Greek Act 5 Scene 1 Summary

Through this play Matt Cameron uses transformational acting as a way to portray the idea that it is possible for Ray and Sylvie to be playing a sick game with each other trying to make sense of what happened. As Matt Cameron calls it ‘theatre magic’ Matt Cameron uses this technique that could only be used in theatre to have its full effect. So we can question the message he wants us to receive without having a resolution. It’s like Ray and Sylvie represent society and they want the truth at the same time don’t want the truth. Do we really want to know the harsh truth of what happens behind closed doors.

11. Point out some moments in the play when the playwright conveys much to the audience without dialogue

Adding to the humor of the comedy, Feste dresses up as Sir Topaz, the curate and visits the imprisoned Malvolio with Maria and Sir Toby. There he uses his humor to abuse Malvolio who is still unaware that he is actually talking to the clown rather than to the real Sir Topaz. Feste (disguised as Sir Topaz) calls Malvolio a "lunatic" (IV.ii.23), "Satan"(IV.ii.32) and confuses him by wittingly making him a fool. Throughout the play, Malvolio has always been the person who intentionally spoils the pleasure of other people.  He is Feste's worst nightmare in the play, but in

The stage directions reveals “The Theatre.The performance is over.Lewis,tired and sweaty but pleased is talking to Justin who shakes his hand”. Following this, Justin's repetition in “marvellous. Just marvellous” proves that Lewis’ work with the mental patients was successful. His ability to gain friendships and develop a deeper understanding of the patients, suggests his growth and transformation was a success expanded as lewis’ sense of identity strengthened as he grew closer to the patients.This is further proven as roy addresses the audience “Next year, a greater triumph awaits us, Jerry.The Don!”. Roy happiness at the end of the play cements the idea of Lewis’ transformation by demonstrating how much Lewis has impacted on the patients, giving them a border outlook on life and providing them with a sense of belonging to the world.When Lewis directly addresses the audience “Yes, Roy. There was no next year. The theatre mysteriously burnt down a week after the performance….. time to turn out the lights”.Thus breaking the fourth wall the illusion of the theatre is broken down.This highlighting to the audience the directors dramatic intent of the play Cosi which was to spark a change in social attitudes towards mental illness but not only that but to come to his own terms with contextual issues and experiences of the mental illness and

Feste’s character in this scene. Feste breaks the stereotypes set for him as a fool and proves

8) If you had plotted the motion of the second hand on your watch instead of the clock that

As the play continues on into Act II it is evident to the audience how Ignacio has continued to disrupt the equilibrium of the Centre. The state of the Centre symbolically reflects on the season. It seems to be the season of autumn and just like the leaves the happy spirit that once ignited the centre has withered. The

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

Act III Scene 3 of Othello reflects the true mastery of Shakespearean plays that transcends throughout history. Shakespeare asserts sentence structure, topics and themes, reveals the scene’s purpose, and depicts the importance of Iago as a character in this scene.

Truly, the main theme in this loosely-contained chaos of a play is adopting roles and identities through outward dress. Viola hides in plain sight in Orsino’s court as the young page Cesario. Main point of paragraph: Viola is in disguise, yes. But how much of this disguise is put-on versus how much is truly her? Ok, what does that mean. The idea that you must dress up to take on a role is very prominent in this play. The most obvious example is Viola herself, as she asks the captain for (feste dressing up to become Curate Topas Sir Topas, even though he didn’t need to…

The main character in the play is about is Eddie Carbone, an Italian longshoreman in New York, with a loving wife Beatrice, and her niece Catherine. The plays trouble begins when Beatrice's cousins Rudolph and Marco come from Italy for work in Brooklyn. Alferi is the character that plays as a narrator as well as a character. Through Alferi the audience can understand the play more because he is able to talk to the audience.

Throughout William Shakespeare’s Twelfth Night, Feste exemplifies the role of a jester and fool, but thoroughly demonstrates to his audience that there is more to him than the other characters might see. Feste is often degraded by his fellow associates, and deemed inferior to others because they view him for his “lack of wits,” but very few of them realize that Feste is anything but a fool. Feste is Olivia's personal and professional fool, and is therefore given the license to kill (with words). In the first scene that Feste is introduced to the reader, he is immediately stereotyped for being the usual joker, and he even plays along with the part that others reckon him to play. In this scene, Feste wittily

Third, was thought, which was used to show the characters’ motives, either through soliloquy or direct conversation. After those came diction, song and spectacle, which were used to contribute to the unity of the play’s plot.

Upon closer inspection of his words, the reader can see Feste's honest assessment of character shine through. For example, while jeering back and forth with Malvolio, Feste states, "Sir Toby will be sworn / that I am no fox, but he will not pass his word for / twopence that you are no fool" (1.5.77-79). In this proclamation, Feste shows his perceptions of both Toby and Malvolio. He believes that Toby is not a wise man due to the fact that, although the fool is clearly intelligent, Toby does not realize just how crafty Feste truly is. However, Malvolio's self-deception is so obviously false that even one such as Toby, who cannot even realize Feste's ingenuity, can see through it. Later, while he is fooling around with Toby and Andrew, Feste laughs, "Did you ever see the / picture of "We Three"?" (2.3.16-17). This comparison between the three characters in the scene and the famous painting of "We Three," a picture portraying only two fools, therefore implying the viewer to be a third fool, shows that Feste portrays both Sir Toby and Andrew to be fools, along with himself as the third. One last illustration of Feste's whimsical messages can be found while he is speaking to Sebastian. In this instance, the fool reveals one of the play's ongoing themes by stating, "No, I do not know you, … nor your name is not Master Cesario, … Nothing that is so is so" (4.1.5-9). To Sebastian, this statement was simply a sarcastic one,

Twelfth Night is a play with a very supporting and complex cast. Each role is played differently, but ultimately, has the same goal. Of all the characters in Twelfth Night, Viola dressed as Cesario and Feste the fool are two of the most diverse characters with conflicting roles throughout the acts. The focus of both characters is to be seen by everyone else as someone they are not. The disguise of both Viola and Feste accommodates the other characters to provide support, advice and even corruptness. In various scenes, Feste can be seen as being obstruct and very talkative, and even obedient. Complementary to Feste, Viola is talkative, persuasive and especially obedient. Throughout Twelfth Night, Feste and Viola are often involved with the