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The role of women in Greek myth
Roles of women in greek and roman culture
Theatre analysis full essay
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Throughout the year the texts we have studied have provided us with inspiration on the topic and themes of our devised drama. The texts we have studied in Theatre Studies have been Anton Chekov’s “Three Sisters” and Sophocles’ “Antigone”, one of the three Theban plays. The link between these plays is the role of women and could be described as proto-feminist. “Antigone” shows us a woman who is prepared to go against the rule of the city and Creon, whom should be the dominant male in the play. “Three Sisters” portrays three women who cope with the death of their father, and live without men in their lives. We have used both of these ideas in our devised drama, as all our women are single and go against the stereotypical view of women allowing the audience to see a contrast of five women, all a foil to the traditional view of women in the catholic church.
We have also been influenced by a collection of poetry we have studies on our English Literature course. Carol Ann Duffy is well known as a feminist writer and her 1999 collection, “The World Wife” is an original collection in which she explores the view of the wives of historical, biblical and mythological men and gives the reader a chance to see the great tales concerning these men through the eyes of the woman, who is often shown to be much more strength in character than her husband or partner. After studying the poems, our group decided to base our five female characters on poems in the play, these poems being “Delilah”, “Mrs Faust”, “Mrs Midas”, “Salmone” and “Mrs Lazarus”. Using these as guidelines for our characters, the five girls in our group were able to elaborate on then, using the techniques of our practitioner, Stanisvlaski, to create a full character from the narrative in our selected poems.
Caryl Churchill’s play “Top Girls” was also an influence on us. The play “Top Girls” shows the audience famous women from the past having a dinner party together and discussing their experiences to one another. This is not unlike our devised drama and influenced us to choose the setting of a gathering.
The 1995 movie “How To Make An American Quilt” directed by Jocelyn Moorhouse inspired us for the idea of our women making a quilt together to commemorate the memory of a person from the village in which our play is set.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
“Remember we are women, we’re not born to contend with men” (Sophocles, 18). The popular literary works, Antigone and A Doll’s House, written by Sophocles and Ibsen, are two famous tragedies that have been performed and read throughout the decades. Although countless audiences have been entertained by these well written plays, few would care to guess that many lessons and several unfortunate truths can be found with a less than tedious inspection of the characters and the reactions they give to their circumstances. The two main characters in these stories, Antigone and Nora, face adversities and problems that are amplified by their society’s views on the rights and abilities of women. The two main male characters in these plays, Creon and Helmer, cause the greater part of the struggle that the female protagonists face. The difficulties that Helmer and Creon create during the plot of these stories are the cause of three major characteristics of what one would consider typical to a headstrong man in a leadership position. The three features of Creon and Helmer that lead to the eventual downfall of Antigone and Nora, are pride, arrogance, and ignorance.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
Drama Portfolio How did the first drama exercise develop your ideas? We first tried a simple drama interview with some prejudice. We thought we could develop it by adding more drama strategies. We also thought that we could increase the prejudice of the interviewer and maybe, instead of him saying his own inner thoughts, he could have a conscience/alter-ego to say it for him. This lead on to the thought that we could make his alter-egos control him and his actions.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
Ann-Marie MacDonald’s Goodnight Desdemona (Good morningJuliet) uses intertextuality to unveil the complete Shakespearean characters of Juliet and Desdemona to reveal the feminist narrative lurking between lines of Shakespeare’s plays. Only through the intertextual re-examination of the Shakespearean text itself via the interjection of genre and the reassigning of dialogue, within the metatheatre, is the true feminist representation of the female Shakespearian characters unveiled from behind the patriarchal preconceptions. From this understanding we may read Goodnight Desdemona (Good Morning Juliet) to be true feminist reworking of Shakespeare. Therefore the metatheatre’s intertextuality reinforces and supports the traits of the feminine. MacDonald’s main Character, Constance Ledbelly is searching for the missing link in Shakespeare’s Othello and Romeo and Juliet, the missing link from the original source works of his plays. Just as Constance explores from studying the Gustav manuscript that something is missing from Shakespere’s plays, we the reader can complete the information with Constance’s exploration to uncover the feminist narrative hidden within Shakespeare’s plays. MacDonald uses intertextuality and meta-theatre to dive into the mystery that is the source works of Shakespeare. The opening dumb show introduces us to the three different worlds that we are about to explore. This introduction to the meta-theatre, showing the ‘new’ narrative and play, that is the story of Constance, and the two familiar plays of Othello and Romeo and Juliet, invites the reader/viewer into the exploration of the inner workings of the texts. Constance is thrust into each play, creating the play within the play which is then manipulated by Con...
Shakespeare illustrates the injustices done to women by demonstrating the treatment Desdemona and Emilia received after having been framed of adultery. Because both women are though of cheating on their husbands, they no longer fit in society’s model of an exemplary wife. Despite having proved their affection for their husbands countless of times, not having a pure image led to Iago and Othello mistreating of the women they once loved. Once both women began to stand up for themselves and challenge the authority of their husbands, the repercussions of their bravery were both women’s death. Which shows, women’s only source of authority was their reputation as a wife. Once they lost that status, they no longer held any form or respect in society or with their husband’s.
The World Wife anthology written by Carol Ann Duffy, challenges the established exemplification of prevailing characteristics found in both genders, in a patriarchal society. Duffy manipulates some of these characteristics in the poem through the mythological allusion of medusa. The innocence of womanhood is overshadowed by the protagonists’ related violent imageries; instead, she is seen to be redoubtable and menacing, attributes associated with men. Society’s categories for what is masculine and feminine are portrayed to be unrealistic, and undermining. The main character is, however, still capable of possessing more ‘females based’ strengths and weaknesses, such as her strong emotions, which show a juxtaposition of love and hatred. Women, therefore, possess the disposition of both femininity and masculinity, creating a superior appearance.
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.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).