The Wild Party Essay
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Using feminist theory, semiotics and psychoanalysis, how do the directors’ visions and intentions of The Wild Party compare and contrast with each other to the original poem and how can it be applicable to society today?
The Wild Party is a poem by Joseph Moncure March and was published in 1928. Not only was it published two years after it was written but only 750 copies were available at the time. The content of the poem deemed to be too ‘wild’ in terms of the language and issues involved and therefore, it was banned in Boston. It later became adapted into two musicals around the same time as each other; the Off-Broadway version by Andrew Lippa and the Broadway version …show more content…
In the opening lines of
Lippa’s The Wild Party it is written out for the directors to portray this image of Queenie. It could be because the audience automatically have their own opinion and make their judgement before the show even begins, thus, creating their own stereotype of a blonde, leggy, and sexy woman.
In the paper ‘The Mirror Stage as Formative of the Function of the I as Revealed in
Psychoanalytic Experience’, Lacan attempts to understand the child’s concept of “self” and their experience of looking into a mirror and looking back at themselves: ‘The event can take place, as we have known since Baldwin, from the age of six months.’ (p.502) In relation to Lippa’s production, the directorial notes shows Queenie holding and looking into a vanity mirror: ‘She sometimes primps in a hand-held mirror, sometimes in the vanity..’ This could be symbolising that
Queenie is still a child as it resembles the mirror stage and gives the audience an insight that her behaviour she will get up to in the show will be very childlike. Lacan implied that when one looks into a mirror, we “assume an image”. Between the age of six to eighteen months, a child has …show more content…
New York: Pantheon Books. Miller, S (2011) Sex, Drugs, Rock & Roll, and Musicals. St Louis: Heinemann Drama. O 'Donnell, K. (n.d.).Women 's flapper makeup in the 1920s. [online] Available from: http:// www.ehow.co.uk/facts_7734080_womens-flapper-makeup-1920s.html. [Accessed 21st Nov 2014]
Rosenberg, J (2014) Flappers in the Roaring Twenties. [online] Available from: http:// history1900s.about.com/od/1920s/a/flappers.htm [Accessed 22 Nov 2014] Sharpe, M (n.d.) The Internet Encyclopaedia of Philosophy: Jacques Lacan [online] Available from: http://www.iep.utm.edu/lacweb/ [Accessed 28th Nov 2014] Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014] Strachey, J (1960) The Ego & The Id: The Standard Edition. W.W. Norton & Company: New York.
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec
Critical Theory in Performance Using feminist theory, semiotics and psychoanalysis, how do the directors’ visions and intentions of The Wild Party compare and contrast with each other to the original poem and how can it be applicable to society today?
The Wild Party is a poem by Joseph Moncure March and was published in 1928. Not only was it published two years after it was written but only 750 copies were available at the time. The content of the poem deemed to be too ‘wild’ in terms of the language and issues involved and therefore, it was banned in Boston. It later became adapted into two musicals around the same time as each other; the Off-Broadway version by Andrew Lippa and the Broadway version …show more content…
In the opening lines of
Lippa’s The Wild Party it is written out for the directors to portray this image of Queenie. It could be because the audience automatically have their own opinion and make their judgement before the show even begins, thus, creating their own stereotype of a blonde, leggy, and sexy woman.
In the paper ‘The Mirror Stage as Formative of the Function of the I as Revealed in
Psychoanalytic Experience’, Lacan attempts to understand the child’s concept of “self” and their experience of looking into a mirror and looking back at themselves: ‘The event can take place, as we have known since Baldwin, from the age of six months.’ (p.502) In relation to Lippa’s production, the directorial notes shows Queenie holding and looking into a vanity mirror: ‘She sometimes primps in a hand-held mirror, sometimes in the vanity..’ This could be symbolising that
Queenie is still a child as it resembles the mirror stage and gives the audience an insight that her behaviour she will get up to in the show will be very childlike. Lacan implied that when one looks into a mirror, we “assume an image”. Between the age of six to eighteen months, a child has …show more content…
New York: Pantheon Books. Miller, S (2011) Sex, Drugs, Rock & Roll, and Musicals. St Louis: Heinemann Drama. O 'Donnell, K. (n.d.).Women 's flapper makeup in the 1920s. [online] Available from: http:// www.ehow.co.uk/facts_7734080_womens-flapper-makeup-1920s.html. [Accessed 21st Nov 2014]
Rosenberg, J (2014) Flappers in the Roaring Twenties. [online] Available from: http:// history1900s.about.com/od/1920s/a/flappers.htm [Accessed 22 Nov 2014] Sharpe, M (n.d.) The Internet Encyclopaedia of Philosophy: Jacques Lacan [online] Available from: http://www.iep.utm.edu/lacweb/ [Accessed 28th Nov 2014] Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014] Strachey, J (1960) The Ego & The Id: The Standard Edition. W.W. Norton & Company: New York.
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec