Julie Clary

Julie opened her eyes. Looking around herself with misty eyes, she found herself in a ward. No one else was in the ward at that moment. The spacious ward was enveloped in quietness. Julie felt her head heavy with dizziness, as if all the strength had drained out of her body. Questions stacked in her brain: Why am I here? Why am I here? Yet her intense headache prevented her from thinking hard. Despite her listless condition, she attempted to sit up in bed, but immediately felt an excruciating

from behind the surrealistic doors. In addition, she was able to present self-portraits in many forms, all influenced by a tragic bus accident which led to a broken spine that affected her whole life. Described mostly in the film Frida directed by Julie Taymor, and the book Frida: A

William Shakespeare, in his play, The Tempest, tells the story of a fictional exiled Duke of Milan. In the original play, Shakespeare casts the duke as a man, Prospero. In a modern movie version of the play, writer and director Julie Taymor casts the duke as a woman, Prospera powerfully portrayed by the very convincing performance of Helen Mirren. The play, surprisingly, requires only a few very minor line changes to substitute a woman lead for the original male role. While the actual dialogue changes

“Frida” the movie was released in 2002 and directed by Julie Taymor. The cast included Salma Hayek as (Frida), Alfred Molina as (Diego Rivera), Ashley Judd, Antonio Banderas, Edward Norton, Mia Maestro, and Geoffrey Rush. The film is a biography of the life of Mexican artist Frida Kahlo. She is a woman who came from a very simple background. Kahlo rose to fame as an artist with an unique vision for her craft. She endured a difficult relationship with her husband/mentor Diego Rivera. Many of her paintings

is being portrayed by actors on stage because you have the ability to view who is speaking with visual cues. Comparing the written second scene in Act One of The Tempest written by William Shakespeare and the movie from 2010 which was directed by Julie Taymor there are some differences like lines being removed, lines being shifted, and overall easiness to follow. During Act One, Scene Two of the play we start out by noticing that one of the main characters, Prospero, has had a gender swap, which

In the stories, “The Most Dangerous Game”, “Liberty”, and “Harrison Bergeron” all compare among their similarities. Each story uses the setting and their conflicts to show the theme and the characteristics of each character. In these stories, they all have different conflicts and settings, but they use the conflicts and settings to relate to each other in their characters and the themes. There are similarities among the stories “The Most Dangerous Game”, “Liberty”, and “Harrison Bergeron” in the

Brendan O’Keefe Mrs. Vermillion AP Language and Composition 29 March 2017 Julie and Julia: My Year of Cooking Dangerously Summary Julie Powell, the author of her own memoir, was a distraught secretary working at a bureaucratic organization led primarily by Republicans in order to build a memorial to the terrorist attack on September 11th, 2001. To further this misery, she was told that she may be unable to have children in the future. After hearing this news, she and her husband Eric went to her

Harrison Bergeron is about the future and how equality takes a role today and how it might affect the future. The story was written by Kurt Vonnegut Jr. The story starts of where everyone is equal in the year 2081. The story is about the Bergeron family who live in the 21st century but it is in the year 2081. This is a story about the differences vs. equality and how it plays a role in the world today. It contrasts how equality plays a role today. In the story there is the Bergeron family

Kurt Vonnegut crafts the dystopian message of equality within Harrison Bergeron through the use of ironic and absurd language. Beginning in the first lines of the story, it jumps right in with, “The year was 2081, and everybody was finally equal,” (Vonnegut,34). He seems to emphasize on the irony of equality by drawing attention to the word “finally”. It’s quite peculiar or absurd how things would be if everyone was equal and that’s what Vonnegut proves in multiple points in the story such as, “Every

death has been remade into a Broadway musical acclaimed all over the world. Seen by over twenty five million people in over 15 thousand performances this intricately designed wonder has taken over 37 thousand hours just to build the puppets and masks. Julie Taymor the director and costume designer was faced with a problem of whether to create humans or animals playing the part and she decided to make masks that show the animal face, as well as, show the human face giving the character his or her personality