The Mill on the Floss was unlike any production I’ve ever seen. Over and over again, different production choices made me raise an eyebrow, but after chewing on them, those deliberate decisions made sense. Ultimately, the play’s use of unrealistic elements served as a means for the audience to step further into Maggie’s life and to glean greater meaning from the production. This could be seen in numerous places throughout the play: when cousin Lucy was portrayed as a doll, when Maggie was portrayed by three different people and when she symbolically drowned on the ducking chair (Edmundsen & Houghton). All of those instances came together to create a harmony in the play. In one of the first obvious moments of the theatricalized nature of the play, Maggie’s family rolled on her cousin, Lucy (more or less). She was a child-sized mannequin. While at first glance this seemed like a stale joke, I began to realize that from Maggie’s point of view, Lucy was the doll. Fragile, delicate, quiet and lady-like in every way. Maggie, on the other hand, saw herself as a wicked “wench” (as her father lovingly called her). She read books down by the river, only to return with her hair ratted and matted every which way (Edmundsen & Houghton). In her own eyes, she could never be as obedient and loved as Lucy. The simple choice of using the doll brought about a completely new perspective that allowed audience members to interpret and learn differently. Another highly theatricalized moment in
Miller presents the character of Mary Warren in an important way to show the message of status and power. Mary Warren’s character is seen to be vulnerable and timid. The key events that makes her role important are her roles in the girls’ group, the scene with the poppet and her confession in court. Through the events in the play Miller portrays Mary Warren with tension and suspense. This makes the audience question her status and power.
This goes on to show that the narrator (who expresses herself as young, poor girl) does not have any women in her family and Lucy is someone she can run to and be her female barrier through life, as a sister which she says, “And we look at each other, our arms gummy from Popsicle we split, we could be sisters right?(5)”.Relating to she wants so much to be close to this girl, and she imagines them as sisters. In addition to, there are no male presence around except for her brothers which makes her feel like she can not relate to “their”world. Another reference of identity is in the story “Barbie-Q”, the little girl is playing with Barbie dolls with her friend, and the barbie dolls are very basic with not much clothing. Moreover, there is no “Ken” Barbie dolls around either. This compares that there is no masculinity as well as how poor these two girls are since the dolls only have few clothing. As a result, these girls have to share . Before long, they have an opportunity to buy some barbie dolls when there is a sale on burnt dolls due to warehouse that caught on fire. “And if the prettiest doll, Barbie's MOD'ern cousin Francie with real eyelashes, eyelash brush included, has a left foot melted a little—so?”(16). The girls do not care or take notice to the damage, they are grateful for what they have.
After children were returning home with bite marks on their neck being attacked by the “Bloofer Lady”, Dr. Seward and Dr. Van Helsing soon realize that Lucy in truth is the “Bloofer Lady”. One of Lucy’s numerous roles as a Victorian woman was to care for the children, but her role as a Victorian woman is greatly changed in these scenes becoming evident to the reader. After being interrupted ,“With a careless motion, Lucy flung to the ground, callous as a devil, the child that up to now she had clutched strenuously to her breast, growling over it as a dog growls over a bone” (p. 236). Additionally, Lucy’s constant sexual desires and beautiful looks work hand and hand with one another. Altering the tone of her voice and acting as if she was alive attracted Arthur to go towards his once loved wife, but Dr. Van Helsing disrupted her plan by flashing a cross near her. During this scene Lucy takes on the role of a Victorian man seducing Arthur about to
“Maggie” is a story that is pessimistic. It is not only a story of a character who ultimately succumbs to her situation by becoming a prostitute because she feels she has no other way if supporting
Through critical reflection, both girls and their feelings toward their mother’s, are mirrored through Maggie’s character. Twyla introduces Maggie as being short, dressing like a kid and “sandy-colored.” (240) Maggie did not speak and
In its historical context A Doll’s House was a radical play which forced its audience to question the
Nora is the character in A Doll House who plays the 19th woman and is portrayed as a victim. All of the aspects of this quote can be applied to the play A Doll House, in Nora’s character, who throughout much of the play is oppressed, presents an inauthentic identity to the audience and throughout the play attempts to discovery her authentic identity.
In Henrik Ibsen’s A Doll’s House, Nora Helmer is a traditional “angel in the house” she is a human being, but first and foremost a wife and a mother who is devoted to the care of her children, and the happiness of her husband. The play is influenced by the Victorian time period when the division of men and women was evident, and each gender had their own role to conform to. Ibsen’s views on these entrenched values is what lead to the A Doll’s House becoming so controversial as the main overarching theme of A Doll’s House is the fight for independence in an otherwise patriarchal society. This theme draws attention to how women are capable in their own rights, yet do not govern their own lives due to the lack of legal entitlement and
When the door slams at the end of “A Doll’s House” by Henry Ibsen, No one would not believe the woman walking out of her house is the same one who appeared at the beginning of the play. The main character in this play is Nora. Nora goes through a complete transformation, changing from a child like and dependant woman to a self strong woman pushing to become independent. Ibsen portrays the roles of society in the Victorian times in this play. Throughout her whole life, Nora’s husband and father have always controlled her; she has never been able to be independent, and the treatment she receives is not equal to the males around her, and the people around her belittle and patronize her to no end. Finally it goes too far and Nora realizes
The play, Summer of the Seventeenth Doll, journey’s through a longstanding sixteen-year seasonal love life of two Queensland cane cutters with two Melbourne barmaids during their five-month summer layoff seasons. Through the character of Olive, one of the barmaids, Lawler
In the play, “A Doll House,” written in 1879, the main character is a doll for her husband and for her father. She realizes that when living with her father, she would develop the same opinions as him, and stifle her own opinion if it differed from his. Her father even called her his doll child. She, Nora, also becomes aware that he played with
A central theme occurring in “Maggie” is naturalism, and within this specific story, no one escapes their environmental and biological destiny. Stephan Crane highlights the harsh effects of urbanization and industrialization occurring within the story. Maggie’s parents are represented as unfit guardians: Her parents are not only abusive, but also display alcoholic tendencies. Regardless of Jimmie and Maggie’s desire to break away from the miserable life within bowery, they find themselves unable to.
Numerous individuals saw values of feminism within A Doll House, not only because of what the character, Nora, faced as a woman in society, but due to the social era of that time; woman felt they could relate to Nora’s struggles. The play was made during a time period in which women were not allowed to conduct business without the authority of a man, such as controlling money or divorce unless both partners agreed. Many saw that A Doll House presented evidence on Victorian society by displaying hypocrisy and its use of public opinion to suppress individuality, the
In the play “A Doll’s House” by Henrik Ibsen, Nora goes through a transformation of self-realization. Nora lives a doll-like existence. she responds lovingly to her husband’s pet names such as “my little lark” or “my little squirrel” (Ibsen, 793). She does not mind playing a role for her husband. As the play progresses, Nora show that she is not a little girl. She understands how business work by taking out a loan behind her husband’s back to save his life. When she is blackmail by Krogstad, her eyes open to her unfulfilled and underappreciated life. she realizes that she been putting on a show for her husband. Nora has pretended to be someone else in order to fulfilled a role for not only her husband but also her father
Katherine Mansfield's "The Dolls House" seems to be a simple story about children receiving a own ideas and opinions. Even though everyone is entitled to their own opinion it is often bizarre to see how our opinions are based on those of others. This essay will outline the events that occurred in the story which are a big part in regards to the two different worlds of adults and children, and how they are separated from each other.