A Midsummer Nights Dream Performance Analysis

A Midsummer Nights Dream Performance Analysis In A Midsummer Nights Dream- How would you perform the role of: Lysander (500 words) Demetrius(500 words) Helena(500 words) Hermia(500 words) Theseus(500 words) in order to convey interpretation of the role to your audience? A point to consider before bringing the individual character interpretations into play is how to contextualise the performances within the text as a whole. In other words, the characters are not mutually exclusive entities, rather, they are interactive and woven into the landscape of the play. Therefore, I would like to propose a general outline for the overall performance. There are many ways to perform ‘A Midsummer Night’s Dream,’ and the way I choose will affect elements of the characters. There have been many performances of Shakespearean drama, where the play is brought into the modern day. I however, would like to perform the play in its classic setting. I would like the play to retain its archaic time setting. It is a very self-reflexive play – it is a play about staging a play. This highlights the idea of drama at its root – the reheasrsal and work that goes into a play. I would like to leave the play in an olden day setting because it consolidates the idea of drama being detached from life through its artifice, and the play being set in a by-gone era further consolidates the idea of detaching drama from everyday life. (a)The first character I would like to look at is Lysander. He refuses to yield to Demetrius’s demand for Hermia’s hand, and risks the wrath of Theseus by eloping with Hermia. This demonstrates not only the depth of his feeling for Hermia, but also his conviction in his own beliefs, and the courage to carry out these beliefs. The comic arc of Lysander’s performance hits its climax after Puck has sprinkled the love potion into his eyes and he falls in love with Helena. I would perform the character with some hyperbole at this point, in order to convey the comic element of the text to the audience. The idea of Lysander challenging Demetrius to a duel in order to win Helena’s hand is an example of the excessive behaviour and heightened action that brings much of the comedy into the play. It is a humour that comes from the reversal of the natural order – Helena has gone from being desperately in love with Demetrius and being scorned by him to being the object of both men’s affection, for example. This reversal in the behaviour of Lysander is something I’d like to highlight in performance. I think a change in demeanor, and in vocal qualities could highlight this. At the beginning of the play, Lysander is portrayed as a romantic hero. I would convey this to the audience through his appearance; ideally, the role would be filled by a tall, handsome man. I would like him to wear a costume of light material – symbolising the innocence of the ‘true lovers’ (Hermia’s description of themselves). As I would like to keep the play true to its chromatic origins, I would like Lysander to wear a type of Athenean costume, which he could change when he enters the wood. I would like all the characters to change their costumes when they enter the forest, to represent the immense change in their environment. I would like him to don a more earthy, swarthy coloured robe, such as green, to convey the pastoral environment to the audience. I would like to focus on how the character of Lysander should be performed during the sequence in which he challenges Demetrius to a duel. The interpretation that I would like to convey to the audience is one of escalating absurdity, which contributes to humour. This would be done through the props, delivery, vocal quality, paralinguistic features and a demonstration of how Lysander relates to Demetrius in this section: Lysander †¦Helen, I love thee. By my life I do. I swear by that which I will lose for thee To prove him false that says I love thee not. Demetrius I say I love thee more than he can do. Lysander If thou say so, withdraw, and prove it too. (Scene III, Act II, lines 251-256) There is a strong sense of rhythm in these lines, and also rhyme, which contribute to the tension and sense of heightened action. I would like the actor to highlight the rhythm in his delivery. I would like Lysander to adopt a masculine stance, and to circle Dimitrius, expanding his movement around the stage, owning the stage, as it were, using the entire stage to convey to the audience that he feels he owns the space, as he prowls around it. (493 words) A character trait that emerges from the text is the point where he tells the infatuated Helena that when he says, â€Å"Tempt not too much the hatred of my spirit;/For I am sick when I do look on thee.† (Scene II Act I, lines 211-212). This utterance evokes a sense of his cruel nature, a pejorative view of Demetrius which is further consolidated when we examine the first first scene of the first act. When Lysander and Hermia are told that they cannot marry, Demetruis tells them they should let him have his â€Å"certain right.† (Scene I Act I line 92). There is subsequently a huge change in Demetruis when he falls back in love with Helena at the end of the play. This is indicative of a softening of his character – a change which I feel should be represented visually in performance. In order to convey Demetruis’s somewhat cruel, righteous nature to the audience, I think the actor should appropriate a certain demeanor. Body language could be used to demonstrate his confident, cocky side. For example, he could strut, use large gestures and also make use of all of the stage space – exercising his self imposed ‘right’ to the stage space in the same way that he wants to exercise his ‘right’ to Hermia’s hand. I would like his costume to be dark colours – such as a rich red – and flamboyant design, to contrast with Lysanders’. The vocal qualities should also demonstrate these traits. He only has two lines in scene I, act one, so it is very important how these are represented, as they will be the first impression the audience have of him. Demetrius’s lines are: Relent, sweet Hermia; and, Lysander, yield Thy crazed title to my certain right. (Scene I, Act I, lines 91-92) The way in which this line is performed is very important. As the tormented lovers, the audience feels very strongly for Hermia and Lysander, to whom the presence of Demetrius is an invasive one. I would therefore also like to convey to the audience this sense of invasion. When Demetrius says, â€Å"Relent, sweet Hermia†¦Ã¢â‚¬  I would like him to walk up to Hermia, and put his arm around her, caressing her with his other hand, turning them both away from Lysander. When he speaks to Lysander, Demetrius should keep his back to Lysander, but turn his head to face him, so that his line is like an aside, as if he does not respect him. The words ‘†¦crazed title†¦Ã¢â‚¬â„¢ should be accompanied by paralinguistic features, such as an outstretching arm to convey to the audience how much Demetrius does not want Lysander and Hermia to marry. Finally, the word ‘†¦my†¦Ã¢â‚¬â„¢ should be over emphasized to convey that Demetrius strongly feels that Hermia shou ld be his, whether she loves him or not, because of the wishes of her father. His character, and especially his behaviour towards Helana changes at the end of the play. Whilst in the earlier stages of the play, he is confident, using large gestures and a lot of stage space, at the end of the play, I would like him to express a more tender side to the audience, to convey the development of his character: That we are awake? It seems to me That yet we sleep, we dream. Do not you think The duke was here, and bid us follow him? (Scene IV, Act I, lines 192-194) This line should be used to convey character development to the audience as it contrasts so strongly with his opening line – the use of ‘†¦you†¦Ã¢â‚¬â„¢ in contrast to ‘†¦my†¦Ã¢â‚¬â„¢ for example. There is also a confusion in this utterance, which contrast with the confidence in the first lines. (566 words) Helena At the beginning of the play, Helena is portrayed as hapless; the scorned lover who has been wooed by Demetrius and then ignored in favour of Hermia. However, like Demetrius, Helena demonstrates a massive character development and transformation. Like Lysander, the arc of her character trajectory reaches its crescendo after Puck has sprinkled the love potion in Lysander and Demetrius’s eyes. When they both try to woo her, she feels they are mocking her, and gets angry. To best convey the transformation in her character between before and after the love potion has been dispensed, I’d like to consider how vocal quality and demeanor can be used in two of her utterances: Call you me fair? That ‘fair’ again unsay. Demetrius loves your fair. O happy fair! †¦Sickness is catching. O, were favour so, Yours would I catch, fair Hermia, ere I go. †¦O, teach me how you look, and with what art You sway the motion of Demetrius’ heart. (Scene I, Act I, lines 181-194) This except is from a long speech in which Helena proceeds to extol the virtues of Hermia, with whom Demetrius is infatuated. The key message I would like to convey to the audience from this speech is the idea that Helena is confused, upset and slightly jealous of Hermia. She is asking Hermia how she won the heart of Demetrius. In order to convey this dejection to the audience, I think the delivery of this speech should involve some rhetoric – while Helena is asking Hermia how she wooed him, and saying how fair Hermia is, my interpretation of this speech is that it is a melancholy meditation on the loss of her love. She is not looking for external answers, rather internal answers, and so it is questions she is asking herself. This could be expressed to the audience by the character of Helena distancing her self physically from the group – this would be a visual symbol of her isolation. Her demeanor and body language would be hunched and dejected, and her voice subdued a nd hushed The other speech that is a seminal moment in the performance of Helen is when she feels she is being mocked by the two men, and gets angry. Clearly her relationship with Demetrius is changed when he falls in love with her. While she may be unaware of it, the hierarchy of the relationship has been overturned, and she has now adopted a position of power. In her speech, she says: O spite! O hell! I see you are all bent To set against me for your merriment. If you were civil and knew courtesy You would not do me thus much injury. (Scene III, Act II, lines 145-148) This speech can be used to great effect to demonstrate the performance possibilities of this role. The demeanor and vocal qualities performing this speech would require differ hugely to the earlier one – with a louder voice, delivery directed at the other characters and inflated body language required. (493 words) Hermia Hermia is represented in the play as a strong, defiant young woman, prepared to take risks in order to fulfil her own desires. This is exemplified in her refusal to bow down to her father’s wish that she marry Demetrius. In the face of a death sentence, or life in a nunnery, she escapes with Lysander into the forest. Lysander’s love for Hermia, along with Demetrius’s desire, demonstrate that she is an attractive and desirable young woman. These are two important points I’d like to consider when constructing the performance of Hermia. I would like to convey to the audience her inner strength and determination, alongside her physical attractiveness. The notion of physical attractiveness could be conveyed primarily through costume and appearance. As Hermia is clearly a woman of considerable charm (illustrated when Helena asks her what charm she used to capture Demetruis’s heart), her costume should reflect this. As it is believed that she unwittingly won over Demetrius (this is an ambiguity in the text – it is possible that Demetrius loves her because her father is so impressed by him) I would also like to impress upon the audience a sense of naivete and innocence. The obvious symbolic colour of this is white. White would also look striking under the stage lights. I would use floaty fabrics for the costumes, such as organza, to communicate the ethereal quality of not only Hermia herself, but also the forest, and the magic contained within it. When Hermia leaves Athens and escapes to the forest, I would like her to adopt a robe over her dress, of green, to convey to the audience, through her change in costume, that a change is impending in the play. While the charm and beauty of the character of Hermia will be communicated visually, the inner strength and courage that I interpret as being key elements of her character, will be communicated through her demeanor. It is commonly understood in the study of body language that confident people stand up straight, unlike shy people, who hunch up, in a subconscious decision to take up less space. In this way, stage space becomes an important indicator of personality. I have mentioned before that I would, at certain points in the text like characters to use the whole space of the stage to convey a sense of confidence. I would like the performance of Hermia to adopt a comfortable use of the entire stage space. More specifically, I would like to refer to one speech that I feel is very important in the text, in Scene I, Act I, when Hermia is talking to Theseus with regards to her desire to marry Lysander: So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship whose unwished yoke My soul consents not to give soveregnity. (Scene I, Act I, lines 79-82) This speech is an important point at the text because Hermia makes clear her intentions to avoid marriage to Demetrius. It is a very dramatic, sensitive piece. This speech should be delivered with intensity, to convey to the audience the depth of Hermia’s feelings for Lysander. The performance should include some paralinguistic features such as moving around the stage, facial expressions and hand movements to express her feelings visually. (549 words) My understanding of Theseus is that he is a very complex character – there is conflicting evidence in the text as to his true nature. There is one utterance in the text that brings up questions regarding his true nature, when he is talking to Hippolyta and he says that: Hippolyta, I wooed thee with my sword, And won thy love doing thee injuries; But I will wed thee in another key: (Scene I, Act I, lines 16-18) My interpretation of this line is that Theseus raped Hippolyta. The implications of this in terms of how the character should be performed are vast. In much of the text, Theseus is represented as a pensive, thoughtful man. He kindly advises Hermia to â€Å"Take time to pause†¦Ã¢â‚¬  (Scene I, Act I, line 83) when discussing the situation with her father Egeus. This scene presents him as rational and kindly. The suggestion of rape in line 16 makes the line highly important, the suggestion I would like to convey to the audience is the idea that Theseus is warning Hippolyta. In bringing the issue of the rape to the forefront, he is reminding her of the power balance in their relationship. There is also possibly some penitence in this admission. This could be communicated to the audience through the use of certain vocal qualities, demeanor and stage space. I would like Theseus’s sense of power to be conveyed to the audience in a visual way, so he would deliver this speech standing, and walking around, whilst the character of Hippolyta would be sitting down. The discrepancy in their heights would be a visual representation of the hierarchy, which would further consolidate what Theseus was saying. This is such a patriarchal power play that props could be used to represent a sense of phallocentricity – such as a sceptre – a regal and phallic symbol. The use of this prop co uld convey to the audience my interpretation of Theseus as being the patriarchal and dominant force in the opening of the play. His kingdom is run on a set of rigid rules – for example, Egeus invoking the ancient law of Athens as Hermia wants to marry Lysander. This is in stark contrast to the forest – the mysterious, feminine arena which is the binary opposite of Athens. In terms of demeanor, Theseus should be calm, and considered in his movements. I would like his costume to be of dark colours, and of neat, clean lines. This operates in contrast to Hermia’s costume – the white of her costume is a symbol of innocence while the dark of Theseus’s costume is aligned with the dark side he hints at in this speech. (440 words)

My Philosophy of Professional Nursing

As I embark on starting a new career, nursing offers me a demanding profession that involves my strength in interpersonal relations coupled with the desire to participate in a challenging career field. The nurse-patient relationship is the most important factor in starting an effective assessment of a the patient. Establishing this relationship is important to gain the trust of the patient as well as a rapid diagnosis in what will become a fiscally-challenged environment of health care.PersonIn the current environment of Health Management Organizations (HMO’s), a patient often feels that their individuals needs are not met because every visit to the HMO results in seeing a new nurse and doctor. The patient history is lost, and the individual feels detached from the â€Å"organization† of HMO’s. As a result, the patient can feel that their needs are not being met. I believe that interpersonal relations between nurse, patient, and the patient’s family is a c ritical event of the treatment process.My role as a professional nurse is being more than just a mediator for a doctor. I believe that a â€Å"nurse can serve as a resource person, counselor, and surrogate†, and â€Å"as a nurse-patient relationship develops, the nurse and patient mutually define the problems and potential solutions† (Potter, Perry, 2013). Health Mazlow’s hierarchy of needs is a philosophical model that puts health as the most basic and fundamental of needs (Potter, et. al. , 2013). In order to reach a self-actualized state of a happiness and security, the basic physiological needs of an individual must be met.A person’s psyche can be directly tied to their current health, and great amounts of distraction can be cause by â€Å"nagging† conditions that do not get resolved. While the medical advancements continue to refine and discover cures, the human factors that lead to disease and illness is still very complicated. The days of ou r youth are, for the typical person, spent in relative health, with the body in great shape to adapt and overcome many obstacles. As we age, our bodies lose some of its resiliency. Environment The environment a patient lives in can play a critical role in a patient’s health.Work factors and home living conditions provide for the majority the time that a person spends. In addition, a third of a person’s life is spent sleeping, and this can also play a pivotal role in both health and mental well-being, or alternatively, provide for a root cause of poor health. While many work and home conditions may not be a factor in some situations, the nature of an illness or personal condition can, unbeknownst to the patient, be a direct result of those conditions. Left unexplored, the patient would be left with a developing condition of unknown cause, constantly exposing themselves to the same initiating conditions.Gastams (1998) supports these factors in claiming that â€Å"it bec omes apparent that observing a person’s state of health and his or her responses to sickness and health forms an important an very specific part of the task of nursing. Nursing Given the facets of health, environment, and person, the average patient will provide an entirely unique set of initial conditions by which a nurse and doctor will seek to resolve and eventually heal the patient. My philosophy of nursing is one in which â€Å"the well-trained health care worker who co-operates with the doctors and other health care experts [is] promoting the patient’s well-being.† (Gastams, 1998)Specifically, as a nurse with high standards and a continual desire to learn, I want to be a proactive and competent provider for a patient. To do that, I believe in bringing my interpersonal skills to assist the patient and provide a conducive environment for healing and caring. â€Å"It is critical that nurses have the ability to skillfully interact with patients in any setting . This fosters trust, mutual goal-setting, therapeutic interventions, and improved learning experiences for the patient and the nurse.More often than not, nurses use a combination of nursing theories and conceptual frameworks in daily nursing practice. † (Senn, 2013) By being professional and always seeking more knowledge, I can become a resource and advocate to my patient. As McNaughton (2005) points out, â€Å"when clients used nurses as resources, they primarily used them as sources of information, as confidantes, or as partners in problem solving. † In summary, while no one theory defines my personal philosophy, I predominantly believe in the Peplau philosophy of interpersonal relations as the fundamental nursing philosophy by which I will interact with my patient.

Segregation How It Still Exists Today - Free Essay Example

Sample details Pages: 4 Words: 1149 Downloads: 6 Date added: 2019/10/31 Category Politics Essay Level High school Tags: Segregation Essay Did you like this example? The idea of segregation has existed in many distinct forms, racial segregation being the most familiar one to the general public. There is segregation by age, sex, religion, income, and color. The Fair Housing Act of 1968 intended to be a form of remedy to housing discrimination that lead back to the Jim Crow segregation era and it was supposed to be a gateway to the middleclass for African Americans. Don’t waste time! Our writers will create an original "Segregation: How It Still Exists Today" essay for you Create order Also known as the Title VIII of the Civil Rights Act of 1968, the Fair Housing Act prohibited discrimination regarding the sales and financing of housing based on race, religion, and national origin. After the death of Dr. Martin Luther King, the Fair Housing Act was addressed to President Johnson in April of 1968 due to Dr. Kings assassination riots and he referred to this responsibility as being one of the proudest moments of his entire presidency prior to signing it. However, the country still struggles to live up to the laws that were passed in the wake of Dr. Kings assassination half a century later. For example, Independent News recently reported that a prestigious independent school in New York City had ended a policy that grouped the schools students together by race in 2017. Although it is an improvement concerning the countrys diversity, it is still evident that segregation still exists today. The NYCs school strategy definitely caused a stir amongst the students parents, m any of which reportedly deemed the policy as a form of segregation. However, the schools states that its purpose was not to segregate but to form a progressive program that is rooted in a fundamental love of learning and a connection to the real world. Do you think that this is a reasonable explanation to this absurd policy that has been kept up for many years? By merging fiscal factors with race in the measures of segregation, it is evident that there is a relevant intersection between them. For example, there is a large difference between the number of white, black, and Hispanic students that attend low and high poverty schools. Below, Figure 1 demonstrates that white students are three times more likely to attend a wealthy school than a poor school, whereas black and Hispanic students are six times as likely to attend a poor school than a wealthy one. Figure 1 Source: U.S. Department of Education, National Center for Education Statistics, Common Core of Data (CCD), Public Elementary/Secondary School According to Mumford Center assistants Jacob Stowell and Deirdre Oakley, there is a declining share of Hispanic and black students in majority white schools since 1990. White students have moved from schools that are mainly white, increasing their portrayal in schools that are moderately white or moderately minority. Black, Hispanic and Asian students have moved from schools that are moderately white toward those that are moderately minority. In the same period, both majority white schools and majority minorities schools have experienced a significant change in the average race composition; they experienced a heavy decline in white students and gained more Hispanic students. Although this does seem like good news, there was also a sharp decline in the number of enrollments of white students in both white and minority schools at around the same time. From 1988 to 2000, there was a 5.3 percentage point decline in the share of white students in schools of the average black student to th e current low of 30.9%. However, the current exposure of black students to white students is considerably higher than it was in 1968 (45.9% vs. 37.7%). Segregation not only applies to race or classism, but to sex and gender. During a press conference, Rep. Mark Walker, who is the chair of the conservative Republican Study Committee, referred to the groups female members as eye candy. Unsurprisingly, his remark had received backlash, especially from social media. Not long after the congressman made his comment directed towards females, social media users referred it to sexist and misogynistic. Women from all over the country have dealt with this type of sexist behavior over the last couple of centuries. Women are now working in all occupations that once were solely the domain of men, and many are in important roles in business and government. However, sex segregation still remains a problem in the workplace because the norms of society restrict occupational choices by men and women. Economists Francine Blau (Cornell University), Peter Brummund (University of Alabama), and Albert Yung-Hsu Liu (Mathematica Policy Research), examined tr ends in occupational segregation between 1970 and 2009 and found that the process of desegregation has slowed in recent times, regardless of the education level necessary for a job. (See Figure 2.) Occupational Gender Segregation in the United States:1970-2009 Figure 2 Source See Table 8 in Blau, Francine, Peter Brummund, and Albert Liu, 2013. Trends in Occupational Segretgation by Gender 1970-2009: Adjusting for the Impact of Changes in the Occupational Cding System. Demography 50(2): 471-402 Traditional economic theories have tried to explain that gender segregations are an unavoidable consequence of men and womens natural differences regarding their skills. However, contemporary economists have considered it to be discrimination by employers. According to the pollution theory of discrimination, which was written by a Harvard University Economist named Claudia Golding, men often underestimate womens skills based on their current underrepresentation in certain occupations on the assumption that increasing their representation would lower overall productivity. Of course, this is false. Despite the heavy decline in sexism, racism, and classism, researchers still argue that discrimination and segregation are perpetuated by the belief that peoples social, economic, familial roles should be fundamentally different, whether it is stereotypical or in the form of social pressures. Fortunately, with the world constantly changing, the issues regarding the different types of segregation can be fixed and it is all up to every single human being, including you. Works Cited Whitehurst, Grover J. Segretgation, Race, and Charter Schools: What Do We Know? Co-written by Richard V. Reeves, Edward Rodrigue, October 2016, pp. 27-28 https://www.brookings.edu/wp-content/uploads/2016/10/ccf_20161021segregation_version-10_211.pdf Williams, Joseph P. Segregations Legacy. United States World Report News 20 Apr. 2018: USNews, https://www.usnews.com/news/the-report/articles/2018-04-20/us-is-still-segregated-even-after-fair-housing-act. 16 Nov. 2018. Brown, Deneen L. The Fair Housing Act was languishing in Congress. Then Martin Luther King Jr. was killed. The Washington Post 11 Apr. 2018: WashingtonPost https://www.washingtonpost.com/news/retropolis/wp/2018/04/11/the-fair-housing-act-was-languishing-in-congress-then-martin-luther-king-jr-was-killed/?utm_term=.28d191c2ef77. 11 Nov. 2018. Schelling, Thomas C. Dynamic Models of Segregation. Journal of Mathematical Sociology, vol 1, pp. 143-186, Gordon and Breach Science, 1971 Richards, Kimberley. Prestigious NYC School ends policy that grouped students by race. Independent https://www.independent.co.uk/news/world/americas/little-red-school-house-separate-race-children-new-york-city-segregation-a8433926.html. 13 Nov 2016. U.S. Department of Education, National Center for Education Statistics, Common Core of Data (CCD), Public Elementary/Secondary School Universe Survey, 2012-13, https://nces. ed.gov/programs/digest/d14/tables/dt14_216.60.asp. Mcgrew, Will. Gender Segregation at Work: Separate but Equal or Inefficient and Unfair Washington Center for Equitable Growth 18 August 2018: EquitableGrowth https://equitablegrowth.org/gender-segregation-at-work-separate-but-equal-or-inequitable-and-inefficient/

Environmental Stewardship And The Environment - 1406 Words

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