The Twelfth Night By William Shakespeare - 1167 Words

Within Shakespeare’s plays, there are many ways in which characters play with gender stereotypes. Through changes to appearance and personality, characters disguise themselves to fit in with the opposite gender. Cross-dressing suggests that because the characters are female, they do not have the appropriate power they need for the situations they find themselves in, and when they achieve that power, they are still female and still manage to fulfill their goals. So, for a woman to have power does not mean she needs to stop being female but to stop being perceived as a female so she can be treated differently. In ‘The Twelfth Night,’ Viola disguises herself as a man in order to find her brother and in ‘The Two Gentlemen of Verona’ Julia also dresses as a man to travel to Milan and visit Proteus. Both of these women find themselves in challenging situations, who use unique strategies in order to cope and subtly opposing gender roles. Shakespeare (1564 (baptised)-1616) was an english playwright. His plays have been translated to many different languages and they have been repeatedly adapted. Not only do his plays continue to stay popular, they are constantly studied, performed and reinterpreted through different cultures around the worlds. His plays hold many stereotypes of men and women in their roles in society, but he also questions, challenges and changes those representations. He allows female characters to struggle within and against social expectations so they, likeShow MoreRelatedTwelfth Night by William Shakespeare1279 Words   |  5 Pages Within the play ‘Twelfth Night’ it can be argued that the audience may be entertained by the outlook of Malvolio’s gulling. To start with his name means â€Å"ill will† within Italian which already suggests his attitude towards the other characters thus showing his place within the play as an â€Å"unpopular†character. He is a part of a religious order who sought to regulate forms of worship. In modern time the word â€Å"puritan† is often used to mean Against pleasure . Historically, the word was has been usedRead MoreTwelfth Night by William Shakespeare1019 Words   |  5 Pagesconsidered elements of a comedy. Shakespeare wrote a comedy called Twelfth Night because that’s the Christmas Celebration when pranks and deceptions were allowed when people were off work. However the last day 6th January was when all the decorations came down, which brought a tinge bit of sadness to the Elizabethans. William Shakespeare employs the dramatic conventions of mistaken identity and disguise to establish humour in an example of Act 2 Scene 2 of Twelfth Night. Viola realises Olivia is inRead MoreTwelfth Night by William Shakespeare1164 Words   |  5 PagesIn the comedy Twelfth Night written by William Shakespeare many of the characters experience emotional pain. The pain that a character name Olivia experiences is the death of her brother, causing her to mourn. Malvolio who is Olivias steward is involved with emotional pain caused by humiliation, which occurs more than once in this play. Lastly, a great deal of characters battle with the feeling of unrequited love. Even though Shakespeare wrote this as a comedy, there was still a mass amount of emotionalRead MoreTwelfth Night by William Shakespeare2088 Words   |  8 PagesTwelfth Night, or, What You Will by William Shakespeare is a comedy that was written for the Christmas season. Twelfth Night presents many different topics through out the play like: crossdressing, homosexuality, unknown same sex desires, and undertones of talk about genitals. Although some are more noticeable than others, they are all present. I will be focusing mainly on the homosexuality of some of the characters and what the difference between that and just having a ‘male friendship.’ I will alsoRead MoreWilliam Shakespeare s Twelfth Night2005 Words   |  9 Pagesrole that gender plays in Shakespeare’s work. Focus on Twelfth Night or King Lear—or discuss both plays together. Do you see these patterns repeated? Or do you see them being challenged and somehow undermined (implicitly or explicitly) in the plots and language of the play s)?† wants to know if Shakespeare wanted to break the pattern of women being passive objects to men in the literature. In the story Twelfth Night by William Shakespeare all of the roles are played by men. In the fifteenth centuryRead MoreWilliam Shakespeare s The Twelfth Nig ht Essay1515 Words   |  7 Pageselements in plays and films. Slowly with the knowledge gained, we transitioned into examining the adaptations of the world famous playwright, William Shakespeare. For this assignment, we were to choose a modern Shakespeare adaption and compare its successes and failures to its traditional script. With the choices given, I decided to choose the Twelfth Night to its modern adaption directed by Andy Fickman called, â€Å"She’s the Man.† I was pleasantly surprised when I saw it as an option, therefore I feltRead MoreWilliam Shakespeare s Twelfth Night1967 Words   |  8 Pages William Shakespeare’s â€Å"Twelfth Night† or â€Å"What You Will† was written around 1601-1602 with the primary performance being in February 1602. It is known to be a high point of Shakespearian comedy as it is one of Shakespeare’s finest works. Twelfth night was written to commemorate the close of the Christmas season being possi bly one of the first ever holiday specials, kind of like the Middle Ages version of â€Å"Love Actually†. The play centres on the twins Viola and Sebastian, who are separated duringRead MoreWilliam Shakespeare s Twelfth Night Essay1470 Words   |  6 PagesWilliam Shakespeare’s Twelfth Night can easily be interpreted as a romance play. Given that the majority of the characters in the play in some way or another fall in love, but there are many twists that come with these romantic relationships. Some of the characters fall in love with the same character, others fall in love with a character that loves another, who actually loves another causing a chaotic love triangle. Within every romance a character is tragically hurt, turning the romance play intoRead MoreWilliam Shakespeare s Twelfth Night1762 Words   |  8 PagesShakespeare wrote the romantic comedy play, Twelfth Night, in the year 1601. Despite being over 400 years old, people have been studying and performin g the play continuously. Even though some may argue American audience now cannot understand the significance of social hierarchy in the play nor the lines written in Shakespearean English, Twelfth Night remains popular today as shown by New York Times’ publishing of seven reviews on different performances of Twelfth Night. At the same time, ShakespeareRead MoreWilliam Shakespeare s Twelfth Night Essay2147 Words   |  9 Pagesaffection for another person,† love takes on many forms throughout life and literature (Merriam-Webster). Through its passionate drama and witty repartee, Twelfth Night, by William Shakespeare, explores the intricate, and often complicated, realm of interpersonal love. By tracing the intertwining storylines of four unique characters, Shakespeare communicates the futility of self-love, the desperation of hopeless love, and the immeasurable virtue of selfless love. An after-effect of human’s sinful

How to reduce the divorce rate Essay Example For Students

How to reduce the divorce rate Essay Contiguous articles in Variety announcing that the contracts of two artistic directors would not be renewed made me think once again about the process of recruiting our theatres leaders and ways to then nurture relationships between artistic and managing directors and their boards and communities. At this time of economic fragility in the field, sudden and frequent leadership changesespecially ones that are not for mutual reasonsare of concern to all of us, since they affect the stability of the field. The divorce rate is increasing rapidly. Over the past several years there have been no fewer than 45 changes in artistic and management leadership at Theatre Communications Groups 242 constituent theatres. We seem to have developed a pattern of musical chairs, where the firing, resignation or retiring of one leader leads to a search that creates an opening at another theatre, which in turn leads to the recruitment of someone from yet another theatre, and so on. As a field, I think we need to consider carefully the domino effect of this pattern, and whether we can do better. I call upon boards, and artistic and managing directors alike, to consider the following questions: * How good is the recruitment process? Does it involve preparing for and establishing an actual process for the searchreviewing the mission statement; deciding on whether to engage a search firm; preparing detailed job descriptions; developing a careful interview process; consulting with other theatres; seeing the work of artistic director candidates; conducting detailed reference checks? * Are artistic and managing directors interchangeable from one theatre to another? What are their aesthetic and institutional goals? Do they possess the necessary leadership qualities, as well as the experience and job skills required? What do they need to know specifically about the community? * Once the selection has been made, are the new theatre leaders welcomed into the community? Do they make an effort to reach out to the community? Do they function as leaders within the community or insulate themselves within the theatres activities? * Once employment is underway, are there regular systems of evaluation in place to provide an early warning system for problems? Are there regular performance reviews conducted by the board and top leadership? (And this should work both ways!) Do board and staff work to forge and strengthen a partnership? * Are boards active in developing occasions for serious interchange? Are the plans and goals of the artistic and managing directors fully understood by the board? Are the expectations clear? * Who is responsible for what? Boards are responsible for hiring and firing in most theatres. Artistic/managing directors are accountable to boards. But both are responsible for communication and the process by which they interact. * What is the impact of the leadership changes? Transitions can be very costly and, when handled badly, very damaging to the institution and the individuals involved. The field already has a serious talent drain, and the increasingly high turnover among those running our institutions is not likely to encourage potential new leaders. Sadly, and too often, those who have served the field long and well are lost to us when they leave the helms of our theatres, and they must seek work in other fields or return to freelance careers. That is why making a commitment is serious. Can we do better? IT WAS DISHEARTENING TO LEARN IN JANUARY that the National Endowment for the Arts Theater Program has terminated its program in support of training. In light of the Endowments reduced budget, certain nips and tucks clearly had to be made. But what kind of signal is sent when the NEA implies training is expendable? .ud198a8d38803a7169d6df1df5f02fa37 , .ud198a8d38803a7169d6df1df5f02fa37 .postImageUrl , .ud198a8d38803a7169d6df1df5f02fa37 .centered-text-area { min-height: 80px; position: relative; } .ud198a8d38803a7169d6df1df5f02fa37 , .ud198a8d38803a7169d6df1df5f02fa37:hover , .ud198a8d38803a7169d6df1df5f02fa37:visited , .ud198a8d38803a7169d6df1df5f02fa37:active { border:0!important; } .ud198a8d38803a7169d6df1df5f02fa37 .clearfix:after { content: ""; display: table; clear: both; } .ud198a8d38803a7169d6df1df5f02fa37 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud198a8d38803a7169d6df1df5f02fa37:active , .ud198a8d38803a7169d6df1df5f02fa37:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud198a8d38803a7169d6df1df5f02fa37 .centered-text-area { width: 100%; position: relative ; } .ud198a8d38803a7169d6df1df5f02fa37 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud198a8d38803a7169d6df1df5f02fa37 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud198a8d38803a7169d6df1df5f02fa37 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud198a8d38803a7169d6df1df5f02fa37:hover .ctaButton { background-color: #34495E!important; } .ud198a8d38803a7169d6df1df5f02fa37 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud198a8d38803a7169d6df1df5f02fa37 .ud198a8d38803a7169d6df1df5f02fa37-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud198a8d38803a7169d6df1df5f02fa37:after { content: ""; display: block; clear: both; } READ: Beneath the plumage EssayEveryone is concerned about where audiences will come from in 10 years. We need also to be concerned with where our artists will come from. To preserve the Endowments interest in training, perhaps grants to training institutions could have been merely suspendedeven alternate-year funding could have been instituted. In this era of fiscal constraint, status quo thinking is probably too optimistic, and the NEA is going to have to limit the scope of its activities. But I hope it is not too late to reconsider the finality of termination of a program that is concerned with the next generation. WHILE ON THE SURFACE THE RECRUITMENT AND retention of artistic and managerial leaders may seem unrelated to the question of training, they are both essential aspects of resource developmenttwo aspects of a continuum. We need leaders and mentors to inspire, attract and provide for future generations, and we need support for their initial training and development. In difficult times, it is not surprising that there is a higher casualty rate among our leaders and our funding sources, but we must work harder to preserve the continuity that fosters a career in the theatre.