Musical theatre is able to address important and controversial topics such as racism, women’s rights, and violence in an entertaining and fresh way. Audiences can relate to characters who embody American life and values. American musical theatre positively affected and reflected the culture of 20th century America by addressing the social issues of each generation. One of the most pivotal musicals of the 20th century was Show Boat which helped make theatre what it is today. Show Boat, composed by Jerome Kern and Oscar Hammerstein II, opened December 27, 1927, and was the first musical to be based off of a novel (Show Boat Introduces American Musical Theater).
Rhythm is the vital and crucial element in this work, the uses of unparalleled and unstable sensibility of rhythmic pattern that is completely against the traditions, makes him to become the revitalization of rhythm in the Western Art Music. The polytonal writing and bitonal development subvert the standard way of diatonic writing. His work is sonorous, bright with clear polyphonic texture had contributed to the modernist culture. Although the first premiere had startled and irritate some of the audiences’ nerves who has been nurtured on the music of early centuries, and had broken out a riot, but it becomes celebrated just in one year later and is one of the most frequently performed orchestra work . In the 20th century, several parts of this work had been used in the Waltz Disney production, Fantasia.
The rhythm of the poem is cheerfully written only to mask and disguise the resentment truly felt by the author of the poem. All such attributes that characterize “My Papa’s Waltz” reminds the reader why it is such an enriching piece of literature, as its imagery can transparently express all that Roethke experienced emotionally. “My Papa’s Waltz” is a powerful poem that integrates an honest conversation towards the obnoxious nature of drunkenness. Theodore Roethke used this poetic piece to vividly display the perplex issues children in society deal with when confronting a family member who drinks. The poem’s nature is half affectionate and half satirical as it mocks the events his father placed on him that he never
In this style of painting, Matisse began using bright colors, and disregard for details within the works. Matisse used his knowledge of the Impressionist style to create the backbone for Fauvism. The movement did not last very long. Many pieces of Matisse art during this phase were nudes, but he did paint of portrait of his wife, Portrait of Madame Matisse, The Green Line 1905, which I will examine later within my paper. During WWI, Matisse’s life seemed to fall apart.
The use of positive connotation in the text is utilised to illuminate the positives of the relationship, as they “romp” and “waltz” their way through a fun life. However, Roethke intentionally included those words with negative connotation to show the constant complexity and imperfect nature of their relationship. In lines 3-4, Roethke states “[b]ut I held on like death:/[s]uch waltzing was not easy,” which is the first metaphor for their relationship. In this quote from the text, as Roethke preaches the difficulty of the waltz, he is really writing about the relationship between his father and son as being “not easy.” And although their relationship is not easy as it goes through life, the boy still “hung on like death,” showing his love for his father and another positive for the relationship. Another example of this, in the last stanza, lines 15-16, is made as Roethke notes “[t]hen waltzed me off to bed/[s]till clinging to your shirt.” The last lines of the poem show the true relationship at the end of all the confusion lost in the midst of the middle of the poem.
In Roethke’s poem “My Papa’s Waltz” a boisterous waltz between the boy and his father which was perhaps the result of a few too many drinks, resulted in a lifelong memory for the speaker of the poem. The poem revolves around a recollection of a child dancing with his apparently intoxicated Father. The waltz brought joy and excitement to a young child who may not always get to experience such bonding moments with his father. Although many readers often interpret the tone of the poem as negative, there is enough textual evidence to dispel this interpretation. Ultimately, the speaker’s tone throughout the poem “My Papa’s Waltz” displays the playful nature of his Papa’s Waltz.
On the surface, this poem seems to be about two people (a father and child) dancing a clumsy version of a waltz; however, upon closer inspection, it becomes apparent that the poem is actually an extended metaphor comparing domestic abuse to what is usually a beautifully graceful dance. The brilliance of this poem is in the irony that the metaphor presents: the horror of abuse to the beauty of the waltz. What makes this metaphor most apparent is the diction. While Roethke incorporates words like “waltzing” (l.4), “romped” (l.5), and “beat time” (l.13), all words associated with jubilant dancing, other words and phrases indicate quite the opposite of jubilance. For example, in the final stanza, Roethke writes, “You beat time on my head / With a palm caked hard by dirt, / Then waltzed me off to bed / Still clinging to your shirt.” From these words, the reader can easily imagine a man who has come home drunk and has begun beating his child...again.
This poem has a simple abab rhyme scheme. The cool thing about this poem being written in iambic trimeter is that it becomes not just a poem about a waltz, but a waltz itself, because there are three beats in a waltz. While the boy hangs to his dad, he gets a little dizzy because his father is so drunk that his breath made his son feel dizzy. The poet described that scenario as, “The whiskey on your breath / could make a small boy dizzy; / But I hung on like death / Such waltzing was not easy” (line1-4). The first line can be analyzed through the word breath.
His launch into new traditions of approaching subjectivity has changed all reaction to Nature. His force and energy have instituted a strength of beneficial aesthetic action through his career. He made influential contributions during the late 1960’s throughout the areas of dance and performance art . Rauschenberg achieved his expert work with great effortlessness in a countless variety of materials and mediums and with greater diversity . Visual art and performance art could be seen as very dissimilar types of expression, but Robert Rauschenberg accomplished minimizing the split between them by applying much of the same foundations seen in his paintings and combinations, in his pieces of performance.