The Diary of Anne Frank takes place Amsterdam, Netherlands. In the book Anne and her family are Jews in World War II. Because of the oppression of the Jews, Anne and her family are forced to go into hiding. Anne, her mom Edith, her dad Otto, her sister Margot, Mr. and Mrs. Van Daan, Peter Van Daan, and Mr. Dussel. In the beginning of the story, Anne is very emotional because she had to leave her friends and old life behind. Our class witnessed two different versions of the story, a play and a movie, but even though these are based off of the same book, they have several differences and similarities.
Feminist theatre came into being as a by product of the experimental theatre movement of the 1970s’ and 1980’. It was an alternate theatre which enabled women to explore their creative talents on stage independently. Feminist theatre served as a means of constructing an exclusive feminist discourse on stage that questioned the patriarchal norms of female subjugation. Its movement was towards the construction of a theatre space where women are no longer mere stage props. They started functioning as the creators of drama rather than being confined to the roles of wife, lover, mother or lunatic. It was a paradigm shift from women being the objects of male gaze to the creation of a self sufficient female gaze, from being objects to being the subject
Have you ever noticed the differences and similarities between the books and the movie? In the movie “lamb to the Slaughter” and the book There are many differences and similarities in movie and the book. One for example is that the movie has no flashbacks. A similarity is that she kills the man in both the movie and the book. Here are some difference you might not have noticed in the movie or the book.
“For never was a story of more woe than this of Juliet and her Romeo.”, is a line that was very important to the history of literature. It tells of the inevitable fate of two star-crossed lovers that were bound to death because of each other. There have been many movies and plays preformed with this story line, but two in particular are the Baz Luhrmann film and the original play’s text. Both the Baz Luhrmann film and William Shakespeare’s play of Romeo and Juliet may be compared by focusing on the following scenes: the party scene, balcony scene, fight and death scene of Tybalt and Mercutio, and the suicide scene.
Storytelling has been a part of people's’ lives since the beginning of time. It started with just verbal communication, then it was translated into written word, and now there hundreds of ways to tell those same stories. Movies and books, for example, are two very different ways to tell stories to an audience. A story can be a book, but not a movie or vice versa. Many books are made into movies, but lose major elements in translation. One of these examples is in A Raisin in the Sun. It was originally a play written by Lorraine Hansberry, in 1957, but became a movie in 1961 and then remade in 2008, which was directed by Kenny Leon. While the play and the movie follow the same storyline, there are many elements of the play that got added when
When you are ready to dive into the vast world of Shakespeare, you can begin by using what is known as a critical lens. The lens that may help you understand the background details of one of Shakespeare’s plays would be the Historical lens. Although there are many different lens that you can use to interpret a story, the Historical Lens is a great lens to dive into to find what really influenced the great ideas of William Shakespeare as he wrote Hamlet including the role gender plays, the comparison of Elizabeth Tudor, and the religious incorporation throughout the play.
Considered among the most powerful and complicated play of Shakespeare’s works, Hamlet has made a lasting impression on its audience. Multiple renditions have been produced and broadcasted, each having their own style and scenarios. However, two particular interpretations of the play have been noted as the most passionate and distinguished leaders within Shakespearean films. These films were directed by distinguished individuals, Kenneth Branagh and Franco Zeffirelli, each having distinct convictions about Hamlet.
The setting of the movie is the first obvious difference that can be seen. The movie was set in New York City, New York in 2000 while the play was set in Elsinore, Denmark in the late middle ages. This greatly affects the way the movie is viewed because it is essentially an entirely different world. In the movie there are video cameras, cars, phones and skyscrapers, all things that obviously weren’t around during Shakespeare’s time. Even if the movie and the play had been based in the same year, the story still would have been slightly different. The United States of America didn’t even exist during Hamlet 's lifetime. But if Hamlet had been alive in 2000 in Elsinore it would still be a different story. New York City is the second largest city
“A Raisin in the Sun,” written by Lorraine Hansberry in 1959, was the first play ever produced on Broadway by an African-American woman and was considered ground-breaking for it’s time. Titled after Langston Hughes’ poem “Harlem,” sometimes known as “A Dream Deferred,” the play and the subsequent film adaptations are honest examinations of race, family, poverty, discrimination, oppression and even abortion in urban Chicago after WWII. The original play was met with critical praise, including a review by Brooks Atkinson of the New York Times where he wrote, “For A Raisin in the Sun is a play about human beings who want, on the one hand, to preserve their family pride and, on the other hand, to break out of the poverty that seems to be their fate. Not having any axe to grind, Miss Hansberry has a wide range of topics to write about-some of them hilarious, some of them painful in the extreme.” The original screen adaptation released in 1961 was highly acclaimed in its own right, and was chosen in 2005 for preservation in the United States of America National Film Registry by the Library of Congress for its cultural and historical significance. While both stage and screen portrayals were highly acclaimed there are some similarities as well as some marked differences in each interpretation.
Julie Taymor’s A Midsummer Night’s Dream film adaptation creates a fantastical spin on the well-known Shakespeare play. The director is able to create an effective dream-like setting with the use of projections, lighting, and puppetry. From the beginning, there is a sense of wonder created, as without word or introduction, Puck, played by Kathryn Hunter, glides onto stage and lays down on a mattress supported by branches. Puck is then lifted into the air and a large white sheet consumes the stage. Even for those familiar with the play, such as myself, it immediately commands your mind to travel to the dream world Taymor has created.
There’s a surprising amount of classic literature that pass the Bechdel test; Bram Stoker’s Dracula, Charlotte Brontё’s Jane Eyre, and William Shakespeare’s The Merchant of Venice (depending on how one interprets Nerissa and Portia’s conversation about candlelight and music (V. I. 98-119)) all manage to meet the three requirements. Created by Alison Bechdel, the test’s rules are simple: there must be at least two women who talk about something other than a man. However, it would be rash to assume all works that pass are feminist masterpieces. Dracula strays far from the feminist ideal, painting Mina Murray, the fiancée of main character Jonathan Harker, as the “ideal” woman based off her role as an obedient wife and as a figure of purity. Jane Eyre shows a better portrayal of women, exploring Jane’s female relationships and providing a variety of characters that don’t quite fall into typical tropes, such as the pure maiden or the old hag. The Merchant of Venice proves to be more complicated; although Shakespeare often acknowledges the Elizabethan expectations for women, that they be docile and submissive, he rarely challenges societal norms in a way that inspires drastic changes, both inside his writing and outside in the real world. However, by writing realistic and fully human characters, Shakespeare created unique and varied women in his plays, which was a progressive act in and of
In the essay “Shakespeare Meets The 21st Century” (297), Michael Kahn believes that all renditions of Shakespeare’s plays are “interpretations” that reflect the approach to acting and producing at the time of production. In recent times the productions of Shakespeare’s plays have undergone changes to the manner of speaking to be more “conversational” while attempting to retain the rhythm and tone of the play. He explains that Shakespeare’s plays were themselves adapted from those of other playwrights. He marvels at the experience of those who originally witnessed and had no prior knowledge of Shakespeare’s plays must have had. Kahn states “I believe all theater artists who approach these plays envy that encounter and explore strategies to re-create