Three Sisters Reflection

On February 18, 2017, I attended a play production at the Bean Brown Theatre located at Shelton State Community College. The name of the production was The Real Queen of Hearts Ain’t Even Pretty. As a spectator of the play, with no foreknown knowledge of its content, I enjoyed the play. It had many comedic components.

My favorite character was the ballet teacher. The actress made great use of the stage and her props. I loved the way she swayed in her fur lined silk robe and how she used her faux cigarette. It really conveyed the life story of the character and made her stand out. It gives her an aura of strength but also a certain feeling of tragedy — as if she had always wanted to become a star. Her beat changes were very distinct throughout the play. Each line was

At first glance, Kate Chopin’s “The Story of an Hour,” Susan Glaspell’s Trifles, and Henrik Isben’s A Doll House seem to have nothing in common. However, the short story and plays have many similarities. Particularly, five women from these tales— Louise Mallard, Minnie Wright, Mrs. Peters, Mrs. Hale, and Nora Helmer—make drastic decisions that appear to be motiveless. Without context, any reader could be confused by Louise’s death, Nora’s departure, and Mrs. Peters and Mrs. Hale’s unanimous effort to cover up the murder that Minnie Wright committed, which also seems to lack serious motive. However, all of these women’s settings, situations, and lives have connections that make their motives similar. Emotion motivates all five women—not just

Though language each character tried to define life and their struggle in hope of controlling it. In one scene, Masha in her drunken state unmasks her true emotions and declares her love for Konstantin, upon rejection she proclaims the meaninglessness of life without love and how in the end the only result of it is misery. Her pretence of having a callous exterior was to masks the underling pain that she is unable to deal with. Dim lighting accentuated the foreboding mood of misery and her off centre positioning on stage underpinned the neglect of sympathy she was receiving from other characters, most importantly Konstantin, due to the seemingly “unimportance” of her character. At the pinnacle of emotional pretence, Irina as a character constantly maintains a façade of extravagance. Upon returning to the lake, she vociferates the “perfection” of her life and career, but moments’ later runs off stage and sobs in despair. The use of split staging depicts Irina’s battling emotions and her fear of showing emotional sincerity least it enhances her vulnerability. Throughout the play the seagull is a recurring motif and appears in peaks of tension in the play. In this case it reinforces the theme of the existentialism revealing the characters denial of their misery and unwillingness to change their

Andy Fickman directs a hilarious rendition of 12th Night, one of my many comedies, in his film, “She’s the Man”. The teen flick lacks darkness, wisdom, and a prank, however, its attention to detail, similar plot structure, and similar characters resemble essences of 12th Night. The three main differences do not detract from the film, for my play loosely inspired “She’s the Man”. There are many nods to my life and 12th Night, nevertheless, some are more difficult to find than others. Noticing the connections between the two pieces excites me. It is rewarding to see interpretations of your work, especially popular ones like “She’s the Man”, for imitation is the sincerest form of flattery. Thus, I appreciate that my story affected Fickman and inspire him to rejuvenate my story by adding modern twists. “She’s the Man” remakes 12th Night fantastically because of differences in the main characters, Viola and Duke, characterization of supporting roles,

The plot of both Susan Glaspell’s “Trifles” and Henrik Ibsen’s “A Doll House” provides scope for a few scenes that lack the presence of all or any men. These scenes, consisting of communication between the female characters, assist in developing the theme of women openly defying the fact that the society they live in is primarily run by men. All the power and authority in their society, no matter the situation, belongs to the men while the women are simply excluded. The women in these plays defy the norms set by society and manage to evade the expectations of their patriarchal societies.

During the play Steel Magnolias, Robert Harling shows a portrait of women from the fictional town of Chinquapin that portrays the common, familiar, and nostalgic environment of a small town beauty salon during the 1980s. Encompassing not only the extensive range of female friendship, the play also covers the safe spaces for women and how men and women relate. Harling covers loss, love, strength, and family throughout this work that is so unextraordinary yet amazing at the same time, fully highlighting human strength that often goes unnoticed. By showing how women simply interact with each other on an everyday basis, the audience is able to fully recognize the strength of character that permeates all people in small ways. A gripping tale of dedication and unconditional love, Steel Magnolias remains a poignant work that is still valid today.

My favorite character in the play was Scout, played by Gwendolyn Timbrell, she achieved superb memorization of her lines, facial expression, and staying in character. The only character that stuck out to me was Teresa Smallwood who play Jean Louise. The night that I watched the performance she messed up multiple times, jumbling her words, but other than that I thought she did a respectable job narrating. I was thoroughly impressed by how well all of the children in the play did, However, I think they drew away attention from the other characters in the

The main issue that this play revolved around was the struggles of women trying to balance the ambitions of their lives, in this case science and then the societal pressures of being a woman as well. The play focuses on the lives of three women living in different time periods but encountering similar problems. The first

Contemporary realism can be defined as a straightforward realistic approach of representation. This play does exactly that. This play takes place during a civil war, and Nottage gives realistic examples of what it was like to live as a female during that time. To understand why the characters act they way they do, you have to see what shaped them into the person they are. In contemporary realism, the characters are all products of their society. The leading female characters in this play are Mama Nadi, Sophie, Salima, and Josephine. Before the war, all four of these women had happy lives filled with content, but in the heat of the war all of them were stripped of something they treasured. For example, Salima’s baby was murdered, and Josephine was taken away from her family who were the head of their tribe. The way these characters acted during the play was completely affected by their past. Another characteristic of realism is the belief that experiences are conditioned by society, and no one is truly free until they understand what is holding them back.

To begin with, in this play the author unfolds family conflicts that involve its characters into a series of events that affected their lives and pushed them to unexpected ways.

She only played three characters (Annabella Schmidt, Pamela and Margaret) and not all of them were on stage for that long. Her first role was killed off rather quickly, the next appeared briefly but then returned during the second act, and the third only progress to a certain point before leaving. While these three characters were distinct, made so by their different costumes and accents, it actually wasn’t that easy. When Pamela returned later in the play, it took me a good while to clue in that we had seen her before. There was nothing instantly grabbing about that one role that made me instantly recognise her so I thought it was simply a new character. Unlike Annabella or Margaret, Pamela didn’t have a noticeable German or Scottish accent and wasn’t as melodramatic in her actions. In fact, Pamela had so little impact on me that I completely forgot her

In the short story “Trifles”, the themes of isolation of the characters, gender differences, and character conflicts affect the actions of the characters in the play.

Since its first performance in 1916, Susan Glaspell’s “Trifles” still stands today as a testament to feminism. A play that conveyed

The Giver is a morally driven and thought-provoking story about a young boy called Jonas who lives in a society free of crime, sadness, pain, death, music, color and love. The story follows Jonas as he receives the memories of the past, good and bad, from the current Receiver, who is called the Giver. The Giver transfers memories by placing his hands on Jonas 's forearms. The first memory he receives is of a thrilling sled ride, which he will remake in the end of the movie. Jonas discovers the dangerous truths of his community 's secret past. Armed with the power of knowledge, which he knew about from memories (Ways of Knowledge), Jonas realizes that he must release all the memories to the community to allow them to feel