Analysis Of An Octoroon And M. Butterfly

In the novel, The Book Thief by Markus Zusak, two characters that really contribute to the storyline are Hans Hubermann and Rosa Hubermann. While the characters are much different in personality, both are actually very similar. As war and other events lead to suffering, Hans’ and Rosa’s personalities are tested, and their true colors come out. This leads to many dramatic events in the Hubermann household, all witnessed by their foster daughter, Liesel. The way they pull it together is remarkable, and while their different personalities clash, their main objective stays the same.

“The Shoe- Horn Sonata” is a play by John Misto that gives an insight into two lives of two female POWs in WW II and is a vector of Misto’s thoughts. It explores the little known and often terrible events associated with female prisoners of war. The play follows a friendship of two women through the war to a point of tension that’s beyond what any normal friendship would have to deal with. Misto engages his audience by using a multitude of mediums to portray his story creating a truly multimedia performance. The playwright challenges the audience to look beyond this to the underlying ideas of survival, loyalty and truth.

A distinctly visual aspect of demonstrating the experience of the characters kindles curiosity in the audience to involve and instill emotional understanding of the context. Through the use of distinct and unique techniques, composers create an emotional response that can have a significant effect on the responders’ attitude on the world. The play ‘The shoe-horn sonata’ explores the crisis of circumstances as John Misto depicts the forgotten history of the women captured and imprisoned during WW2. Misto explores the experiences of the Australian nurses and the government’s response to their pleads of salvation, to emotionally bind the audience and the characters. Likewise, David Douglas Duncan involves the audience by evoking a feeling of pity and empathy in his Korean War photograph. He creates sentiment for the loss of innocence and employs distinctly visual elements to convey the horrifying nature of war. He profoundly highlights power in the photograph to explore the despair felt by the weak fleeing Korean citizens. Hence, both authors elevate the context with a visual representation of the individuals’ struggles to create curiosity and emotional rapport with the audience to improve the understanding of the characters experiences.

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

The scenes and props complimented the attire of the performers, blending together create a magnificent display. The scenery was realistic enough to afford the viewer an escape into depths of the show. The setting was beautiful and the structures almost lifelike, excepting the absence of a front screen door. It seems that almost all plays and television shows I have viewed neglect this detail. The stage lighting played a key role in the show by setting the mood of the performance during soulful, pensive songs. In contrast, the lighting proved to be a detriment by overbearing the performance of the artists, in that one’s attention was drawn to the glare of extreme quantities of makeup rather than the actions of the characters. This was most notable during the final portions of the production.

M butterfly a play by David Henry Hwang has captivated audiences for many years! I love story with many twist and turns M butterfly describes an affair between a Chinese “women” and a French diplomat that caries on for 20 years only to discover that the Women was actually a man. A spy for the communist party sent to get information on the Vietnam war, but Gillard was to stubborn to see it until Liling the Chinese opera singer is sent to France where she is found to be a man in court. Through this we can see the relationship between Gender, capitalism and ethnicity/ nationality and sexuality.

This phenomenon was replicated at the University of Michigan’s SMTD performance of The Resistible Rise of Arturo Ui, written by Bertolt Brecht. This play told the story of the rise of gangster Arturo Ui and the corruption of the cauliflower business in order to satirize the rise of Hitler. Despite this being a play, rather than a musical, the use of Copland’s “planes of listening” still apply. Theater-goers can still view the work with different approaches- either purely surface level, meaning-driven, or technical, like the “planes of listening Copland describes.

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Within my generation, I see a lot of my peers having this mindset that “thirty-is-the-new-twenty.” Due to this culture, there’s this ideology that your twenties are just something to blow off, that they don’t serve any sort of significance. In The Defining Decade writing by arthur Meg Jay, a clinical psychologist, Jay goes into detail on why this mindset is, indeed, incorrect. Through stories of her clients and a few stories of her own, Jay explains why the “thiry-is-new-twenty” is a not the right mindset.

Boucicault offers his perspective in The Octoroon from a distance, choosing to weave his message through the action of the play. Zoe’s text, specifically, provides ample context in which Boucicault can introduce the audience to his then-counterculture, abolitionist morality. Zoe reveals his stance on illegitimate slave children, for

The Octoroon, classified as a slavery play, is a drama by Don Boucicault, that was performed by Queens College students and directed by professionals from the theater industry was a drama of a plantation life in Louisiana and miscegenation back in the day. The script for this play is divided into five acts and performed in two and half hours. Light turns on, and the first scene setting is a view of the plantation Terrebonne, during an unspecified year. Perhaps a time of slavery, Pre-civil war. Giving its audience a feel of the south, mainly Mississippi is seen winding through the Estate. The set is of its true authenticity, giving its viewers a trip down south. The right side of the stage has tables and chairs and the left side has a low-built planter dwelling, surrounded by an open space. In this sequence most of the main characters are introduced; Zoe, George Peyton, Jacob M’Closky, Pete, Dora and the many slaves. All the characters are dressed their part, which is what gives the audience members a truly authentic vibe.

The issue of cultural stereotypes and misconceptions thematically runs throughout David Henry Hwang’s play M. Butterfly. The play is inspired by a 1986 newspaper story about a former French diplomat and a Chinese opera singer, who turns out to be a spy and a man. Hwang used the newspaper story and deconstructed it into Madame Butterfly to help breakdown the stereotypes that are present between the East and the West. Hwang’s play overall breaks down the sexist and racist clichés that the East-West have against each other that reaffirm the Western male culture ideas. The stereotypes presented in the play revolve around the two main characters, Gallimard and Song. The play itself begins in the present with Gallimard, a French diplomat who has

As a style of presentational theatre, epic theatre is crafted to exact its purpose; to challenge and instruct the audience to assess models of power and society

This production ticks every box; from staging to acting, the play is refined down to absolute fluidity. Immersing themselves in the roles completely, the actors in the Old Vic production embody Miller’s characters in ways unparalleled by other performances. Seeing the actors wholly capture the raw emotions of their complex characters brings the play to life, and with their efforts, the audience feels so deeply along with them.

This is a must watch Broadway show that makes your fine, terrible, or even boring day, an absolute blast. The Play That Goes Wrong has finally made its way to America and right at the heart of New York City near Times Square at the Lyceum Theatre. Therefore, the experience is a win-win situation for the audience. The Lyceum Theatre’s architecture is astonishing as it is filled with ornaments, I also realized the letter ‘L’ around the theater, but the most interesting fact is that it is a landmark. It has a proscenium stage while the audience is in the orchestra, balcony, or the mezzanine seats, like where I sat, and there is barely any space if you are a tall person. My seat was near the far end of mezzanine, I couldn’t see a part of the left side of the stage, so I found myself bending sideways to see what was going on, but I saw nothing. I found the side stage lights and a side balcony blocking my view and yet I had a great time.