Costumes In The Film Titus

The musical Blood Brothers tells the story of twins, Mickey and Eddie, brothers separated at birth who reunite and become friends in their childhood. Blood Brothers explores the lives of the Johnson and Lyons families, exposing class differences. Mrs. Johnson and Mrs. Lyons are two extremly different women, yet are unable to avoid each other due to the connection the boys share. The differences in lifestyle, values and morals of these two families are stark and tangible. Circle in the Water values this opportunity to explore society and relationships identifying themes that resonate with Hong Kong life.

A character’s costume is much more than the clothes they wear to play a part. These clothes help us venture into the author’s world and help us connect with this new place and believe in its reality. They help us capture so much more than what the character looks like. We are able to see, feel, and experience the characters personality and purpose in the story. In a play or movie, we immediately make our fist connection with a character based on what they are wearing, this is the first step in drawing us in and making us believe in this new world. This first impression gives us the first glimpse at the characters style, background, and social class. All of these things are meant to immediately draw us in.

He uses body politic, not only as a way to emphasize certain points, but also as a key theme and plot line. The play begins as Titus, a revered war hero, returns from battle with his captives: the Goth queen, her three sons, her servant, and other various Goths. He immediately orders the killing of the queen’s son, and refuses to show mercy. Titus’s sons “hew his limbs [into the fire] till they be clean consumed.” ()This is a gruesome scene, but it is not the only scene that involves dismemberment in the play. In the second act, Titus’s daughter, Lavinia, is raped and physically mutilated so that she cannot reveal her assailants. They cut off her hands and tongue to ensure that she could not communicate with anyone. Lavinia remains extremely important to the play after her assault, because, unlike other characters who suffer similar fates as her, she lives through her torture and becomes a somewhat permanent presence on stage until she is killed in the final scenes of the play. This presence serves as a reminder of what her assailants have done and an indication of the chaos that the characters have caused. Lavinia’s rape marks the beginning of a downward

There are have been many arguments throughout the history of Shakespearean academia regarding the validity of Shakespeare’s authorship to Titus Andronicus, and the critics have not been shy to express their discontent of its seemingly endless violent montage. As Michael Fentiman and Harold Fuller point out of what Dr. Samuel Johnson spoke to in 1765,

The creator of Titus Andronicus is William Shakespeare. The subject I pick that identifies with current circumstances is revenge. Revenge is the activity of incurring hurt or mischief on somebody for a harm or wrong endured at their hands. The literary text I will use to examine the content is personification. The reason personification is significant in the play is on account of Tamora suspected that Titus was insane and came to visit him dressed as revenge.

“She will hide all you wish to see about her sweet soul, like breathing and living in a masquerade ball you will fall in love with who she is beneath her mask, and somewhere in the night be her escape, and watch her soul because even with a mask her eyes give her away.” (Cheyenne Rain). In the Elizabethan era those of high social classes hosted these extravagant parties that consisted of décor, food, dancing, music, and dramatic shows usually referred to as masques. These shows that took place at the masquerade balls displayed usually in verse. Even though some may see it just as entertainment masques and masquerades changed the way of a nation, because it allowed people to teach, be taught, and see others views thus forming and changing one another causing a change in the people.

All the persons Shakespeare depicts in Titus are two dimensional, either good or bad. The dividing line falls between those who support Titus, the tragic warrior hero, and those on the side of Tamora, the evil Queen-empress. The former are noble and selfless, demonstrating roman pietas, while the latter are ignoble and selfish. In Jack E. Reese's essay, The Formalization of Horror in Titus Andronicus, he makes the point that Tamora and her sons' allegorical dressing-up as "Revenge, Murder, and Rapine can be viewed as a symbol of the characterization of the entire work" (Horror 79). In this scene, they are as they are, the symbol is exactly the same as the person. The only two characters who might be said to escape the dichotomy are Titus and Aaron the Moor. In Rome, Titus "sacrifices" both his son and his daughter, says Miola, "on the alter of his own personal honor" (Family 67). It is fair to say that personal honor is his concern in killing his offspring, for Mutius represents shameful filial disobedience (or mutiny) and Lavinia represents his inability to protect her and is a reminder of a shameful act done not only to her, but to her whole Andronici family too. It

Tamora lies to her sons, Demetrius and Chiron about why she is in the woods, and tells them to “Revenge it, as you love your mother's life, Or be ye not henceforth call'd my children” (2.3.5). She tells them to kill Bassianus and rape Lavinia. The most sickening part of the entire play is during this scene. The boys decide that it would be a great idea if they rape Lavinia on her dead husband. They seem to think that this is the best revenge they can muster to make their mother proud. This vile act angers Titus so much that he vows revenge upon her when he finds out that it was Tamora that had his sons murdered. There is a back and forth between Tamora and Titus that does not end well for either party. Neither of them have any sense when it comes to enacting their revenge upon the other, they will go to any lengths to inflict pain on the other. Two of the most disturbing acts of revenge between the two include; the rape of Lavinia and the murders of Chiron and Demetrius and then the cannibalism with Tamora, Saturninus, and their

Titus Andronicus introduces the reader to a multifaceted relationship of a father and a son. In the very first scene of the play, just after Titus says, “What, villain, boy / Barr’st me my way in Rome?” (1.1.295-96), he kills Mutius, his own son. Titus is not concerned about his daughter eloping with Bassianus, rather he believes that the ten-year long war has won him the ownership of Rome. His pride cannot let anyone, even his son, stand between him and his prized possession. Shakespeare uses violence to depict the masculine character of Titus. Titus’ ego shines more brightly in these lines than his love for his son.

The set and costumes weave a visual masterpiece, emulating a natural, yet lively and beautiful theme through the use of brightly patterned fabrics. People in elaborate, intricate costumes acted out each plant and animal, communicating the key theme that all living creatures in the wilderness are connected. Timon, Pumbaa, and Zazu’s costumes were more comic than the rest of the more natural costumes. This was likely done to keep younger audiences interested but ended up disrupting the uniformity of the production’s overall appearance.

The Greek period, ca. 900-30 BCE, was famous for its developed ideals of human beauty, the concept of ideal heroic male nudes and what they depict, and progression from symbolic works to naturalism. Using the discussion of the following artworks, the (Anavysos)Kouros, the Kritios Boy and the Spear Bearer (Doryphoros), I will discuss their symbolic and naturalistic characteristics.

Clothing wasn’t just an insignificant thing in the Elizabethan era. The clothing and Fashion in the Elizabethan era was “unique.” Women Wore gowns, hats, corsets, underwear(I really hope so), collars, ruffs and shoes. While men wore doublets, breeches, underwear(again, I really hope so), collars, ruffs hats and shoes. The subjects range from the type of clothing regarded as Upper Class Fashion - rich materials and elegant styles to clothes worn by the lower class using basic materials. Each item of Elizabethan clothing has been designed. There were laws for wearing clothes! These laws were called “statutes of Apparel” and was enforced by the Queen herself in Greenwich on June 1574. It was to maintain social structure as well as keep a firm

The people who lived during the Elizabethan Era were not allowed to wear whatever they like or desired. Their Fashion choices had to be followed by a strict law! The English people chose to establish social classes by the colors they wore and this had an affect on costumes used in theatre. Queen Elizabeth I followed the sumptuary laws, which was only certain classes were consent to wear specific fabric and colors. Therefore in plays the actors could only wear certain colors for their costumes that displayed what role and class their character was in. The clothes worn during this era was a result of Queen Elizabeth’s sumptuary laws, which had an affect on costumes used in plays, and each color a person wore had a significant meaning.

The heroes in Greek and Roman mythology had the characteristics of violent masculinity and bravery, the ideology of a patriarchal society in which all the men were elite than the women. According to Kampmen in Gender Theory in Roman Art, “Roman society evolved in such a way as to enable elite men to establish and maintain power over everyone else, ” such men included heroes like Hercules, Achilles, and Pentheus (1996, p.152). They represented the elite males who had stable physical attributes that emphasized their masculinity and heroism. Heroes like the ones mentioned above had been idolized and worshiped with cults due to their works in helping their societies to fight monsters, the gods also favored them. Gender is emphasized by one 's appearance, dressing being the primary attribute. The mythic narratives of Achilles on Scyros, Hercules and Omphale and lastly Pentheus and Dionysus give a rather strange definition on the characteristics of heroes when they crossdress. In this essay, I shall discuss how male heroes characteristics become subverted than emphasized due to the myths of cross-dressing.

In our lives, we are surrounded by moments of tragedy that drives our will to keep moving forward. Our daily lifestyles are no different from the famous stories that playwrights have written throughout history. Playwrights are masters at combining theatre elements of tragedy, religion, violence, and numerous relative elements that the audience embrace faithfully. Today, Greek and Roman influence is the main topic since they have inspired the famous plays Desire under the Elms and The Glass Menagerie.