Question 5 The Role of Fool in Shakespeare’s Plays In many Shakespeare’s plays, fool characters or comic characters are always include regardless of the genre of the play. This shows the importance of a fool character in Shakespeare’s plays as general fools only appears in comedy. They are called the fools or jesters as their characters are very similar to a modern clown, they lack common sense and are alienated from the play. Fools are not just used by Shakespeare, but in many medieval plays as well. According to Wells, fool or comic characters in Shakespearian literature is “type-character, related to the domestic fools kept in royal and noble households.
Bottom of A Midsummer Nights’s Dream and Dogberry of Much Ado About Nothing are typically labeled by the critics as clowns who were simple in nature. The courtly jester or fool, on the other hand, was a familiar factor in the courts during the Renaissance. They maintained verbal wit and were allowed by their masters in intellectual repartee. Touchstone of As You Like It, Feste of Twelfth Night may be categorized as the courtly jesters or wise-fools. The same is observed in the case of the Fool in William Shakespeare’s one of the four major tragedies King Lear which was composed during 1605-1606.
“I fear, too early; for my mind misgives some consequence yet hanging in the stars...” (I.IV.391). This bit of foreshadowing at the start of the play illustrates that fate pulls the strings of the show. Regardless of Romeo’s foreboding caution about the Capulet party, fate pushes him in. From the very beginning, we see that the characters have minimal free will. Romeo is not the only character that fate toys with, though.
It includes (in order of importance) the plot, character, theme, language, rhythm and spectacle . Though ranked as the least important element of theatre , spectacle comprises everything that is heard and seen in a play which greatly contributes to the enjoyment of the audience. A key element of the spectacle is the décor. Also known as the theatrical scenery, it comprises of anything that is displayed on stage. In the Tragedy of Macbeth, by making use of castle, King, Queen and soldiers Shakespeare tries to reproduce on stage the actual scenery of the Elizabethan period along with its supernatural beliefs that existed at that time.
We can see that Shakespeare relates the young love to impulsiveness and rush and represents how this is lamented. Finally, the last external aspect that influences their love, but not the least important, is the fate. It seems that from the beginning their fate is marked by external aspects, so they are not the responsible of their tragedy. The play starts with the introduction of the term ‘star-crossed lovers’ (Prologue). The idea of being “dolls” manipulated by the stars and destine is transmitted along the whole play, even through the words of Romeo and Juliet who have several intuitions.
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.
Clown characters were based upon the real-life career of court jesters, who were employed by nobles and royalty to entertain them by use of physical and verbal comedy (“Shakespeare’s Clowns and Fools”). Because of their roles as entertainers, jesters were often given more freedom to be blunt than other courtiers and say whatever foolish or even offensive things they desired, because masters and audiences could be amused by the stupidity of their words (Rasmussen and DeJong). Nick Bottom, from A Midsummer Night’s Dream, is one of the best examples of Shakespeare’s use of these genuinely foolish clowns. Throughout the play, Bottom makes thoughtless and incorrect comments on characters and events to provide viewers with comic relief (“A Midsummer Night’s Dream”). To add physical comedy, “Bottom 's head is transformed into that of a donkey, making him the butt of the play 's biggest joke” (Shmoop Editorial Team, “Bottom”).
A View From The Bridge is a play composed by dramatist Arthur Miller set in the 1950s in Brooklyn. It looks at the numerous topics of affection, womanliness, equity, codes of respect, codes of law and some more. A View from the Bridge recounts the account of Eddie Carbone, a longshoreman, whose forbidden love for his niece, Catherine, drives him to his own lamentable faith.The connection amongst Eddie and Catherine is an intriguing one as Eddie 's inspiration towards his activities with her appears to change and create as the play advances. Toward the start of act one, the perusers are acquainted with what is by all accounts a sound upbeat family condition, albeit even at such a beginning period there are indications of conceivable issues
Another scene where creative stagecraft is evident is the stair scene. The clown leads Richard up what is believed to be a staircase, while Richard can see that it really is just blocks. The inventiveness of the stagecraft shows the effective use of the rotating set. The director has created a stage which appears to show many different places over a short period of time. The play also shows evidence of Film Noir throughout, its use of imaginative comedic devices and ingenious characterisation creating an environment in which the
He was very much influenced by musicals and fairground performers. He also used comedy to distant his audience from the depicted situations. Stanislavski theatre is called dramatic theatre which has plot, involve the spectator in a stage situation and one scene after another whereas in epic theatre it is called narrative theatre, turn the spectator into an observer and each scene for itself. Brecht encouraged his audience to discuss things during a performance and they could enter and leave during a performance at their will. Sometimes he even masked actors face to draw the attention away from the actor’s faces, in comparison Stanislavski says that audience must involve in the performance and audience can’t enter between the play.