TEXT RESPONSE JOURNAL- Death of a salesman‚ Cosi & The lot The Lot – Michael Leunig 1. In ‘Hello‚ welcome to our drought’‚ Leunig is trying to make clear that we should not crush our individual reality; more so we should accept and embrace in our differences. Leunig expresses this by linking a new born foal with “a spectacular birthmark” with such “freshness and beauty” to the words “artificial appearances”. Leunig discusses the truth about the regulations we must abide by to be ‘accepted’
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Lewis’ interaction with the patients forces the audience to realise that often the real world is not such a good place. The interactions between Lewis and the patients in Louis Nowra’s play Cosi‚ challenge the audience to view the real world as a difficult place. Within the context of Australian society experiencing drastic social and political changes in the 1970’s‚ Nowra contrasts the views and believes of the patients living in the asylum against the opinions of the real world. Whilst in the
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Louis Nowra’s play ‘Cosi’‚ demonstrates the bias of madness and deals with the subject of love and fidelity through the development of the protagonist‚ Lewis. Set in the era of free love and war the 1970’s‚ the use of dramatic techniques creates chaos and conflict as Lewis’s opinions of love and madness is challenged by his interactions with the patients from an asylum and through the production of a play-within-a-play “Cosi Fan Tutte”. Nowra begins ‘Cosi’ by commenting on the way society treats
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Cosi Task Preparation This is the question: Question 2 on Cosi Lewis Nowra‚ Cosi Act One‚ Scene One A burnt out theatre. It is day outside but the pitch black inside the theatre. A heavy door opens‚ a chink of daylight enters‚ as do three people: LEWIS‚ his girlfriend LUCY‚ and his friend NICK. ………………………………….. NICK: Smells like it hasn’t been used in years LUCY: Burnt wood and mould. Are you sure you know what you’re doing? LEWIS: I need the money‚ Lucy. [Nick accidentally touches
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First Paragraph In the opening scenes of the play‚ audiences encounter a naive and inexperienced Lewis who is easily influenced by the views of his university friends. We first meet Lewis and friends in a ‘pitch black’ theatre in which the darkness symbolises their narrow minded outlooks. This foreshadows that Lewis compliantly conforms to the rigid but shallow expectations and philosophies of others. Indeed‚ he mouths various left wing student political slogans in these early scenes. His preconceived
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Così Practice Essay: What does Lewis learn by directing Così Fan Tutte? In the famous playwright ‘Così’ written by Louis Nowra and published in 1992‚ Lewis Riley‚ the play’s protagonist discovers more about himself than ever before. In a setting of a ‘burnt out theatre‚’ which involves characters deemed ‘insane‚’ Lewis is portrayed as the ‘normal’ solitary and the driving force of the play. Through his journey from being an unconfident ‘director’ and idealistic on Australia’s current involvement
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COSI QUOTES LEWIS “[hesitantly] This is an unusual position for me…I directed some plays at university…and‚ well…this is my first year out.” P7 “In a way you’re sort of testing yourself by coming here?” (Julie to Lewis p32) “Make a decision Lewis between going to the moratorium meeting or staying here.” “I’m not going to let them down.” P70 “Love is not so important nowadays.” P10 “Without love the world wouldn’t mean much.” P70 “Working with these people has changed you.” (Lucy
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COSI HSC PRACTICE ESSAY Discuss how Nowra’s perspective on personal relationships is conveyed in Cosi. The play Cosi by Louis Nowra is an emotional portrayal of personal relationships in a Melbourne mental institution ostracised by society. Throughout the play Nowra’s perspective on personal relationships develops and changes through character relationships and development‚ especially the development of the main protagonist Lewis. Nowra conveys his perspective on personal relationships through
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Cosi is a semi-autobiographical play. The Lewis that audiences encounter at the end of Louis Nowra’s play Cosi is very different from the Lewis in Act One. Within the context of Australian society undergoing radical social and political changes in the 1970′s‚ Nowra also charts the radical changes in his protagonist‚ Lewis. Faced with the daunting job of directing mental patients in an opera‚ Lewis undergoes transformative personal repercussions. His world views are challenged and enriched by the
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play‚ Lewis is no longer afraid of madness. Lewis is thoroughly transformed by the patients. Nowra uses a mixture of laughter and madness‚ which is a volatile mixture. We usually see madness as dark and scary‚ so we can keep it in a corner and ignore it. When he adds humour to it‚ then we begin to be able to relate to it‚ they share similar emotions. .fear. Lewis has to face various hurdles throughout the play. He suffers from a lack of gumption at first. His major hurdle is Henry. Lewis realises
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