igcse coursework

Topics: The Stage, Life, English-language films Pages: 23 (9159 words) Published: April 17, 2014
To enable a character to change so much, her flaws have to be evident and abundant before the metamorphosis occurs. Priestly obliges in the stage directions offering Sheila as a ‘girl’ showing her immaturity even though she is in her twenties and that she is ‘pleased with life’, which is rather damning as we soon realise all she has accomplished is being her father’s daughter and gotten engaged. In giving her such a start in the audience’s eyes, we see how trapped Sheila is, not only through her dependence on men (which is a problem that haunts Eva) but also by growing up in an environment where such a course of action in life was to be expected. 1912, the time in which the play is set, is offered by Priestley as a stifling environment under control of those out of touch and hypocritical, epitomised by Alderman Meggarty. In transforming herself, from these stereotypical beginnings Sheila becomes the embodiment of Priestley’s hope for the generation watching in 1945.

Priestley hints at her naivety even further through stage directions and the infantile language in her speech, showing her materialistic nature as she ‘is still admiring her ring’ while her father makes his speech, so much so that he has to call her to To enable a character to change so much, her flaws have to be evident and abundant before the metamorphosis occurs. Priestly obliges in the stage directions offering Sheila as a ‘girl’ showing her immaturity even though she is in her twenties and that she is ‘pleased with life’, which is rather damning as we soon realise all she has accomplished is being her father’s daughter and gotten engaged. In giving her such a start in the audience’s eyes, we see how trapped Sheila is, not only through her dependence on men (which is a problem that haunts Eva) but also by growing up in an environment where such a course of action in life was to be expected. 1912, the time in which the play is set, is offered by Priestley as a stifling environment under control of those out of touch and hypocritical, epitomised by Alderman Meggarty. In transforming herself, from these stereotypical beginnings Sheila becomes the embodiment of Priestley’s hope for the generation watching in 1945.

Priestley hints at her naivety even further through stage directions and the infantile language in her speech, showing her materialistic nature as she ‘is still admiring her ring’ while her father makes his speech, so much so that he has to call her to To enable a character to change so much, her flaws have to be evident and abundant before the metamorphosis occurs. Priestly obliges in the stage directions offering Sheila as a ‘girl’ showing her immaturity even though she is in her twenties and that she is ‘pleased with life’, which is rather damning as we soon realise all she has accomplished is being her father’s daughter and gotten engaged. In giving her such a start in the audience’s eyes, we see how trapped Sheila is, not only through her dependence on men (which is a problem that haunts Eva) but also by growing up in an environment where such a course of action in life was to be expected. 1912, the time in which the play is set, is offered by Priestley as a stifling environment under control of those out of touch and hypocritical, epitomised by Alderman Meggarty. In transforming herself, from these stereotypical beginnings Sheila becomes the embodiment of Priestley’s hope for the generation watching in 1945.

Priestley hints at her naivety even further through stage directions and the infantile language in her speech, showing her materialistic nature as she ‘is still admiring her ring’ while her father makes his speech, so much so that he has to call her to To enable a character to change so much, her flaws have to be evident and abundant before the metamorphosis occurs. Priestly obliges in the stage directions offering Sheila as a ‘girl’ showing her immaturity even though she is in her twenties and that she is ‘pleased with life’, which...
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