Introduction Chong Tze Chien's production of Starring Hitler as Jekyll & Hyde captured all the

"Hitler Youth:Growing Up in Hitler's Shadow." 2005. Studysync: Reading & Writing Companion. Sonoma, CA: BookheadEd Learning, LLC, 2015. 397-99. Print.

Recalling his devoted years to the Hitler Youth program, author Alfons Heck states “I have never once during the Hitler years thought of myself as anything but a decent, honorable young German, blessed with a glorious future” (206). This honesty conveyed by Heck elucidates the selfish ideals of those in the Hitler Youth, a theme apparent in the novel A Child of Hitler. Although Heck’s thoughts are self-conceited, they convey the opinions of those decieved by the Hitler Youth principles. As politically incorrect as these principles were, A Child of Hitler portrays them differently than other literature reporting on the subject. Through his descriptions of daily activities, Heck describes the pressure that children faced as Hitler Youth.

The success of the play is a tragedy for Max and Leo. The play was “Spring Time for Hitler;” a play that will offend “people from all races, creeds, and religions” (Brooks and Meechan 109). Max and Leo expect to offend people to the degree that the musical will be a resounding failure. The audience in the theater becomes offended in the beginning of the play, but when Hitler appears the audience gets shock because Hitler is gay. The audience change their view about the play in the moment that they associated they play with a parody. This event happened in Act two scene four and is the most critical moment in the

Soon, people around the world saw Hitler as a substantial menace as well as a vicious monster, however, people of Germany looked up to him and didn’t want to disappoint him, which made them work even harder and smarter. The terror of disappointment, loneliness, tragedy, and loss clouded their judgement. However, the most important part of this reading was the horror of what would happen if you’d get caught listening to the radio or sending something that shouldn’t be sent. All of the characters in this novel have changed for the better or worse. Fear changes people, and it significantly changed the characters in this

This paper is a critique of a production of The Last Night of Ballyhoo, a play written by Alfred Uhry, which was performed and produced by the Ball State University Theatre. Gilbert L. Bloom directed the production and was very successful with producing a truly entertaining, comedic play with an important message about the personal dilemmas that we as individuals with different beliefs and values must encounter in our daily lives.

It is not terribly odd to see directors adapt Shakespearian plays to a different era. In fact, contemporary elements in films like Baz Luhrmann’s Romeo and Juliet and the most recent Much Ado About Nothing by Joss Whedon have definitely bring valuable new readings to the text. Embracing this trend, Richard III (1995) by Richard Loncraine shifts its background to 1930s Britain. Starring Ian McKellen as Richard, the movie makes an undeniable connection to Nazi Germany; very details include costume design, set and prop, and cinematography choices all closely relate Richard to Hitler, an equivalent villain from modern history. The choice of blending Hitler into Richard puts viewers now into the shoes of audience from Shakespeare’s time to

Being stumbled and perplexed by this unexpected multiplicity of time, I had to re-read the story more than once, and each time I found new meanings. I asked myself, “Who gets to make these historical decisions and, consequently, create and recreate time and choices? Who benefits from these decisions that seem to be grounded in male-centered fantasies of the German rulers, spies, and other heroes? What is nature in this story?” The more I try to grasp the ungraspable meaning of the story itself, the more I realize that the story can not be understood in linear dimensions. I have to enter the labyrinth and journey together with Dr. Tsun’s monologues and dialogues, as well as I have to enter into the labyrinth of my sense of self. In doing so, I can develop a personal connection with this story and understand it better.

Larson, Erik. In the garden of beasts: love, terror, and an American family in Hitlers Berlin. 375 pages. New York: Crown Publishing Group, 2011.

This paper is a critique of the adaptation of David Henry Hwang's Yellow Face, a semi-autobiographical play, adapted and directed by Jeff Liu. This play was produced by the YOMYOMF Network and was performed through the video-sharing website Youtube. The plotline follows the misadventures of an Asian American playwright named David Henry Hwang, the protagonist of the play who is played by Ryan Yu. Throughout the play, Yu's character leads a protest against yellow face casting which only ends up in failure and embarrassment. Furthermore, he ends up mistakenly cast a white actor, Marcus G. Dahlman who is played by Christian Gorham, in an Asian role in his own play named Face Value. Whilst Yu's excelled in his portrayal of his role by effectively

As I have seen some performances prior to this one, my expectations are kind of not that high. As the play was prepared and performed by a team of theater students, I just expected there will be basic elements a play should have. I also did expect some extraordinary performances from the main actors because I got that every time I attended the plays on campus. LMU actors and actresses / theater-majors tended to surprise me every single time I attended their plays. I know they will eventually act for a living but the fact that they could memorize pages of script, successfully get into character and act all at the same time still baffled me very much.

A Christmas Carol is one of the most iconic play as it displays an abundance of successful components. From acting, to stage directing, scenery, costumes, and lighting, the production portrays all those significant aspects. Throughout the process of the play, the plot and acting was incredibly engaging and dramatic. As for the stage directing, all props and cues are organized and well constructed. As for the costumes, scenery, and lighting, all elements was focused on the theme of the play; this created a remarkable environment for the audience to settle on.

Farewell My Concubine follows the lives of Diouzi Deiyi and Shitou Xiaolou as they perfect performing traditional Peking opera through cultural, political, and personal upheaval. The film covers decades of modern Chinese history while taking a focus on the cultural significance of Peking opera. Several themes are explored and depicted in Farewell My Concubine. Of those regarding the Peking opera, the persistent presence and preservation of the opera despite challenging conditions and the contrast between the wide acceptance of the opera as culturally important and the subpar treatment of the performers, are concepts that stand out throughout the film.

Directed by Chen Kaige, a highly acclaimed fifth-generation Chinese film director, Farewell My Concubine has received many international film awards and nominations; among them are the Best Foreign Film and the Palme d’Or at the Cannes Film Festival in 1993. In the film, Cheng Dieyi, a Peking Opera actor playing the leading female characters, becomes obsessed with his role as the concubine of the King of Chu and blurs his stage role with the real life he leads. The circumstances in which one grows up in are critical factors in shaping his or her sense of self-identity. This paper attempts to explore the gender identity troubles that Cheng Dieyi has undergone in his self-identification and sexuality in the context of the environment of his

Dramatic arts became an essential and esteemed form of entertainment during the Song Dynasty. The Chinese theater ran the gamut of all possible kinds of play or composition. A testament to the Song’s work toward variety in entertainment “the drama made quite a feature of short farcical scenes, acrobatic turns and satirical

This production ticks every box; from staging to acting, the play is refined down to absolute fluidity. Immersing themselves in the roles completely, the actors in the Old Vic production embody Miller’s characters in ways unparalleled by other performances. Seeing the actors wholly capture the raw emotions of their complex characters brings the play to life, and with their efforts, the audience feels so deeply along with them.