The Wingfield Way Tennessee Williams’ play The Glass Menagerie gives readers a look into a truly dysfunctional family. At first it could seem as if their lives are anything but normal‚ but Amanda’s “impulse to preserve her single-parent family seems as familiar as the morning newspaper” (Presley 53). The Wingfields are a typical family just struggling to get by. Their problems‚ however‚ stem from their inability to effectively communicate with each other. Instead of talking out
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Throughout numerous theatre productions and writings‚ music acts as the portrayal of a performances atmosphere and/or condition. The melodic compositions that enhance a production often attract an audience’s attention as well as connect fabricated characters to genuine people. While the character’s emotions depicted throughout a performance attain an audience’s response‚ the musical score written during the process of a play receives a greater acknowledgment. Viewing Twelfth Night from a analytical
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ELIT 351 Final Exam Project The love in Twelfth Night The love in Shakespeare’s play Twelfth Night is a mixture of miscellaneous emotions some of them derived from the events in the plot pf the play and others are caused by the nature of the characters and their inner worlds. This different compound of feelings such as desire‚ affection‚ madness and disguise naturally present such an extraordinary web of love in the play. Each major character in the play experience the love that includes these
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‘Viola is one of Shakespeare’s most sympathetic and resourceful heroines’. To what extent is this interpretation supported by Act 1? Watching the first scene of ‘Twelfth Night’‚ it seems quite obvious that Viola‚ shipwrecked with nothing‚ resourcefully survives and flourishes under Count Orsino’s court‚ successfully using her brilliant wit and intellect to maintain the disguise that she has adopts. Yet does this resourcefulness undermine the extent to which we feel sympathy for her and is there
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The Power of Cross-Dressing Kyle Nagy 120949480 03/12/2014 Dr. Bryce-Wunder EN-233 The nature of gender consists of both physical and psychological elements that have come together to help shape human history and culture. Society has come to associate gender with specific cultural norms to adhere to. In William Shakespeare’s Twelfth Night and As You Like It‚ the performance of gender is examined by the characters who frequently change their identity in order to explore paths not available
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with Toby later on. Equally there is subversion of status within mirrored suits for marriage‚ one of which is Olivia usurping her rank by declaring her love for Cesario‚ supposed manservant. This suit for marriage is echoed when Olivia’s manservant Malvolio imagines being able “to ask for my kinsman Toby” if Olivia where is mistress. Malvolio’s humble place in society contrasts with his exalted aspirations. This corresponds with the concept of the ‘green world’‚ which in this case is Illyria‚ and is
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Known for his rowdy behavior and drinking‚ Toby often simply used Andrew as somewhat of a sidekick character‚ a role that Andrew seemed to willing take. For example‚ after they are chastised by Malvolio and Maria began describing her plot to trick the steward‚ Toby remarked that he “[smelled] a device‚” to which Andrew responded that he “[had] it in [his] nose too‚” (2.3.162-163). In this instance‚ along with many others‚ Andrew simply affirmed
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The Wise Fools of Shakespeare “Infirmity that decays the wise doth ever make a better fool” – though uttered by one of his own characters Shakespeare does not seem to conform to this ideal. The fools carved by Shakespeare in his plays showed no resemblance to the mentally and physically challenged people who were treated as pets and used for amusement during the medieval period. Rather Shakespeare’s fools appear to be in the best of their wits when they are in possession of the wisest minds. Fools
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In 1944 Tennessee Williams playwrights The Glass Menagerie‚ a memory play about the lives of the Wingfield’s. A family of 3‚ Amanda‚ Laura‚ and Tom Wingfield‚ who lived together in an apartment in St. Louis 1937 during the pre-war depression era. The play comments on the way people would try to distract themselves from the unpleasant events that would surround them every day. Williams wrote the journey and “the hopelessness of the Wingfield family" (Beaurline 4) and how they struggled to manage their
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household on whether death or life is superior as the characters are subjected to a living death‚ with the pressure of the literal and figurative metaphor of the four walls mounting upon them. Tom reflects on an occasion where he went to observe Malvolio the Magician‚ in which he described the “wonderfullest trick” where “we nailed him into a coffin . . . he got out without removing one nail. There is a trick that would come in handy for me – get me out of this two-by-four situation!” (Scene 4) Here
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