Victor states, “I do it even now, you see? I play false, I dance and dance. I murmur the stories in shadow or half shadow; I pretend to myself that I don't remember the names, the details, when in fact I do”. Again, Victor cannot escape the reality of his situation and the suffering of the mask he wears. His dancing is similar to the grins of the central voice’s mask, yet they have the same result of falsity.
The movie review written by Roger Ebert he feels as though the story in "Central Station" by Walter Salles is not to be a heartwarming one, but a story based on a journey of two peoples reawakening. Also, he believes that the success of the money was not in the director Walter Salles ' favor, but the actress Fernanda Montenegro. She became one with her character and successfully played the role of an unsentimental person who later crosses over in to kinder person. Ebert feels the movie is not about the Josue and his struggle to find his father, but of Dora and her struggle to find herself. Central Station is a movie about the documentation of a journey between a woman named Dora who is very unhappy in her life and writes letters for illiterate
I noticed the shadows under her eyes. It’s important to see into an actor 's eyes since the eyes are the windows to the soul. This shot made me feel uncomfortable just like Maggie must have felt after Frankie firmly told her to go away. But as she goes back to Frankie 's gym, there is more lighting in those scenes which similarly in ‘Gran Torino,’ represents her one and only hope, the light
A Streetcar Named Desire by Tennessee Williams and Dead of a Salesman by Arthur Miller are two plays in which the two main characters, Blanche Dubois and Willy Loman have problems facing and separating the reality from the fantasy. In both plays the characters tend to fantasized a life trying to avoid real world problems. Both authors develop the idea of who they should be vs. who they really are as humans and that illusion does not only affect them but also everyone around. The fact that we will do anything just to sell ourselves in a miserable world will drive us to an endlessly insanity. Humanity envision things and ideas they can’t get hold of just to end up depressed and in solitude.
“If love is judged by its visible effects, it often looks more like hatred.” As stated in the quote, individuals tend to express their affection towards their beloved in rather aggressive manners, and thus the process of transferring one’s love to another often times are interpreted as hatred. However, this is only when love is judged to the extent of visible effects. The actions actually show an insight of their genuine love, but the clumsiness in expressing is what people mistakenly perceive as “loathing” and “detestation.” As a result, the relationship of people is developed in contrary to the original intent of the individual’s actions, creating disputes. In William Gibson’s play based on Helen Keller’s life, The Miracle Worker, the characters also struggle with similar relationship conflicts revolving around the idea of visible love throughout the story. The hostile interactions between characters in the play illustrate possible revulsions, but it actually contains one character’s sincere endearment, which was awkwardly expressed.
The mask is like putting a pretty painting over a hole in the wall. The wall would now look appealing on the outside but, broken behind it. Montag didn’t want that pretty painting anymore to hide his brokenness, but learn to express them and understand his emotions. These “happy masks” relate to my theme because in a perfect world you are not acting happy but living happy. The crying women represents Mrs.Bowles and her new found emotion of sadness.
Love is blind. Some say this with a positive or negative connotation. Positive in the sense that it allows you to see past a person’s flaws; Negative in the sense it prevents you from seeing the person’s true colors. In many occasions, people are blinded in a negative way. The blindness causes one to create their own image of the other person, causing an unhealthy relationship to form.
Her personality shows “fair is foul” because her outer appearance contrasts from her inner personality. Her own inability to perceive the world demonstrates the extent of “fair is foul” is beyond her grasp. Her own change at the end of the play proves that even Lady Macbeth, as well as people in general, cannot know herself correctly. Most significantly, since the true nature of things is indeterminable through“fair is foul,” people’s assumptions based on observation are unreliable to an extent. Actions based on these assumptions are not fully justifiable; and, as seen in Lady Macbeth, the consequences or results of making any decisions may or may not be
He is lying to the rest of the world when he smiles or laughs because that is not what he is actually feeling. This is the most important symbol in the poem because it ties in with the themes of the poem. If we wear a mask, then we are lying to the rest of the world about who we are and what we feel, which then turns into things not being as they seem. The symbol of the mask is driving the poem into its true
The assurance of freedom of choreographic choice by members of the theatre also directed to a highly distinguished awareness of the choreographic process, which was a guide to the creation of spontaneous, unpredictable dances that through parody, movement quotation, comparisons of styles, and verbal observation produced countless questions about dance and the choreography within the dance form. Questions of technique and its precision were thought of as less important to the work in Judson Dance theatre. This idea of having unprofessional performers gave the performances a basic, unprompted appearance, reducing the split between performer and observer. This idea is evident in Rauschenberg’s performances when he performs in his own choreographed pieces; this can be shown in Rauschenberg’s Pelican (1963), a piece which was the beginning of his choreographed pieces. Done in an old CBS TV studio, NY, throughout the First New York Theatre Rally in May 1965.
It was easy to blame Tituba, since not only was she a slave, but the mysteries of her culture would come to make it seem easy and that she was to blame. Abby cracks, screeching out, "Tituba! Tituba made me do it!" Abby was afraid of getting in trouble for the dancing and spell-casting, so she blames Tituba for doing it. Now, everyone in the room turns on Tituba.