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Luigi Pirandello’s play is deemed by many literary critics to be a significant play that greatly changed how the world literature is currently viewed. The play’s plot and its dramatic setting puzzled the literary critics and the audiences that watched it because it deviated from the literary canons of play writing as many knew them. The play sets of as a realistic play and thus Pirandello introduces six individuals who allege that they are an imperfect although self-determining outcomes of an author’s imagination. The characters allege that their author disposed of them before they could be perfect characters in a complete play. They further alleged that their story was incomplete because their acting had been terminated prematurely. They asserted that they were more genuine than the other characters that were to be used in narrating their story. In this regard, the six characters asserted that they were on the theatre stage searching for an author who was going to complete their story. They wanted a literary existence that their former author had deprived of them. This play deviated from the known literary conventions because there could never be characters without an author because every author often created his own (Altman 5). Using Michel Foucault’s theory; From Discipline and Punish: The Birth of the Prison; this paper is aimed at criticising Pirandello’s play.
Foucault’s theory
In his theory, Foucault uses the corrective institution at Mettray to describe the panoptic structure that human beings were often introduced to by the society. The panoptic society that Foucault was trying to describe had a prison, religious structures, career training institutes and schools that were aimed at generating a school of knowledge that wa...
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...or a utility that is essential in play writing.
Works Cited
Altman Joshua. Six Characters in Search of an Author: Adapting and Directing a Modern Drama for a Contemporary Audience. Tufts University: A Senior Honours Thesis Capstone Project for the Department of Drama and Dance. 2009.
Foucault Michel. Discipline and Punish: Panopticism. 1975. NY: Vintage Books 1995.
Pirandello, Luigi. Six Characters in Search of an Author. Nick Hern Books: New York, 1922.
Pirandedllo, Luigi. Six Characters in Search of an Author. 1921. 21 December 2013 .
Shapiro Stephen. Michel Foucault’s Discipline and Punish: The Birth of the Prison. 2002. Accessed 21/12/2013 http://www2.warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fullli st/second/en229/marxfctintros_/foucault_reader.pdf
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.
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The first principle that Aristotle outlines in Poetics is that of the plot, and according to him, the most important feature in a play. He defines the plot as “the arrangement of incidents”, meaning the structure of the play. Aristotle believes that the plot must be “a whole”, “complex”, “of certain magnitude”, and must be “complete” having “unity of action” (McManus). Molière’s Tartuffe fits this criterion perfectly. The play is considered to be whole in that i...
The ability of an author to capture the interest of the audience has and will always be an important factor in the art of storytelling and even the expression of research or related material. When an author is able to seize the attention of any partaking of their work, curiosity will develop which will lead to the wonder of what the conclusion my bring about. Not only is it important to snatch the audience’s attention in the beginning, it is necessary to hold it prisoner throughout the tale. Authors do this by having an interesting plot development in which many unexpected details come into play and the course of the story is thrown from the norm and into the conflict. Shakespeare was a master of this art in the work he produced throughout his life and was able to create stories of humor and those of tragedy. For example, his play King Lear is a terrible tragedy in which many awful things take place and the story ends by disastrous means. While in the play Much Ado About Nothing, very little conflict is present and if it is, it is resolved quickly and the play concludes with the joyfulness of marriage nuptials. His ability to develop plot and story in a way in which the audience who love to devour, Shakespeare will in a way immortalize himself, “Shakespeare proved himself to be both the "soul of the age" his works reflected and adorned and the consummate symbol of the artist whose poetic visions transcend their local habitation and become, in some mysterious way, contemporaneous with ‘all time.’” (Andrews) As stated, Shakespeare went beyond his time and created traditions, symbols, sayings, and even stories that people today will remember forever. King Lear and Much Ado About Nothing are each examples of Shakespeare's detailed ...
I endeavor to piece together areas of my life that relate to the struggles or victories characters go through and reflect how relevant the play is to me. There are certain works that have relevance to almost everyone; this is the case for the play Othello. Play-goers across the centuries may discover relevance in the successes or hardships that Shakespeare's characters go
Feste, the fool character in Twelfth Night, in many ways represents a playwright figure, and embodies the reach and tools of the theater. He criticizes, manipulates and entertains the other characters while causing them to reflect on their life situations, which is similar to the way a playwright such as Shakespeare interacts with his audience. Furthermore, more so than the other characters in the play he accomplishes this in a highly performative way, involving song and clever wordplay that must be decoded, and is thus particularly reflective of the mechanisms at the command of the playwright. Feste is a representation of the medieval fool figure, who is empowered by his low status and able to speak the truth of the kingdom. A playwright speaks the truth by using actors and fictional characters, who are in a parallel low status in comparison to the audience, as they lack the dimensionality of real people. Thus, the role Feste plays in the lives of the characters in the play resembles the role the play itself plays in the lives of the audience watching the performance. This essay will explore this comparison first by analyzing similarities between the way in which Feste interacts with other characters and the way the playwright interact with the audience, and then focus on the similarities between the aims and content of these interactions.
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
...e concept of panopticon is enough in our society to insure discipline when he says, “A real subjection is born mechanically from a fictitious relation. So it is not necessary to use force to constrain the convict to good behavior, the madman to calm, the worker to work, the schoolboy to application, the patient to the observation of the regulations. Bentham was surprised that panoptic institutions could be so light: there were no more bars, no more chains, no more heavy locks” (Foucault 289). Only thing that our society needs today to make it a better place is panopticon. This is exactly what Foucault is saying when he says, “panoptic institutions could be so light”. People in our society are just like the prisoners inside the panopticon. We think that some is watching from the tower and we behave properly similar to the traffic rules example that I talked about.
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The speeches delivered by Prospero and Jacques each hold extensive contrasting differences. Both Prospero, the tempestuous protagonist in The Tempest, and Jacques, a minor melancholy character in As You Like It, see things in a dissimilar light. They have gone through things in their lives that have shaped their thoughts and opinions on certain topics. Prospero and Jacques’ show this in their moods and then in the subjects of which they speak. By perceiving the contrasting objects in Prospero and Jacques’ speeches, we find that they are quite different in character.
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The aim of this essay is to answer, how the text could be read and interpreted differently by two different readers. On one side the play interpreted from the point of view of a reader that supports Paulina's position and a second reader who supports Gerardo's way of thinking. The position of the readers can be justified by the knowledge
Donadoni, Eugenio. A History of Italian Literature, Volume 1. New York: New York University Press, 1969.