After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spot in this musical.
personality of the clown. Is she a performer like the clown? Or is she a clumsy artist? The inherent contrast is seen in these lines: “Yet my pain will start/because I wound. The clown prevails in art; /gently as his balloon, my pity falls” (103) In spite of the detachment, the poet knows that what the inner feelings of the clown are, for her fears are the same; both are seen in hiding behind the mask.
He exploits one of mankind's shortcomings, love. For Puck, love is either an aggravation (played more insidious than great) or only a clever thing that humans and different creatures sufficiently inept to fall into it do to demonstrate to him a chuckling decent time. Truth be told, a standout amongst the most acclaimed citations in the play is Puck's announcement: Master, what tricks these mortals be! on the grounds that it catches the overstated absurdity of the lovers' conduct; second, since it denote the complexity between the human lovers, totally consumed in their feelings, and the magical fairies, devious and never excessively genuine. By what means can a character that is absent in the greater part of the play be viewed as the primary one?
As simple as the characters were, the situations arousing in the play became more complexed as scenes passed by. What led to the trouble and chaos in the play also led to the solution in the end, when Claudio and Don Pedro were deceived into thinking by Don John that Hero was unfaithful. That very same idea also solved the problem in the end when Leonato, Hero’s father, deceived Claudio by making him believe that she is dead and that it is his duty to clear Hero’s name by reading out on her tomb and marrying the said niece who looks just like Hero. Again the plotting against own is present where the said niece turns out to be Hero and she comes back to life again. Shakespeare, no doubt, solves almost
There are plenty of guns fights and loads of action scenes, but the grittiness is missing, replaced with a light-hearted vibe. The bad guys in the movie come across as caricatures, playing everything up to the point where the goofiness is boiling over. Much of that isn't a bad thing, as you'll definitely get a laugh or two during certain purposely funny
Based on knowledge from the original comics and notes from Bill Finger (creator of The Joker), Leto successfully portrayed the character. To play The Joker, an actor must be able to accomplish three simple tasks: portray his lunatic nature, display how manipulative the character is and lastly, be able to present his poetic view on life. The most notable feature of The Joker is his laugh. This character finds joy in
William Shakespeare’s Romeo and Juliet: a tragic tale of two paramours with a love so fatal, it ended in their own death. A death so full of love, that it cured the rift between the two families that had made it so lethal in the first place. This essay will be focusing on the the strategies used, by comparing two different adaptations of Romeo and Juliet, to create dramatic tension in the famous entitled ‘Balcony Scene’ or Act II Scene ii. Shakespeare’s intention in this scene was to showcase how raw, beautiful, and terrifying love really is: Romeo listens to Juliet, from the shadows, speaking of her beauty admiringly, even though he knows she cannot hear him, as she comes to a conclusion with herself on her feelings about him. When Romeo reveals himself to Juliet, it’ scary–not because he scared her per say, but rather it’s scary to think what would happen to him if he were to be caught: their families hate each other.
The audience is gripped by the growing tension. They are lifted out of their daily realities, and lost for those hours, within the movie. If you’ve got some free time on your hands and need to disappear into an intense thriller, check out this adrenaline-pumping list of flicks. 25. “Bad Boys II” (2003) Figure 1: https://www.pinterest.com/pin/317503842458441569/ Martin Lawrence.
Iago has solid interests, he has admirations, and his soul exasperates him (Bradely, 1904, p.207). There is the wonderfulness of energy about him. Despite the fact that he is great on-screen character, he favours power to misrepresentation, and in his reality there is no broad fantasy as to his actual nature. Once more, to contrast Iago and the Satan of Paradise Lost appears to be practically silly, so tremendously does Shakespeare's man surpass Milton's Fiend in insidious. However, the title of F.R.Leavis’ critique on Othello itself depicts the entire critique.
Satire is unforgiving; realism is all-forgiving; and David Williamson has always attempted to merge the two, portraying people as wicked but pardonable. The more you get to know the baseness of the motives of each character, the more empathy you are intended to feel for them, as you come to realise that all people, even ourselves, despite all actions, generally mean well. As far as it goes, the good guys aren’t very good and the bad guys always fall short of the true evilness which they, in theory, are capable of. Many of Williamson’s plays start out as toughly satirical but end up merging into roughly sentimental, with even his basest, most deviant characters always having a comfortable, revealing scene; Even his nicest characters will admit to unworthy thoughts and ignoble desires. This play is a classic comedy of manners, with an almost humanist reference point.
After Gru loses an argument with Margot and Edith about attending their regular dance class, Agnes gives Gru a ticket to their upcoming dance recital. Agnes isn 't fazed by his aggression and doesn 't hesitate to talk to him. The minions, who although don 't speak a word of English are an irreplaceable part of the film series. As their name suggests, they had been created to do Grus dirty work, however are peacemakers in their own way. The minions have an inherent innocence which is evident throughout the film.