The extended metaphors, in the form of personifications, occur in Scene II in a discussion of Fortune and Nature between Celia and Rosalind: . CELIA. Let us sit and mock the good housewife Fortune from /her wheel, that her gifts may henceforth be bestowed equally. ROSALIND I would we could do so, for her benefits are mightily misplaced, and the bountiful blind woman doth most mistake in her gifts to women. CELIA 'Tis true; for those that she makes fair she
Throughout The Glass Menagerie the theme of obsessively searching for lasting love is positively reflected onto the movie screen through the use of word choice, symbolism, and directorial choices. The use of word choices helped to highlight Amanda’s belief that marriage is a tool rather than a gesture of true love. Symbolism is used to convey the feelings of confinement radiated throughout the play by Tom and Laura, and the directorial choices help bring attention to the main focus of love and manipulation. While these elements came together to provide an exceptional play, they flourished when they reached the movie screen. The award winning cast and directors were able to evoke watchers emotions and make them feel as if they were being suffocated by someone else 's will, just as Amanda did with Tom
This can be seen in not only in Shakespeare 's theater, but in other popular scripts as well. For instance, within the popular children 's movie, Peter Pan there has been a female playing the main role of Peter. Now, Shakespeare has written many outstanding plays, but within his story Merchant of Venice there are multiple illustrations of traditional gender roles seen throughout the play. Portia, for example, is a rich and beautiful heiress within the play. She is bound by her father to find a suter, not of her choosing.
Nam Tran, the “director” who was about to propose to his girl friend Vu, chose the scene (Bruin Plaza), the actors (Flash Mob America staff), the costume (casual clothes as disguises), music or sound (his girl friend’s favorite song) all by him self, a work as expansive a director’s (Hewitt, Flash mob helps Bruin pop the question). While the flash mob has the role of director, it is missing an integral component to be considered a true theater --- the script. Without the script, an artistic event will always be one dimension thinner than theater which contains three parts literature, visual and heard
She presented her role as a fashion presenter rather that a thief throughout the show and for that, she had become my favorite performer of the play. The director has arranged a minor conflict for the other performers to interact with each other. The performers entered the scene as
Even though Parsi theatre is rightfully acknowledged as one of the major influences on popular Indian cinema - along with the Indian epics, Sanskrit as well as folk theatre, and Western culture - it has very likely had the maximum impact since it built from and on the rest, creating a kitsch of music, dance and songs, realism and spectacle, message and entertainment, humour and melodrama, all of which became extremely popular among the masses. This was a recipe that was time tested and proven successful, and thus adapted to the new medium that was Cinema. And so those of you who wonder why Indian cinema has had and even today continues to have songs that do not flow with the larger narrative, now you
The success of this play has drawn him towards the strong feminist theme, whose emphasis can be seen in his later works. Kaizaad Kotwal is a renowned name in Theatre cinema. Having done more than 200 plays, his work on the American documentary drama “Once I was Young.......Now I am Wonderful”
There is an insight towards the end that this refusal of Nandhini will at last snowball into an revolution that will smash the dividers of this demonic place. Nandhini represents the refutation of the considerable values that the Yaksha kingdom stands for. Nandhini is the soul of the play. Her unmistakable feature is the 'red oleander ' she wears in her hair, round her neck and on her wrist which turn into the image of the almighty fortune – 'freedom '. Her magnificence hypnotizes men regardless of their position or rank.
Nargis Dutt played the role of most iconic female protagonist of Indian cinema in Mother India, Madhubala in Mughal-e-Azam- these characters only restricted the women characters in the cast of glorified mother or the large-hearted courtesan/lover who will sacrifice their choices and happiness to maintain the ‘idealized’ standards lay down by the male chauvinist society. While in the inter-class love story of Maine Pyaar Kiya, Rajshri’s over-the-top-‘sanskari’ heroin Suman contrasted in every way with the fashionable-dark-lipstick clad love rival for the hero, her Indian ‘idealized’ sanskar makes her better marriage partner, who will definitely consider her husband made on the ‘image of God himself4 and is no less than God to her. While in movie Kuch Kuch Hota Hai- in which one of the female protagonist Tina, who wears short western clothes, proves her Indian-ness by singing a religious hymn. While other character Anjali from a tomboy girl with no inhibitions and interests like the girls of her age, metamorphoses toward more Indian ideal woman and their bodily practice i.e. ; walking, dressing and manners comes under the hegemonic norms of gender, is suitable for the love of hero.
Bapsi Sidhwa has worked on the screenplay of Deepa Mehta’s film Water. Both are equally renowned women of our society who have shown a perfect artistic collaboration. My dissertation shows the collaborative work of Bapsi Sidhwa and Deepa Mehta where the novel compliments the film. Water by Deepa Mehta has always been a controversial film in India but it was appreciated by many viewers. Both the novel and movie are based upon similar themes and situations except some variations in the paragraphs, dialogues and cinematic effects.