The Modernist Theater’s Departure from the Romantic Theater Essay Example for Free

The Modernist Theater’s Departure from the Romantic Theater Essay From the early theater of the Greeks to Broadway, theater had definitely evolved to one of the most accepted and highly communicated form of art. After all, everything is subject to change, the world of theater is no exception. The theater that we know today had undergone heavy changes. In those stages of changes, it had seemed that just after a type of theater has been accepted by the public, another type of theater will arise. It also seems that the following type of theater intentionally digresses from its predecessor just like in the case of the shift from theater of the Romantic period to the Modernist Theater. Much of the theater that our generation experiences (this type of theater can be categorized as post-modern) owes much from Modernist Theater. With that taken into account, Modern theater also owes much from its forerunner Romantic Theater even though Modern Theater intentionally defies the convention set by the theater of the Romantic period. To start off, we will have a brief background of the kind of theater in the Romantic period. The Romantic period followed after period Neoclassical had receded. Perhaps the best and concise way of theater of the Romantic period could be described is with the name of probably one greatest playwright that had ever written, William Shakespeare. He is considered as an immortal in the world of literature simply because his works are still the most popular of plays even if it has been generations since he had wrought it. Other famous playwrights during this time are Johann Wolfgang von Goethe, Friedrich Schiller, and Victor Hugo among many others. They plays of William Shakespeare and his fellow playwrights during the Romantic period are usually written in poetic language. This poetic language could also be called as â€Å"elevated language† that is seemingly too complicated to be used in conversations of our generation. The plays during this time were mostly plot driven. The theater of the Romantic period is often criticized as appealing more to the emotion and not to the intellect. It is also a convention that the characters of the plays were of noble status in the society. The plays were designed to be long that they could run for several long acts. Moreover, one their theater many practices is having the audiences distributed within the theater according to the amount that they had paid. (Kermode 2005) All of those conventions and practices were intentionally defied by the Modernist Theater. The language that they used is prosaic, imitating the way people normally speak in casual conversations. The plays are also centering on the characters themselves rather than the plot. Modernist Theater also gave way to the rise of one-act plays that would run for just minutes as opposed to hours in Romantic plays. The plays of Modernist Theater is appealing more to the intellect rather than the emotion, thus they can be called intelligent plays. The seats for the audience are fashioned in such way that there will be no marginalization of the poor and the rich. That is because Modernists wanted to have what they call a â€Å"classless† theater. Aside from the direct deviations from the Romantic Theater, Modernists also gave way for revolutions in the theater world. They had formulated plots that can be considered contemporary so the audience could relate more to the play. Modernists Theater also gave way to a new kind of conflict for plays that they call as â€Å"inner conflict. † (Wainscott 1997) All in all, the Modernist Theater had surfaced because (just like how the Romantic period had replaced the Neoclassical period) the context of theater in general is changed through time. The times are changing and so are the demands of the new audience. Modernist Theater had defied the theater of the Romantic period not because the former has no respect to the latter. It just because some things are not fitting anymore, and the new generations requires changes. Reference Kermode, F. 2005. The Age of Shakespeare. Random House Publishing Group: Ontario Wainscott, R. H. 1997. The Emergence of the Modern American Theater, 1914-1929. Yale University Press

T.S. Eliots The Love Song of J. Alfred Prufrock :: essays research papers fc

TS Eliot's Prufrock The ironic character of "The Love Song of J. Alfred Prufrock," an early poem by T.S. Eliot (1888-1965) in the form of a dramatic monologue, is introduced in its title. Eliot is talking, through his speaker, about the absence of love, and the poem, so far from being a "song," is a meditation on the failure of romance. The opening image of evening (traditionally the time of love making) is disquieting, rather than consoling or seductive, and the evening "becomes a patient" (Spender 160): "When the evening is spread out against the sky / Like a patient etherized upon a table" (2-3). According to Berryman, with this line begins modern poetry (197). The urban location of the poem is confrontational instead of being alluring. Eliot, as a Modernist, sets his poem in a decayed cityscape, " a drab neighborhood of cheap hotels and restaurants, where Prufrock lives in solitary gloom" (Harlan 265). The experience of Prufrock is set against that of unnamed "women" (13), collectively representing womankind. Their unattainable status is represented by their constant movement- they "come and go"- and their "polite chitchat about Michelangelo, who was a man of great creative energy, unlike Prufrock" (Harlan 265). We cannot imagine that they would listen to any love song by Prufrock, any more than they would find his name or his person attractive. "A man named J. Alfred Prufrock could hardly be expected to sing a love song; he sounds too well dressed" (Berryman 197)."J. Alfred Prufrock" indicates his formality, and his surname, in particular, indicates prudery. The powerful metaphor, a visual image of the "yellow fog" (15) in the fourth stanza, represents the jaundiced environment of the modern city, or Eliot's "infernal version of the forest of Arden" (Cervo 227). The image is ambiguous, however, because Eliot als o makes it curiously attractive in the precision he uses in comparing the fog's motions to that of a cat who "[l]icked its tongue into the corners of the evening" (17). We also hear the fog, disquietingly, in that image, in the onomatopoeia of "licked." Repetition of "time", in the following stanza, shows how the world of Prufrock's being is bound to temporality. "Prufrock speaks to his listeners as if they had come to visit him in some circle of unchanging hell where time has stopped and all action has become theoretical" (Miller 183). "Time" is repeated, several times, but it is not only its inescapable presence that Eliot is emphasizing, but also the triviality of the ways in which we use it; "the taking of a toast and tea" (34).

Don Quixote Essay

Fiction and Metafiction in Borge’s Ficciones and Cervantes’ Don Quixote dela Mancha Unbelievable and amazing may perhaps best describe the literature that the world has as of the moment. It is unbelievable because who would have thought that the wide spectrum of literary works would be so great in number? At the same time, it is amazing as the progress and history which literature has gone through are truly marvelous. The literary works which are within humanity’s reach are incomparable to what people back then had. The literary works of the moment which are within humanity’s reach is a compilation of history, art, language, the sciences, and politics of every generation, culture, and nation. Truly, literature has such a monumental scope within its pages that sometimes, a person may be lost with so many things literature has to offer. Literature is both fact and fiction and is inspired both by history and creative imagination. The elements within literature are all reflections of the realities of society, but these things can still be considered as fictional—after all, fact is fact and pure truth—nothing more. But what if something fictional seems so real that it seems to be factual and true? What if a person or a character which is just imagined seems to be a real person of this world? What if the line between reality and imagined is confusing and seems to be separated by nothing at all? Two authors by the name of Jorge Luis Borges and Miguel de Cervantes Saavedra are the answers to such questions. Saavedra who wrote (or â€Å"supposedly re-wrote) the famous adventure of Don Quixote dela Mancha and Jorge Luis Borges who wrote the seventeen literary pieces contained within Ficciones are fictional writers. When a person talks about fiction, it usually pertains to one thing—created by the imagination. Thus, it means that any work of fiction is merely invented by any person and that any fictional work is not true, is false, and can never be a fact. Yet, Saavedra and Borges have created literary works which are fictional but they seem so real and true that a person is left to believe that they are indeed the truth—metafiction. Metafiction, according to Patricia Waugh, is â€Å"a term given to fictional writing which self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality† (qtd. in Liu). Thus, metafiction is indeed fictional and from the imagination, and it aims to confuse readers about what is real and what is merely created by a person. How does a person achieve this? Again, according to Patricia Waugh, â€Å"such writings not only examine the fundamental structures of narrative fiction, they also explore the possible fictionality of the world outside the literary fictional text† (qtd. in Liu). Thus, an author creates a fictional world and creates another fictional world within the already imagined world—creating a metafictional world. In Borges’ Ficciones and Saavedra’s Don Quixote dela Mancha—this metafictional world is truly what they have conjured up. Ficciones is a book which contains seventeen fictional literary pieces that seem to be real. Each piece has its own world, own elements of characters, settings, and even at some point, its own mind and language. There are pieces such as the Library of Babel that appears to be real and true that a reader also wants to believe that such place is true. In that particular piece (from Part One of the book), Borges describes a library in length and in awe. The whole thing seems to be an introduction to a novel of some sort, and yet at the same time, it also seems to come from a real book full of factual evidences that such a library exists. In the following excerpt, Borges describes the library and the people who are fascinated with it: â€Å"When it was proclaimed that the Library comprised all books, the first impression was one of extravagant joy. All men felt themselves of a secret, intact treasure. The universe was justified, the universe suddenly expanded to the limitless dimensions of hope† (83). However, further in the Library of Babel, Borges even talks of mystical books such as the Vindications which are â€Å"books of apology and prophesy which vindicated for all time the actions of every man in the world and established a store of prodigious arcana for the future† (83). What Borges has created is a fictional world, but a reader may find that world to be so palpable and genuine that it appears to be impossible that it is just imagined. The same conclusion can be given to Saavedra and his work on Don Quixote dela Mancha. In Saavedra’s work, the book is divided into two parts—one is the tale or adventure itself of Don Quixote and the second part is the metafictional work wherein the author talks directly to the readers and even to the characters that they all seem to be real people when clearly, they are all imagined. The ridiculous adventure of Don Quixote and his â€Å"squire† Sancho Panza is so preposterous (as with the example of the enchanted peasant girl or the basin turned into a knight’s helmet), far-fetched, and humorous that a person will not for a second think that the entire tale is true. However, when Saavedra writes the second part of the book, doubts and hesitations replace the earlier convictions. For example, in the first part, Saavedra writes about a Dulcinea who was believed by Don Quixote to be a princess in disguise of a peasant girl when in fact, she really is a peasant girl. Later on though, Saavedra explains this turn of events in Don Quixote’s life: â€Å"I have reason to think that Sancho’s artifice to deceive his mater, and make him believe the peasant girl to be Dulcinea enchanted, was in fact, all a contrivance of some one of the magicians who persecute Don Quixote†¦ † (369). Therefore, Saavedra has created two worlds—one that is entirely fictional wherein the character of Don Quixote resides, and the other is metaficitonal wherein the character of Don Quixote does reside still but which it is explained why he has such ridiculous notions of chivalry and enchantments. In conclusion, though metafiction may seem to be such a complex and wondrous thing, it cannot exist without a person knowing first what is fictional. Metafiction exists in the world of fiction—a person cannot write or create a metafictional world without going into a fictional one. That is like a person wanting to break the rules without knowing what were the rules in the first place. Literature is truly complex but at the same time unbelievable and amazing—Saavedra and Borges can attest to that. Works Cited Borges, Jorge Luis. Ficciones. New York: Grove Press, 1962. Saavedra, Miguel de Cervantes. Don Quixote dela Mancha. New York: Penguin Group Incorporated, 1957. Lui, Kate. â€Å"Theories of Metafiction. † Postmodern Theories and Texts. 1998. Department of English Language and Literature, Fu Jen University. 4 Aug. 2009.

The Girls Of Their Summer Dresses By Irwin Shaw - 955 Words

There is no specific behavior, idea, or emotion that makes for a good marriage, though it is common for people to believe so. They think marriage will be easy, although the reality requires constant work. Good marriages consist of communication, honesty, passion, intimacy and commitment. In the short story, â€Å"The Girls in Their Summer Dresses,† by Irwin Shaw, Michael and Frances’s relationship lacks these qualities; therefore, their marriage was not ideal. Most importantly, the husband and wife need to both want the relationship and the lifelong commitment. In â€Å"The Girls in Their Summer Dresses,† part of the reason Michael and Frances’s marriage is falling apart, is because marriage is something Michael clearly did not want. When Frances asks him if he wants to be free from their relationship, he responds with â€Å"sometimes I feel like I would want to be free† (Shaw 8). Commitment is key to any relationship’s success. If two people enter a relationship, but have no desire or ability to work for it, the relationship is going to fail. Both people must commit to each other, as well as to the relationship. These are two different things. Commitment to another person, means being loyal, faithful, caring, and in touch with the other’s needs. Commitment to the relationship, means understanding your partner and working to put the relationship first. People often misinterpret putting the relationship fi rst, as being selfless and giving in to the other person. Unfortunately, theShow MoreRelatedThe Movie The Girls At Their Summer Dresses By Irwin Shaw866 Words   |  4 PagesWhat guy would not be tempted to catch a sneak peak of a beautiful girl wearing an extravagant dress or skirt? 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The perfect lifestyle has three things that have to be added together in order to come out with the correct equation. Money, kids, and most of all a wonderful man to provide these things are what women want most in life. One of the most known sayingsRead MoreCheating Is A Common Incident2921 Words   |  12 Pagesthere’s a good chance you eventually will. In this paper I’ll show you how often cheating happens, the definition of cheating, what constitutes cheating, and how to deal with it with sources from the internet and a story called â€Å"The Girls in Their Summer Dresses,† by Irwin Shaw. Read MoreHistory of the Development of the Short Story.3660 Words   |  15 Pagesare noted for their dispassionate stories about the ironies of suburban life, reflecting the major shift in American living patterns following World War II (1939-1945).[15,p.283] Other major authors of the modern story include Irwin Shaw (â€Å"The Girls in Their Summer Dresses,† 1939), J. D. 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