When Nietzsche Wept

Stage directions are used during the play to reveal even more of the personality of each of the characters. The extremely-confident personality of Nick is made clear in the first scene, when Nick, Lucy and Lewis first enter the darkened theatre, and Nick starts to toy with Lucy in the dark, pretending to be a ghost. Stage directions can also be used to reveal the feelings of characters. When Lucy and Nick leave, and Lewis is left with Roy, you can tell just by watching the way Lewis holds his body, and moves about the stage, he feels betrayed by Lucy, and by Nick.

Our play uses variety of styles, mainly Brecht’s epic theatre as our play depicts political message. Our play is structured as montage as it shows different stages of George’s life in a non-chronological order, we effectively did this

Priestley sets out a sequence of stage directions at the beginning of the play, he applies them successfully as a dramatic device. He uses the stage directions to show the audience that the Birling family are cold and distant, and how supposedly capitalism has affected their lives. Highlighting he gap between

When I read about Breuer in the book, When Nietzsche Wept I was completely drawn into the story. Breuer is a middle-aged Jewish doctor who is a well-known physician, but very passionate when it comes to his profession. While reading about Breuer it was interesting looking at his character’s id, ego, and superego from a Freudian perspective. First off I will start with his id, from the very beginning of the book Breuer mentions a woman named Bertha also known as Anna O. Throughout the entire story Breuer suffers from the fantasies that he has of Bertha. The id engages in primary thinking, which is primitive, illogical, irrational and fantasy oriented. Breuer becomes obsessed with these fantasies of Bertha to the point where he says, “This obsession

“Fifty-four years ago to the day, a young Jewish boy from a small town in the Carpathian Mountains woke up, not far from Goethe's beloved Weimar, in a place of eternal infamy called Buchenwald. He was finally free, but there was no joy in his heart. He thought there never would be again.”

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

"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 his second essay of the Geneaology of Morals, Nietzsche attempts to identify and explain the origin of the conscience. He does not adopt the view of the conscience that is accepted by the “English Psychologists”, such as Bentham, J. Mill, J.S. Mill and Hume, as the result of an innate moral feeling. Rather, it is his belief that the moral content of our conscience is formed during childhood under the influence of society. Nietzsche defines the conscience as an introspective phenomenon brought about by a feeling of responsibility, in which one analyzes their own morality due to the internalization of the values of society. This definition holds the position that the conscience is not something innate to

Stella Adler, famous actress and acting teacher once stated that “the theatre was created to tell people the truth about life and the social situation.” Woyzeck by Georg Büchner is a play that perfectly represents Adler’s view on theatre. The plot of the play revolves around a troubled lower class man named Woyzeck, who ultimately murders his lover, Marie. But it is not merely the plot that makes this play align with Adler’s view, rather, it is the naturalistic style of the Woyzeck. Naturalistic theatre examines the human psyche and how one is influenced by nature and nurture. Through Büchner’s use of plot structure and thought, Woyzeck will be directed in a manner that makes the audience realize that human behavior is not simply a byproduct of nature versus nurture, that there is indeed a third option: self-will.

Overall, the message shared from the production of Bus Stop set the transformation of characters against reality. Directed by David Schweizer and written by the playwright, William Inge, this production really hits home on how people are and end up after change and transformation. The elements of the production really help enhance the actor’s performances and move the play along together as a

Our intentions for this piece are to raise the issues of underage sex, and how it can affect you, but also your family and people around you. Also to give over the point that social view has changed swiftly over time. Our aim is not for the audience to be drawn in to the plot of the play, but to make them think and what affect is given off and how the consequences of different acts and attitudes towards the subject of the play, and make them take a step back, and realise the harsh reality that has happened in the play, and why this occurred, due to the irrespective view of the time period. Our target audience would be any generation. This was so that people could see other views on the plays situation as well as their own beliefs and think about it. Due to this, this meant that we had to find the right scenes to perform so that we could get across the situation and beliefs that the play required us to. This was a confusing and challenging process, as there are many scenes relevant to the intentions of the play, but i believe we persevered, and choose the right scenes to do so.

The drama of this play includes several elements such as plot, characters, dialogue, stage setting, and theme. The author seemed to manage it all in this masterpiece. The main focus in this essay will be on the stage setting, character and plot. The stage

Later the mother walks between the spaces in those two line to the bride and as she passes each character, they starts facing the bride as if to give more attention to what’s about to happen.The mother looks at the bride and then she spits at her and the light goes off and the act I starts. I think this is very interesting because this gives us the foreshadow of what’s about to happen in the play. Her action which was spitting on the bride showed very strong hate and disgrace towards the bride which I think is very stronger than just slapping her. In this play, the style of the stage that was the black box stage. I think this style of the stage was very helpful as it didn’t block the view of the actors as the thrust stage did which was used in the crucible. I was able to see the actors clearly without their back facing towards me. The role of a wife was played by Drew Beaubian. What I really liked about her character is that she is very innocent and unaware of her husband love for another woman who turns out be her cousin. She worries about her family. I was expecting there to be a lot of crying once the mother and wife finds out about the death the bridegroom and Leonard but to my surprise neither of them cried in the play which was pretty odd to me knowing the son was very dear to the mother. Ana Rivera played as a

The Life and Works of Bertolt Brecht In this essay I will consider the life and works of Bertolt Brecht, the famous theatre practitioner who has had such a dramatic impact on our understanding of the theatre and acting. First of all I will give a biography of Brecht because it is important to know the background of his life in order to understand the motives he had for writing and producing plays in the way he did. We will see a direct correlation between events in his life and the plays and techniques that he propagated. I will then move to explore the methods and techniques that Brecht developed, looking at how they came about and who influenced his work.

Stage directions are used as way of allowing playwrights to give direction as to what is supposed to be happening on the stage, and is used to enhance the audience’s experience and involvement in the play. Stage direction is used to great effect by both Arthur Miller and Brian Friel in their plays. In A View From the Bridge, Arthur Miller’s stage directions are very intricate, and detailed to the point of sounding strange at times, “After a moment of watching her face Eddie breaks into a smile, but it almost seems that tears will form in his eyes”. Brian Friel’s stage directions are very similar, as they too involve a considerable