I forgot to add a post to this category which is what makes it appear on the blog first page.
Sorry Group Three
I forgot to add a post to this category which is what makes it appear on the blog first page.
Sorry Group Three
Actuality
Better Memory
-We know what we did yesterday
-We know what day of the week it is
-We would know if we went to the same place two days in a row
-We don’t talk about hanging ourselves in a careless manner
-We don’t find people treated like a horse (Pozzo and Lucky) or have slaves.
-We don’t sell people at fairs (unlike Pozzo and Lucky)
-We would notice (unlike Estragon) if someone was being treated cruelly. Estragon prefers to chew his bones.
-We tend to speak with sentences that are more descriptive, pertinent, and meaningful.
-We don’t listen to people think for entertainment (I don’t at least…)
By Glenn Things Theatrical are what “illicit a strong audience response”. Following that definition Angelo’s desire of Isabella is certainly theatrical, because this behavior is so unexpected, coming from such a straight-laced deputy. Not only that, but the simple juxtaposition of the nobleman lusting after the soon-to-be nun is in and of itself, unusual, creating once again a strong response. A very strong “thing theatrical” occurs when Angelo demands Claudio be killed even after he thinks he’s slept with Isabella. I myself as a reader was not expecting that level of treachery from Angelo, making the surprise element of this action supremely theatrical. But perhaps one of the most theatrical moments occurs when the Provost enters with Ragozine’s chopped-off head to give Angelo in place of Claudio’s head. Freshly cut heads on stage seems pretty theatrical to me. However, one of the interesting variances in this scene is the almost lightheartedness that goes along with the dismembered head. Instead of it seeming gross or horrifying, the head is looked upon as God’s saving grace. This subtle inequity between what we expect the character’s reaction to be, and what it really is, is in and of itself, theatical.Finally the end scene is chockablock full of ‘things theatrical’. The Duke’s entrance, the Duke’s reveal, Angelo’s marriage and saved life, Claudio’s appearance, Lucio’s end, and the Duke’s proposal to Isabella are all exciting and surprising. Because of this, the audience responds very strongly to what can be considered the finale of “Measure for Measure”.
Group Three 7. Exposition
8. Forwards: Hungry for Next
Sam Beaver
Erica Brotzman
Amy Szerlong
Group Four: 9. Missing Person (Character) – Angelo, Duke, Isabella, Claudio, Escalus
10. Image
11. Theme
Alejandro Seijas Dominiguez
Adam Ferguson
Caitlyn Duer
Group Two: 4. Stasis and Intrusion
5. Obstacle, Conflict
6. Things Theatrical
Paul Kappel
Glenn Carroll
Geoffrey McQuilkin
Group One: 1. What Happens That Makes Something Else Happen?
2. And What Happens Next?
3. But Do It Backwards – what are the implications of this
Alex Nicolson
MaryBeth Gayle
Eric Houdek
Logan Turner
http://geocities.com/richston2/puns/miller.htm I found this site interesting. They have a lot of information about the roots of words used ect…, here’s some of the things I found most pertinent. it appears that the title of the play itself is also the source of additional wordplay. Consider the folowing English words as an example: —de-, a preix meaning “opposite of”; —eath, earlier form of ease, “freedom from hard work and financial problems”. It is akin to easy, “socially at ease”; –of a say-less man, i.e., Charley. This wordplay manifests itself in the passage wherein Willy says that people do not seem to take to him and are either laughing at him or avoiding him when he walks into a place–an uncomfortable position. Linda then attempts to change the subject to a positive one by pointing out that Willy makes seventy to one hundred dollars a week, but he laments that he has to work ten to twelve hours a day to obtain that much and that other men do it more easily. He blames it on the fact that he talks and jokes too much, in contrast to the quieter Charley. Charley: “You never heard from him again, heh? Since that time?” Willy: “Didn’t Linda tell you? Couple of weeks ago we got a letter from his wife in Africa. He died.” Charley: “That so”. Ben: So this is Brooklyn, heh?”…. Ben: “I must make a train, William. There are several properties I am looking at in Alaska”. Willy: “Sure, sure! If I’d gone with him to Alaska that time, everthing would have been different”. Charley: “Go on, you’d froze to death up there”. Willy: “What’re you talking about?” Ben: Opportunity is tremendous in Alaska, William. Surprised you’re not up there”. Willy: Sure, tremendous”. Charley: “Heh?” Willy: “That was the only man I ever met who knew the answers”. Charley:”Who?” Ben: How are you all?” Willy: “Fine, fine”. Charley: “Pretty sharp tonight”. Ben: “Is Mother living with you?” Willy: “No, she died a long time ago”. Charley: “Who?” Ben: “That too bad. Fine specimen of a lady, Mother”. Willy [to Charley]: “Heh?” Ben: “I’d hoped to see the old girl”. Charley: “Who died?” Ben: “Heard anything from Father, have you?” Willy: “What do you mean, who died?” Charley: “What’re you talking about?” This conversation between Willy, Ben and Charley is a good example of how Miller uses dialogue to reveal Willy’s failing grasp of reality and the world. His sentences are short, mixed up, and he clearly cannot keep on top of what is really happening around him (the card game with Charley) and what is only in his mind (Ben). In fact, Charley says the least during the scene, answering with usually just a single, monosyllabic word, revealing that Willy is really becoming more connected with the world of the dead than that of the living.
Happy’s dialogue suggests a yearn for acceptance, especially from Willy. As Alex noted, everything Happy says is sugar coated. He agrees with people, tells them what they want to hear, and has no qualms about making himself out to be bigger and better than he really is. For instance, during the dinner scene at the restaurant, it becomes clear that Happy is a smooth talker, and he doesn’t let the truth get in the way of a good story. This sort of dialogue is reflective of the kind of talk we hear from Willy, who also has no qualms about exaggerating the truth. He tells Linda that, “I did five hundred gross in Providence and seven hundred gross in Boston.” He borrows money from Charley instead of telling Linda he isn’t making enough. Happy, the second son, has picked up on this trait. It is clear he is devoted to Willy, at least in his youth. Three times he says this exact line, “I’m losing weight, you notice Pop?” Willy never replies, because he doesn’t take much notice of Happy when he has Biff, his golden boy to fawn over. Happy never gives up trying to please his father. He tells Willy, “…I’m gonna retire you for life” which certainly isn’t happening with his current paycheck or lifestyle.