Character-contrasts work well. He is able to delve deep into the unconscious levels of community thinking and brings a lot of objectivity and balance to his analysis of the problems that bedevil us. (Sharma) Angeli Multani’s tribute to Dattani’s craft for using the language of his characters is noteworthy. To quote, “Looking at the history of Indian drama in English, Mahesh Dattani stands out as perhaps the one of very few (if not the only),and certainly, one of the most commercially successful Indian English playwrights” (Multani 12). Dattani’s theatrical art is characterized by a fine combination of ‘feeling and form’.
He also managed to create the new type of drama while at the same time staying true to its traditional form and means of problems discussion. The conventions used by the author in A Doll 's House are reflected in the behaviors of the characters and in the manner of the author 's writing. For example, characteristic for any drama are the action and the conflict. Due to the inner struggle, Nora appears not only lovable, but also “a vain, unloving egoist who abandons her family in a paroxysm of selfishness” (Templeton, 1989, p. 29). Henrik Ibsen comprises the aspects of action and inaction in his play, and important are not only the phrases of the characters, but also what they do at the moment, which is identified by the author.
Girish Karnad is well-known for his reworking of mythical structures in his plays. An USA based notable Indian critic Moutushi Chakravartee has drawn a parallel between Shakespeare and Girish Karnad for their dexterous execution of derivative materials in their plays: Indeed, all his plays derive from pre-existing material, yet, like Shakespeare, he transforms the raw material into a unique drama of human emotions and feelings. (183) Karnad has persistently focussed on the crisis of man and woman relationship. Being a staunch supporter of individualism, Karnad contends: “a person’s need to be seen as an individual, as an entity valuable in itself, independent of family and social circumstance” ( Three Plays 9). However, Karnad’s creative spirit has deep roots in Indian culture.
Shakespeare’s Different Types of Love William Shakespeare’s play “Romeo and Juliet” is considered one of the most popular love plays of all time. In the play, Shakespeare shows us the different types of love that exist. There are about three types of love that I find the most important. First, we’ll look at the characters Mercutio, Lady Capulet and Paris and see how they love their status and honour. Second, we’re going to see how Shakespeare uses characters Lord and Lady Capulet, as well as the nurse to show us parental love.
Literature and films are two powerful mediums through which these notions are propagated. Both these streams make use of their own signification systems to construct identities. In patriarchal construction, woman is always regarded as the ‘Other’, the passive ones whose value lies in their virginity and their reproductive power. William Shakespeare, one of the great dramatists, too has followed this pattern. His play The Tempest revolves around a male character Prospero and the identity of other characters lies in relation to this male character.
Harold Pinter has been termed as an artist of mannerism by various critics. He was an author who never stopped experimenting with technique and stagecraft ; one who was simultaneously deconstructing and reinventing himself within his oeuvre. In Ashes to Ashes the artist’s virtuosity of his innovative dramaturgy lies in the execution of a simultaneous movement of two conflicting modes of dialogue (named by Yael Zarhy-Levo) : the ‘private- personal’ and the ‘public- political’. ( 222) A confused patterning or mapping evolves by Pinter’s juxtaposing of the dialogue between the two characters of the play: the indirectly imaginative, ambiguous, unverifiable lines of Rebecca who seems to live in the past, with the directly explicit, aware and down to earth lines of Devlin who exists in the present. This defies an effective understanding on the part of audience/ reader.
Titus Maccius Plautus is one of the most renowned ancient Roman comic playwrights whose artful work, Pseudolus, reflected the comprehensive dimensions of the social views, religious beliefs, and lifestyles during later 3rd to early 2nd Centuries BCE. Simultaneously, the successful characterization in Plautus’s Pseudolus have a profound influence on and added unique value to the future western drama creation. Accordingly, the play was adapted to the movie A Funny Thing Happened on the Way to the Forum, which was mixed traditional ancient Roman life comedy with modem dramatic plots and idea in order to create a sense of identification for the contemporary audience. Pseudolus is an example of the Servus stock character in Plautus’s play. At the
Watching the play Sapanako Sabiti in Gurukul was an extremely insightful aesthetic experience. There are two things that have influenced me to write a critical response to the play. One is CK Lal’s creative expression in terms with understanding the nuances of contemporary history and placing the individual to map the history. The other is Nisha Sharma’s involvement with the play, her yet again powerful portrayal of the character. Nisha’s role complements Lal’s creativity.
According to him, the purpose of literature is to raise a mirror to society. Many writers are successful at expressing what's in their hearts or expressive a particular point of view. Chetan Bhagat's Novels do both and more. Starting with him in the picture, he goes on to describe a real life story combined with real events intermingling with a grave, dark background. He catches the pulse of the nation by using a language that the youngsters swear by.
Here Manjula Padmanabhan projected dehumanized, terrifying world with exploitation of human values in 21st century. Keywords: commercialism, consumerism, coterie, globalization, hapless, intoxication, negation, prostitute, Psyche, patriarchal, procreate, remediable, seductive and triumphantly. Introduction: Indian English Drama has shot into prominence quite recently. It has made a fresh ground both technically and thematically; enabling the audience to share a new experience not only of the External World but also of the Internal World of Psyche. It has become a composite art involving the mind of the dramatist, action of the protagonists and the reaction of audience.