The House On Mango Street Act 1 Scene 1 Analysis

Growing up on Mango Street, girls had to take two steps backward to take one forward. Just like ballroom dancing, women let men take the lead and sacrifice an extra step to continue moving on the floor. When Sally escaped from her father and married the marshmallow salesman, she had to give up her youth and femininity.

On the night of the show, one is filled with anticipation of seeing the play laced with a hint of ambiguity because of not knowing just what to expect. Getting dressed and arriving at the theatre brings about more enthusiasm; once the mixture of people with different cultures and expectations is seated in the theatre one experience an ardor of emotions. The interaction with the crowd sounds of low chatter and sight of the person's attire add to the excitement of being in a place that can make the magic happen.

Judgement is a very frequent occurrence in today’s world. It usually isn’t an encouraging judgement though. Throughout the book, The House on Mango Street, the message of judgement of others being cruel is revealed. This isn’t just in Esperanza, the main character, but everyone in the book. It is important that everyone in the book progresses and matures as a person because, it causes everyone to become more together. This all proves the claim of, The House on Mango Street portrays an aspect of maturity by showing that what people imagine about others is often not how they truly act and are as a person, how they grow as a person, and what they strive to become.

“Born Bad” is the vignette I chose to address from The House on Mango Street. I didn’t find it to be significant at first because of the style of writing the author uses. I’ve not read any books using little vignettes as chapters. This style of writing makes me feel like I am reading about situations that seem random and disconnected. Esperanza was born on the evil day, what does this really have to do with her being a woman and not fitting in on Mango Street? Lucy, Rachel, and Esperanza made fun of Aunt Lupe the day she died, a sad event but what does that have do with her being a foreigner on Mango Street?

The Novel, The House on Mango Street, was based on the writer Sandra Cisneros. She was writing this when she was living in Chicago. She was like Esperanza. She want though poverty. She has been heartbroken and deeply joyous. She inventing for herself who and what she will become. This is the life of Esperanza Cordero and based on Sandra Cisneros to all women out there.

Everyone who matures has a family and that family shapes that person into who they come to be. The main character, Esperanza from The House on Mango Street by Sandra Cisneros, is an excellent example of that; Esperanza is an insecure young Latina girl who is shaped by her family as she grows up. In the novel, Esperanza has the perspective of life from the experience of living in poverty. Esperanza dreams of a perfect home with amazing flowers and enough rooms that everyone in her family would each have one. However, she moves to the house on Mango Street, and reality is so different from what she has dreamt of. She receives a tiny run-down house with bricks that are broken down in numerous places around the house. Throughout the

1) Tita was born to serve her Mama Elena until her death, in which affected her deeply. These emotions of hatred for such stupid tradition made her life worst ever since he met Pedro. After the death of Mama Elena, Tita began to realize that hers and her family's value and honor wasn't what people thought, but more as a mess. She strongly opposed the tradition idea that Rosaura had in mind for Esperanza, she said,"There's one thing for sure, I'm not going to allow you to poison your daughter with those sick ideas you have in your head. I'm not going to let you ruin her life either, forcing her to follow some stupid tradition,"(pg 215). She doesn't want Esperanza to suffer the same misery that she felt.

The play was showed in a black box theatre, where the spaces are easily built and maintained, and are usually home to plays or other performances with very basic technical arrangements, such as limited set construction. For the play “Blood Wedding”, the black box gave it sufficient space and room to make itself best, because the space of the stage is versatile and easy to change. And there were some design challenges in the play. In costumes, the play arranged no masks for the main characters, through which the play emphasized the characters so that the audience can follow the emotion of the characters very well, and can understand the the story theme better. When the climax of the plot came, the light of the stage became red, the color of

In The House on Mango Street, the vignette “The Family of Little Feet” first seems like a random story, and is often disregarded, overlooked, and labeled “insignificant” because the story is oriented around three pairs of high-heeled shoes that arealmost immediately thrown away. As a result, seems like an arbitrary story that isn’t connected with the other vignettes. However, after careful reading, the story is relevant to the story since the shoes are a symbol that helps us further understand the characters and develops a theme.

Cisneros presents the loneliness that Rafaela feels because of her husband’s continuous imprisonment of her. Rafael’s beauty is used as an excuse in order to avoid the truth, male dominance in a woman’s home. Esperanza explains that, "Rafaela who is still young gets locked indoors because her husband is afraid Rafaela will run away since she is too beautiful to look at." (79). Thanks to these women, Esperanza is able to avoid problems that come with a marriage. She is young and does not want to "look out the window her whole life, the way so many women sit their sadness on an elbow" (11). Unlike most of the women in the book her escape is no longer the window. "But that night he comes back and sends a big rock through the window"(85), shattering her glass hopes [???] and making her turn to poetry as an escape. "Minerva is only a little bit older than me but already she has too kids and a husband who left." (83) She is a perfect example of a woman who is subjected to the consequence of suffering because of marriage She "writes… on little pieces of paper that she holds in her hand for a long time" (84). Like unhappily married women, she always takes him back even after the incessant beatings. "She has many troubles, but the big one is her husband who left her and keeps on

In chapter nine, we get to witness yet another of Francisco’s relocations, this time to Fresno, to a strawberry farm. We also get to see Francisco go to school again, this time in the sixth grade, and make a new friend. This new friend is none other than his teacher, Mr. Lema, and he helps him improve his English, whilst also agreeing to teach him how to play the trumpet. Francisco’s hopes to learn the trumpet are quickly shattered when he goes home to see all of his belongings packed into cardboard boxes.

Self-realization is a part of growing up. “The House on Mango Street” by Sandra Cisneros consists of a girl creating journal/letter entries, which are the chapters in the book. As a reader, understanding Esperanza, the main character, comes from understanding how she handles life situations in each story. As a younger Hispanic female, Esperanza grows up in poverty, slowly realizing who she is as a person. While Esperanza gets older, her writing style changes; it goes from innocent to becoming numb to disturbances she encounters.

Everyone has challenges in their life, their feelings behind their actions make them who they are. In the novel The House on Mango Street by Sandra Cisneros there are many conflicts which explore the characters, to get to know them closer. The internal conflict is used to discover the identity of the main character, Esperanza.

As I sat down, the music before the play started was upbeat Spanish music that made me feel like I wanted to dance. It set the mood that this must involve someone that is Spanish or is set in a Spanish area. The lighting during this point was not too bright but not too dark either, the lighting was just enough for the audience to see the stage. As the last bits of people started settling in their seats, two young women, both dressed professionally, walked towards the center of the stage and stated that we must turn off our cell phones and refrain from extending our arms near the stage during the play. Apparently, the reason for this warning was because there are parts of the play where people walk up and down the extended pieces of the stage. This caused my mouth to go slack, this meant that the audience is able to be near the actors and are able to get a closer look at the scene that is playing at the time. The young ladies

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.