In the theater version of Cyrano de Bergerac, Director Robert Kelley faced several problems in thoughtfully expressing the theme of the play. Because the play involves a love triangle around three characters with different quality of appearance, one theme can be that appearance prevents one from realizing the true identity of a person. In a small theater, the director had to devise an efficient plan that successfully conveyed the theme with limited space and a few actors. The director also had to modify some scenes in order to fit the whole play in a short amount of time. Despite some miscasts in the actors, the director managed to emanate the meaning of the play through appropriate stage props and script.…
Charlie Kelmeckis, is an introverted and intellectually gifted teenager who is just starting his freshman year of highschool all alone. Then two seniors, Sam and Patrick, help him learn how to participate in life instead of watching others live it for him. He quickly is given the gift of true friendship, love, music and so much more, while a young english teacher and aspiring playwright helps him develop his skills as a writer. Though as all things that come up must go down, as his new friends start preparing for college, the problems he had buried all along threaten to shatter his newfound love for life.…
In the beginning of scene V Roxane come up Christian to talk to him. Christian was nervous and didn't know what to say but I love you over and over. I like this part because Christian did not know what to say to her like Cyrano do of how he express his love in sentence and in the delightful ways like Roxane would had thought like as in the letter's. Then later on in the scene Christian had know that he had made a mistake of what he said to Roxane and that she wasn't very happy about it. So when Cyrano had heard what happen from Christian he had to came up with a plan.…
He has visited 48 out of 50 states. He hasn’t visited Alaska or Hawaii. He’s on his way to getting into the All Fifty Club.…
The Department of Justice uses two types of programs to measure crime in the United States. The two types of programs are the Uniform Crime Reporting Program (URC) and National Crime Victimization Survey (NCVS). Which both have valuable details about the crime problems that are going on in the world.Since both programs are used to do different things and methods, both do focus on different crimes and there aspect. The data that they produce together is used for comprehensive crime problems that are going on in the world.…
I am Tybalt, a Capulet and cousin of Juliet. I am known as short-tempered, impulsive, and a vengeful person, I draw my sword anytime I can. However I am loyal beyond words and honour the family rivalry between the Capulets and the Montagues with great heart. I will never betray the Capulets. On the day of Capulets’ party Romeo showed up. I recognised Romeo through his disguise at the Capulets’ ball. I can’t remember that we invited him to our party. Why is Romeo here? What is his intention of showing up at my Uncle Capulet’s ball? He is a Montague and I loathe all the Montague because they are our enemy. He is not allowed to come to our party. I would have killed him or make him leave the ball immediately if not forbidden by my uncle. He stopped me because he didn’t want to make a scene at the party. I could have choose to disobey my uncle but if I do that he will be mad at me so I have no choice but listened to my uncle. However I won’t let him live so easily I will make his life miserable. I will take revenge on him next time I meet him. Therefore I have a plan, I will fight Romeo at the city centre but I will be banished if I start a fight with him. In that case I will provoke Romeo at the city centre of Verona so he will start a fight with me. When the prince found out that Romeo starts a fight with me he will banish Romeo from Verona forever instead of me. I sent a challenge letter to Romeo for a duel to the death and vowed to meet him later on. I didn’t know if Romeo will show up but I went off to look for him after the masked ball. Instead of finding Romeo I found his friends, Benvolio and Mercutio. After Romeo arrived, I confronted him to fight with me, but he refused. But his friend Mercutio winded me up after that so I started a fight with him. Romeo tries to stop us, but I stab Mercutio. I ran away after I stabbed Mercutio but I still have my sight set on killing…
There is a link between what individuals learn and how they conduct themselves. Plato and Tolstoy; although they are thousands of years apart both had the notion that art is able to corrupt minds, but the question at hand is whether or not their theory is still relevant. Pop culture seems to have corrupted the minds of individuals today because it makes its audience feel that engaging in deviant behavior is morally acceptable. Being that the artists convey their visions through their work, and the vehicle that they use to express themselves is through pop culture, their intent can be overshadowed by their desire to appeal to the masses. In James Harold’s article,”A Moral Never-Never Land:Identify with Tony Soprano”, he analyzes Plato’s and Tolstoy’s concerns about the morality of art through the observations of the character Tony Soprano. Although Tony Soprano is a notorious gangster, he is accepted despite his villainous…
The feelings of alienation continue. He does not experience a connection with this representation of the past – the exhibit to him is a collection of words that are used to label items as shown in the accumulation of, “Hay knife, draining plough, /shoulder yoke, box iron”. He looks “at words” rather than the real objects themselves, suggesting his alienation from the material world. “Heritage” implies a rich past that has been passed on to him but he rejects it as it, “isn’t mine”.…
The subject of artist-patron relations has been a touchy one since the beginning of the phenomenon. Nowadays it does not take such great precedence, as the artist leans more toward a personal, individual type of art typical of freelance. Serious commissions exist only in public art and architecture, where the needs and feelings of a large group are considered. Artist and patron must work out a compromise as to what is acceptable and also respects the aims of the artist. The patron in this case generally has the last word, as demonstrated by Richard Serra's "Tilted Arc" controversy in the mid-80s where the artist's piece was actually removed from its site because of public objection. However, nowadays the artist is insured against such damages, which was not the case in the beginning of the Renaissance, when artists were just starting to make a name for themselves. At this time, artists still depended greatly on patronage for a living and fought to distinguish themselves from the guild system. They still succumbed to religious guidelines and subject matter which generally limited their exploration of more personal means of expression, but with the rise of secular art collectors such as the Medici, we see a more modern artist-patron relationship emerging. By so distinguishing themselves in their field, patrons gave them certain leeway in commissions. Patrons and artists worked together, the patron outlining material, size, and general subject matter, but leaving aesthetic decisions concerning composition up to the best judgment of the artist--- the master--- himself.…
Physician-assisted suicide is the act of a physician prescribing a drug to a patient which the patient is able to take on his or her own without the assistance of a medical provider or another person. This drug generally results in unconsciousness within five minutes and death within thirty minutes. Physician-assisted suicide became legal in the state of Oregon on October 27, 1997. From the date of legalization through December 31, 2000, there have been seventy reported cases of people utilizing the law to end their lives. The debate over physician-assisted suicide has never been a simple one. In 48 states the practice remains illegal and the issue has only grown more complicated in recent years. Since 1992 the legalization of this practice…
Bibliography: Blackburn, and Morris Risenhoover. Artists as Professors. 01st ed. Vol. 01. Chicago: University of Illinois P, 1976. 50-58.…
For many years, and even today, we have depended on the writing of art critics such as Clement Greenberg, Harold Rosenberg, and Rosalind Krauss, to name a few, to teach us about art. Their writing has been so influential in the history of art that we have forgotten that they are opinion writers and not of fact; we have many times taken their opinions too literal, taken specifics for granted, when in reality we should be questioning their reflections. They have manipulated our opinion, reactions, and even likeness of art. They defined who the great artists are and through their judgments they have even decided the value of art. But unfortunately for them, post-modern art has dethroned critics with the use of humor, wit, and scale of impact in their art.…
The outrageous provocations of the Dada movement have prompted many to define Dada as "anti-art"—a term that the Dadaists themselves used. Dada shock tactics, however, were meant less as a wholesale disavowal of art than as a turning away from conventional understandings of art as illusionistic or transcendental. Art, the Dadaists believed, should not be an escape from daily events, but rather it should make visible the violence, chaos, and hypocrisies of contemporary life. As the Dadaist Hugo Ball wrote, "For us, art is not an end in itself . . . but it is an opportunity for the true perception and criticism of the times we live in." Beneath the humor and absurdities of Dadaism lies a serious moral underpinning. (Dada cites) (http://www.nga.gov/exhibitions/2006/dada/cities/zurich.shtm)…
They're lying! Why would I poison them? Where would I even... That's not mine.…
Though Sontag speaks and disagrees with the form of interpretation of art that can be invoked as a stereotype for art critics/interpreters in the modern world today, Aristotle's representational view of art battles that notion and challenges the view of, whether imitational art is a art form in itself, or just simply the product of the egos that critics possess in hopes of polishing their appearances as an connoisseur of finding the latent contents in artworks.…