Judgment of Paris

Beginning in the mid-1980’s, a number of efforts were initiated to bring awareness and enlightenment to the actual tragedy of AIDS. Two films that evolved out of these awareness campaigns were the documentaries “Paris Is Burning” and “How to Survive a Plague” . Both films, although in significantly diverse ways, provide a window into the alternative lifestyles of LGBT people of the times and the problems and issues they faced. A comparison of these two documentaries demonstrates the initial fears of the public and affected people and the beginnings of acceptance or at least tolerance of these alternative lifestyles.

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

We recently watched the film Paris is Burning, a documentary about black drag queens in Harlem and their culture surrounding balls. Directly related we also read two feminist critiques, Gender is Burning: Questions of Appropriation and Subversion by Judith Butler and Is Paris Burning by bell hooks. Two areas of critique I focus on and question are the critiques regarding the filmmaker, audience and drag queens and how they participate to reinforce a heterosexual racist patriarchy. Furthermore I ask if this line of investigation is the most beneficial way to view and understand the film and its various participants.

Another strong philosophy that LeCoq had was that the actors body was a crucial part of creating dramatic meaning in the theatre- more important than dialogue, He believed it gave the actors a more diversified and a more genuine ability to truly ‘Play’ and explore that which they were performing. Jacques LeCoq had a background in philosophy so he knew the interests of society were expressing our bodies by doing a number of things, such as- Dressing them, decorating them, modifying the shape of them, showing them off and for some people, hiding them. This is where LeCoq found and established his philosophy; that because human beings have such an obsession over their body such as, dieting, physical appearance, age and beauty. His goal was to show these things in the theatre. Jacques LeCoq was a very extravagant and imaginative practitioner, he was renown for this quote- “Be quiet, play and theatre is born.” Play was one of the most important part of his philosophy. LeCoq had a background in physiotherapy, which could of quite possibly sparked his interest in the body, His philosophy focused more on the movement of the body than the actual written script

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

In “The Other Paris,” two characters, Carol and Howard Mitchell are soon-to-be married young adults whose actions are completely influenced by the norms of society. The author, Mavis Gallant, provides clear social commentary on the societal influences on marriage through satirical uses of irony and mockery, the use of a omniscient narrator, and substantial characterization of the relationship between the couple to show the reader how ridiculous and formulaic the “pillars of marriage” can be, and how society ultimately determines which aspects of these pillars receive emphasis.

Humiliation, Pain and Death: The Execution of Criminals in New France,” is an article that puts

"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

In the chapter, “The body of the Condemned,” Foucault addresses the evolution of the punishment system and how it has gone from being a public spectacle to something that is done behind closed doors. Foucault opens the chapter with an extremely descriptive and gory representation of a public execution. The purpose of this was to display how execution have changed from being in the public eye to behind closed doors using the electric chair and legal injections. It was done in this fashion to deter individuals from committing heinous crimes. Today, the cost of prison time, fines, etc.. deter individuals instead. Punishment has become less about effecting the body and more about the changing the souls and integrating them back into society.

The environment in which people live in demonstrates the societal norms and values of said culture. In Émile Zola’s The Belly of Paris, Florent, a political outcast, returns to Paris only to find that the regime has drastically changed. Napoleon III, a self-elected emperor, has torn down many of the streets of Old Paris to make room for the angular and orderly streets of New Paris as well as the new markets of Les Halles. Throughout the novel, the character’s lives revolve around the various markets in Les Halles and the streets of Paris. Zola uses descriptions of architecture and city planning as well as how people use space within Paris to demonstrate the city’s corruption, signifying that the architecture of a city is a reflection of

Meursault was introduced as a young man whom recently found out his mother, Maman, died. He was not the most emotional person, but he dealt with his feelings the best he knew how. Meursault lived his life on the verge of truth and honesty. He was honest within every aspect of life, from women to freedom. He was never certain about anything in life ,but one thing he was sure of, death was inevitable. After murdering an Arab, he was on trial in front of many people being interrogated with many questions about why he did what he did, but also to evaluate his psyche about the situation. Unlike others, Meursault did not hide from the truth and that is what others could not cope with. Living his life the way others were afraid to, Meursault was the outcast in his society.

Paris is a noble man who asks Lord Capulet his daughter’s hand. He represents a sort of competition for Romeo. He seems quite reasonable, young and quite wise. He is described by lady Montague as a very handsome man (“examine every married lineament , / and see how one other lends content”. The nurse also admits his beauty “Nay, he’s a flower – in faith, a very flower! ” Act 1 Scene 3)

This easy-going, pleasant hedonism is interrupted permanently by Meursault's murder of the Arab on the beach. Not only is he incarcerated, but also he must examine the reality behind the illusion of his trial and, ultimately, of his life. Introspection has not been his metier. It takes him a while to realize that the judge, the jury, the journalists, even his own lawyer, do not wish him well. Meursault finally realizes that he is going to be convicted, not because he killed an Arab but because he did not mourn his mother's death.

talks of actors on the stage and says ‘Had he the motive and the cue