He chose to tell the whole truth, knowing that there would be consequences taken against his cousin. This shows true courage and commitment to his cause for peace. Benvolio’s honesty is what makes him one of the most courageous characters of the play. While some may argue that Benvolio is not a courageous character, evidence from the play proves otherwise. Benvolio is one of the few characters who sticks to his moral values throughout the whole play.
The Actor presented himself with pristine posture, which included a straight spine, and a lifted nose at all times. Doing these choices distinctly made the character seem very pleased of himself. Malvolio believed he was above everyone else in society. This was proved through Dow’s representation of precise language choices alongside his movement development for the character. Though when Dow presented the character alone, all of the characteristics were foundationally the same, but presented with three times more energy.
Communication is an important element in video analysis. Ideally, a careful analysis of the different characters in the scene and their role in enhancing interpersonal communication is much more important. In consideration of this concept the underlying principles of interpersonal communication, there is a need to assess its applicability in the movie; Goodfellas. The three-minute scene titled, "I'm funny how, I mean funny like I'm a clown" is a reflection of how self-concept, perception, and non-verbal communication work together in the context of dyadic communication. In this first sequence of the scene, the focus is on the display of self-concept by Tommy DeVito, the ill-tempered enforcer of the Cicero Family.
Miranda proves this to be true by using dialogue throughout his entire musical. The dialogue allowed the audience to understand the dynamic role each character played in Hamilton’s life and how the life of each person in the audience is affected by the people around them. “We fought with him Me? I died for him Me? I trusted him Me?
If I had to create a story of myself, I would incorporate more people to gather different perspectives; however, I would keep the effective light cues. Something as subtle as light helped guide his story. Miller never explained the personal hardships of another gay couple; however, in the question and answer session following the play, a student asked for advice to give to their gay friend. Miller suggesting providing support and affirmation, but no advice was given in the play itself. If I were recreating a story life this, I would provide advice for those who may have been afraid to ask the question.
These unique responses allow the audience to see how their actions based upon their own individual sense of human nature affect others around them. The aforementioned knowledge creates connections between characters in this play and humanity. Each day people in our society must contemplate right versus wrong, revenge versus peace, and honor versus dignity, and from there, they must act according to their individual impulses and needs. Therefore, not only can the audience understand why the play runs the course it does, they can also comprehend and empathize with the characters as well—a dynamic that continues to allow The Oresteia to be a prominent piece of
This creates conflicting emotions for the playgoers, as well as giving them a counterpoint of view on the characters. This is done by showing a difference in the character 's inner and outer conflicts, the decisions that they make, and the actions that they commit. Overall, these plays create conflicting emotions within the audience, and continue to a great on not only the audience, but the
William Shakespeare was well known for creating complex, in-crisis characters for all of his works. He understood that, due to human nature, a person’s character is made up of a combination of virtues and vices, and people’s actions are more heavily influenced by their vices than their virtues. Therefore, his characters reflect this element of human nature, which is apparent in their interactions with one another. Each character is working toward their own specific goal based upon their key virtues and vices. Ultimately, vices tend to have a bigger impact on Shakespeare’s characters’ actions because he wants their individual humanity to teach lessons about humanity and what it means to “live well” to his audiences.
Maria, Sir Toby, Sir Andrew, and Fabian trick Malvolio into thinking Lady Olivia has fallen in love with him. Feste makes Malvolio think he is talking to a man named Sir Topas in the dark chamber with him. These are all crucial examples of how deception varies the mindset and views of the characters. The first example of deception in the play is Viola disguising herself as a man. To gain employment under Duke Orsino she masquerades herself as Cesario, and tricks everyone she comes in contact with.
BETTER A WITTY FOOL THAN A FOOLISH WIT A CRITICAL EXPLORATION OF FESTE In the view of many who have read and/or watched the play “TWELFTH NIGHT” by Shakespeare Feste is indeed the wittiest, most influential, diverse and misunderstood character in the play. Feste is first portrayed as a fool in both dress and attitude, however, we later discover that he is the wisest man of the lot and foolishness is only his guise. Far from being just a fool, Feste implores the use of erudite English and discernment and thus is able to present the audience with a higher knowledge of the plot than that presented by the other characters in the play. Disguise plays a pivotal role in the development of “TWELFTH NIGHT”, it is used to generate confusion and internal conflict and therefore adds to the audience’s overall enjoyment. My penciled sketch depicts the various manifestations of Feste.