Dramatic And Dramatic Elements In Sense And Sensibility By Taibi Magar

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

This song sets the mood as it is an acoustic love song. The song changes when the loves first make physical contact in the elevator and becomes more intense which increases the passion between the two lovers. This music continues throughout the rest of the scene. Before Maria and Tony meet the other characters are dancing at the disco, the music is jazzy and upbeat, this is also set in a major key. When the lovers meet the music changes as the characters fade out.

It is difficult to isolate the play’s conflict to anything other than on a thematic level. Every time a conflict has a potential of presenting itself, the fantasy element

Jane Austen's 1811 novel "Sense and Sensibility" puts across an account involving two English sisters who come across a series of hardships in their endeavor to find their personal identities in a relatively hostile environment. Elinor and Marianne Dashwood are forced to leave their home, the estate at Norland Park, consequent to their father's death. The two experience economic problems and come to see the world with different eyes as they move in a small house and as they interact with people who are primarily motivated by finances. Even though the two sisters have diverging personalities, they go through similar experiences and they come to have similar perceptions of society.

The question asks us, “Explore the ways in which Jane Austen and Shakespeare present strong feelings in ‘Pride and Prejudice’ and ‘The Merchant of Venice’.

Despite the obvious conflict between the pair of families, Shakespeare still shows conflict through other ways. Capulet argues with his daughter Juliet over her refusal to marry Paris, for example. Of course, there are other themes included within the play, and these often inter-relate or contrast with the prevailing theme of conflict. For example, there is a relatively strong theme of love, mostly between Romeo and Juliet, however this is affected by the conflict between Capulet & Juliet and Romeo & Tybalt amongst others, making Romeo and Juliet relationship a struggle; this is vital to the play’s storyline. So therefore, without this element of conflict, the storyline is less effective.

 The play contained many scenarios of good versus evil, and the characters that generally possessed these feelings and intentions. But it must be understood that there were the intentions, the incentives, and

The awkwardness that transpires as both Elinor and Edward attempt to write letters in the same room shows both Elinor’s and Edward’s reluctance to show their feelings because of society’s judgements and develops their individual characters. Elinor is aware of the impact that her lack of wealth has on her marriage prospects, so she does not admit her feelings for Edward explicitly to him nor her family despite their existence. She is sensible and does not allow her love for a man make her vulnerable. Edward also has difficulty expressing his emotions. His feelings are complicated by his family’s desires and his engagement to Lucy Steele (Sarah Elizabeth Keyes). Despite his feelings for Elinor, he is characterized by his loyalty to his prior commitments. His loyalty, while admirable, is also the hamartia that nearly keeps him away from Elinor forever. Marianne Dashwood’s passion and spontaneity is evident through her actions; she cuts off a lock of her hair for her suitor, John Willoughby, without an engagement and weeps openly when he leaves town. Her excessive sensibility is a critique of women’s dependence on men for happiness. Willoughby is characterized as the perfect man, yet develops into a very problematic and unfaithful character. He draws Marianne in only to break her heart and it is eventually revealed that she is not the only girl

Identify such a conflict in a non-Shakespearean play you have studied and show how the dramatist deals with the implications for both the character and the society.

In this play, there is a noticeable difference between the natural way in which humans want to act against what is considered natural in society. Elements of society cause the characters to be able to justify unnatural actions. Shakespeare thoroughly laces this play with the concept of humans are neither good nor evil by nature.

The idea of marriage that is presented in the play differs from what we see marriage as

Sense and Sensibility was first published in 1811, by Jane Austen, Sense and Sensibility represents the neoclassical, dualistic moral world where values and exclusion values will ultimately be successful in a painful, romantic feeling. Not only that, he was making serious cynicisms of society's eighteenth centuries in which the aristocrats were praised and indirectly influencing young people's minds, not the love of love but to betray it just for Wealth. In the novel, Lucy and Willoughby symbolize this kind of people of society

The Characters and Behaviour of Edward Ferrars and John Willoughby in Sense and Sensibility In the novel "Sense and Sensibility" the two characters Edward Ferrars and John Willoughby are foils. Jane Austen gives each three options in marriage - a previous attachment, Eliza Williams and Lucy Steele<a financially advantageous offer, Miss Grey and Miss Morton, and a genuine attachment, Marianne and Elinor. Jane Austen depicts their characters through their behaviour in this situation and others. Elinor's views of the characters Edward Ferrars and John Willoughby change a lot throughout the novel.

I have never been involved with the production of any kind of play, so my partner and I decided that we would watch multiple versions of this play. There was Kenneth Branagh’s version which was sort of lack characteristic that we thought would be suiting for our “soap opera” themed performance.

Often, two people who have endured similar life experiences and share an unmistakable parallel in lifestyles can be viewed as duplicates of one individual. In Sense and Sensibility, the two main characters, Elinor and Marianne Dashwood can be seen as two extensions of the same character. The sisters are relatively close in age, grew up with the same social expectations of the same time period and household, and they evidently experienced similar childhood and family trauma and problems. Although it could be argued that they are the same character, these young women are very different from each other, in respects to their roles and practice of responsibility, their display of emotions, and openness to love. Jane Austen has cleverly titled