celebrating the end of World War One and each expresses their optimistic hopes for the future. The family amiably interacts with other characters like Joan Helford, Ernest Beevers, and Gerald Thornton. However, Act two opens with Kay coming to visit home after working at meaningless job in the city in 1937. The second act has a much gloomier tone and there are several notable differences between the optimism of the 1919 Conways and the embittered 1937 Conways, on the verge of another World War. None of the characters has done what they had hoped and each is unhappy in their own way; with the exception of Carol, who has died many years prior to act two. As the family disperses into disarray, Kay returns to 1919 time in act three. No time has passed since the end of act one. The mood is still jolly as before but the audience, and to an extent Kay, has the foreboding feeling that the 1919 Conways will become the 1937 Conways. Kay becomes unable to join in the gaiety of her party as she
Upon an initial examination of William Shakespeare’s play, The Merchant of Venice, a reader is provided with superficial details regarding the moral dilemmas embedded in the text. Further analysis allows a reader to recognize the multi-faceted issues each character faces as an individual in response to his or her surroundings and/or situations. Nevertheless, the subtle yet vital motif of music is ingrained in the play in order to offer a unique approach to understanding the plot and its relationship with the characters. Whether the appearance of music be an actual song or an allusion to music in a mythological or social context, the world of Venice and Belmont that Shakespeare was writing about was teeming with music. The acceptance or denunciation
Shakespeare is a famous writer of many plays, such as Twelfth Night. Twelfth Night is a romantic comedy that takes place in Illyria and incorporates several songs throughout the play. Shakespeare normally assigns the singing roles to characters of lower class and minor personalities, such as servants, clowns, rogues and fools. Major characters never usually sing unless they are in disguise or in distracted mental states. In Twelfth Night, the Fool, who is also known as Feste is in charge of all the songs and he uses music to effectively portray the truth and reality beneath all the acting in the play. The songs are not a reflection of him, but are addressed to the protagonists themselves. Through his use of indirect speech and metaphorical