Mother courage and her children Essays

Mother courage and her children Essays Mother courage and her children Paper Mother courage and her children Paper Even more than most of Bertolt Brecht’s plays, â€Å"Mother Courage and Her Children† has irony at its centre. Its central events are heartrending: a mother loses all three of her children, and her own chances for a decent life, in violent and even sadistic ways, and continues staggering onward, surviving by her wits and her sheer will. And yet, Brecht wanted his plays to be performed in such a way that the audience would not be seduced into caring for or identifying with the characters. He wrote them so that in their very structure, they would continually remind the audience that they were just actors and that the integral part of the production is not the story, but the meaning behind it. With their rush of disconnected scenes, often framed by explicit narration, cynical violence, cruelty and suffering, Brecht’s plays tend to be the sort of challenge that any director relishes. In the essay, I should like to attempt to convey how I would prepare and direct actors for the last two scenes of â€Å"Mother Courage†. It is often understood that Brecht did not want his actors to embody and express emotions in the way that, for instance, Stanislavski would have typically ask them to. He preferred us to understand the complex realism behind a line like â€Å"Whenever there are great virtues, its a sign somethings wrong. † This poses choices: when Mother Courage has to cradle her dead daughter in her lap, she can either express her agony or she can bear it with stoicism and perhaps humour. I would choose the latter, because from a Brechtian point of view, rather than Mother Courage being an audacious character who earns the audience’s respect, it would portray that she cares more about her business and exploitation of war than her own children surely not an appropriate mindset of a mother. To prepare my actors for this challenge, I would make sure that they had all considered their â€Å"GEST†. This means that they should be prepared to express their characters’ emotion and social attitudes in a clear, stylised way. They should do this by practicing things such as their body language and their gestures. I would want my actors to demonstrate their character rather than trying to make them naturalistic. To do this, they should act as witnesses to the story rather than participants. I would tell my actors to exaggerate their parts so that if someone took a photograph at any time during the scenes, they would be able to tell what the message is that should be coming across. During these last two scenes, I would want the stage crew to be seen on stage occasionally punctuating the action with various percussion instruments, chorally announcing scenes or what is about to happen (and dying as they do so to set the scene as the aftermath of war). I think that this would attempt to break the illusion of a â€Å"fourth wall†. This means that straight away, the audience would be reminded that it is just a play, and they are just actors. I would make sure that the Lieutenant’s character is played robotically. The actor should do this by mindlessly marching onto the stage and speaking in a very monotone voice throughout, even when there is true action going on around him. I believe that this would convey that the Lieutenant has been robbed of his passion and soul because of war. He is no longer a real person just a clone, a pawn in a play about the corrupt effects of war. The three soldiers that are following him should drunkenly stagger onto the stage, pushing each other over and laughing with one another. They should now and again mimic the Lieutenant’s walk and act sarcastically towards him. This idea is to portray that the soldiers have no respect for their superiors. When the soldiers knock at the farmhouse door and the old peasant woman enters the stage, one of the soldiers should clap his hand over her mouth so to stop her screaming. The remaining soldiers should jeer at the sight of the feeble woman squirming with fear. A soldier should then throw the old peasant and his son onto the stage with aggression. A spotlight should appear at Kattrin crouching in the wagon, and as the Lieutenant says, â€Å"There’s one,† a soldier should pull her out and push her onto the stage floor. The peasants should alternate their lines with panicked expressions eyebrows raised, arms flailing, and they should speak very quickly so to convey their alarm at the goings on. This should make it very obvious to the audience what is happening and the messages behind the plot. As the frightened young peasant blurts the fact that he â€Å"don’t know any path†, the soldiers should mock him, repeating what he says in high pitched voices and mimicking his pained expression and as the second soldier bargains with the young boy, it should be evident to the audience that the actors are joking with him cruelly by the fact that the soldiers are grinning to one another. The levels in this scene, with the boy lower down and the soldiers walking around confidently with their shoulders pushed back and their wide strides should illustrate the status between the poor innocent child and the corrupt â€Å"heroes of war†. The Lieutenant and the three soldiers should continue acting their parts in arrogant, stylised ways, whilst the peasants try to bargain and finally give in. When the soldiers leave the stage, led by the terrified young peasant, the three remaining peasants should try to justify the fact that they are not helping the rest of the village. I think that to make this evident to the audience, the actors should say their lines very calmly and thoughtfully: â€Å"There’s nothing we can do, is there? † // â€Å"Nothing. † // â€Å"No, there’s nothing we can do. † The peasant woman should then force the others to kneel and pray. She should say the prayer hurriedly and stutter now and again, so to get the slight guilt that she may have out of the way. I think that this would reveal to the audience that the characters had a choice whether to help the others in the village or to keep themselves safe. They choose the latter, the more selfish choice, and it should be evident that even these supposedly innocent characters in the play, are corrupt. Kattrin should groan regularly in frustration and finally, as she creeps off to the wagon, climbs up the ladder onto the roof and starts beating the drum with such extreme determination, the peasants should abruptly stop praying and run into action. As the characters have talked themselves into thinking that they are doing the right thing, their reaction is even more frantic than before. Even this scene should be missing the kind of frantic, air-raid-siren intensity that it potentially holds, as Kattrin continues to beat the drum while the soldiers, themselves now panicked, try to stop her, to keep her from waking the village. Kattrin’s role should seem more stolid and deliberate than desperate and driven by adrenaline. This should really be the only part in the whole play where I would like the audience to feel something more than morality being thrown at them. I would like them to feel for Kattrin, whether it is frustration or admiration. The soldiers should seem to have all the time in the world to shoot her from her perch, just too late to prevent her from raising the alarm. They should be even more aggressive now, shouting at the dumb girl as she carries on drumming. I would ask the stage crew, still sitting on stage, to join in with drumming steady beat, so to again remind the audience that although this scene is full of passion, that is all it is, a scene in a play. As the soldiers start to chop wood manically, Kattrin becomes more and more upset, the actor showing this with tears in her eyes and peering around aimlessly, she carries on the steady drumming. To make it obvious that the girl is listening to the Lieutenant and his soldiers plotting something, she should put her hand to her ear and strain her expression. When she realizes that her drumming has worked, the actor should stop the beat, smile, continue drumming again and laugh manically. The actors playing the soldiers should be outraged at this, making it obvious that the roles in status have evidently been reversed. The scene should go on with quick pace, with the young peasant hitting the wagon with a board, the peasant woman screaming at Kattrin and her crying and distressed noises and expressions. Finally, the soldiers fire their guns and after a few more feeble beats, Kattrin should collapse, dead. Muffled noises of canons, gunfire and alarm bells should be heard so to remind the audience of the aftermath of war. The next morning, Mother Courage sits by the dead body of her daughter, ignoring the peasants words, denying the fact that Kattrin is dead: â€Å"Maybe she’s fallen asleep† and singing to her. As she is singing, I would like the actor to pick Kattrin up and cradle her in her arms, stroking her hair. When the fact that Kattrin is dead finally dawns on Mother Courage: â€Å"She’s not asleep†¦ she’s gone, you must get away†, with no hesitation, she should drop her dead daughter back onto the floor and cover her up with a cloth. She should speak to the peasants as though Kattrin was useless and swiftly pay the peasants for the â€Å"proper burial† without a second though. As Mother Courage harnesses herself back into her wagon, I would like for the audience to hear background noise depicting war. She glares back at her dead daughter as she complains to herself: â€Å"I hope I can pull the wagon by myself†, and with just one look back, the actor should run after a regiment screaming â€Å"Hey! Take me with you! † To end the play, the audience should hear the soldiers singing monotonously: â€Å"Dangers, surprises, devastations / The war takes hold and will not quit. / But though it lasts three generations / We shall get nothing out of it. / Starvation, filth, and cold enslave us. / The army robs us of our pay, / Only a miracle can save us / And miracles have had their day. / Christians, awake! The winter’s gone! / The snows depart. The dead sleep on. / And though you may not long survive / Get out of bed and look alive! †.

The Glass Menagerie, a Play by Tennessee Williams

The Glass Menagerie, a Play by Tennessee Williams The Glass Menagerie  play is a melancholy family drama written by Tennessee Williams. It was first performed on Broadway in 1945, meeting with astounding box-office success and a Drama Critics Circle Award. The Characters In the introduction of The Glass Menagerie, the playwright describes the personalities of the drama’s main characters. Amanda Wingfield: Mother of two adult children, Tom and Laura. â€Å"A little woman of great vitality clinging frantically to another time and place...†Ã¢â‚¬Å"Her life is paranoia†¦Ã¢â‚¬ Ã¢â‚¬Å"Her foolishness makes her unwittingly cruel†¦Ã¢â‚¬ Ã¢â‚¬Å"There is tenderness in her slight person†¦Ã¢â‚¬  Laura Wingfield: Six years out of high school. Incredibly shy and introverted. She fixates on her collection of glass figurines. She has â€Å"failed to establish contact with reality†¦Ã¢â‚¬ Ã¢â‚¬Å"A childhood illness has left her crippled, one leg slightly shorter than the other†¦Ã¢â‚¬ Ã¢â‚¬Å"She is like a piece of her own glass collection, too exquisitely fragile†¦Ã¢â‚¬  Tom Wingfield: The poetic, frustrated son who works at a mindless warehouse job, supporting his family after his father left home for good. He also serves as the play’s narrator. â€Å"His nature is not remorseless†¦Ã¢â‚¬ Ã¢â‚¬Å"To escape from a trap (his overbearing mother and crippled sister) he has to act without pity.† Jim O’Connor: The gentleman caller who has dinner with the Wingfields during the second part of the play. He is described as a â€Å"nice, ordinary young man.† Setting The entire play takes place in the Wingfield’s meager apartment, located next to an alley in St. Louis. When Tom begins narrating he draws the audience back to the 1930s. Plot Summary Mrs. Wingfield’s husband abandoned the family â€Å"a long time ago.† He sent a postcard from Mazatlan, Mexico that simply read: â€Å"Hello – and Good-bye!† With the absence of the father, their home has become emotionally and financially stagnant. Amanda clearly loves her children. However, she constantly reprimands her son about his personality, his fledgling job, and even his eating habits. Tom: I haven’t enjoyed one bite of this dinner because of your constant directions on how to eat it. It’s you that makes me rush through meals with your hawk-like attention to every bite I take. Even though Tom’s sister is painfully shy, Amanda expects Laura to be more outgoing. The mother, in contrast, is very sociable and reminisces about her days as a southern belle who once received seventeen gentlemen callers in a single day. Laura has no hopes or ambitions for her future. She quit her typing class because she was too shy to take the speed exam. Laura’s only apparent interest seems to be her old music records and her â€Å"glass menagerie,† a collection of animal figurines. Meanwhile, Tom is itching to leave the household and seek adventure in the wide-open world, instead of being held prisoner by his dependent family and a dead-end job. He often stays out late at night, claiming to go to the movies. (Whether or not he watches the movies or engages in some sort of covert activity is debatable). Amanda wants Tom to find a suitor for Laura. Tom scoffs at the idea at first, but by evening he informs his mother that a gentleman caller will be visiting the following night. Jim O’Connor, the potential suitor, went to high school with both Tom and Laura. During that time, Laura had a crush on the handsome young man. Before Jim visits, Amanda dresses in a beautiful gown, reminding herself of her once-glorious youth. When Jim arrives, Laura is petrified to see him again. She can barely answer the door. When she finally does, Jim shows no trace of remembrance. Out on the fire escape, Jim and Tom discuss their futures. Jim is taking a course on public speaking to become an executive. Tom reveals that he will soon be joining the merchant marines, thereby abandoning his mother and sister. In fact, he purposefully failed to pay the electricity bill in order to join the seaman’s union. During dinner, Laura – faint with shyness and anxiety – spends most of the time on the sofa, away from the others. Amanda, however, is having a wonderful time. The lights suddenly go out, but Tom never confesses the reason! By candlelight, Jim gently approaches the timid Laura. Gradually, she begins to open up to him. He is delighted to learn that they went to school together. He even remembers the nickname he gave to her: â€Å"Blue Roses.† Jim: Now I remember – you always came in late. Laura: Yes, it was so hard for me, getting upstairs. I had that brace on my leg – it clumped so loud! Jim: I never heard any clumping. Laura (wincing at the recollection): To me it sounded like thunder! Jim: Well, well, well. I never even noticed. Jim encourages her to be more self-confident. He even dances with her. Unfortunately, he bumps a table, knocking over a glass unicorn figurine. The horn breaks, making the figurine just like the rest of the horses. Surprisingly, Laura is able to laugh about the situation. She clearly likes Jim. Finally, he declares: Somebody needs to build your confidence up and make you proud instead of shy and turning away and- blushing- Somebody ought to- ought to- kiss you, Laura! They kiss. For a moment, the audience might be lured into thinking that everything will work out happily. For a moment, we can imagine: Jim and Laura falling in love.Amanda’s dreams for Laura’s security coming true.Tom finally escaping the â€Å"trap† of family obligations. Yet, a moment after the kiss, Jim backs away and decides, â€Å"I shouldn’t have done that.† He then reveals that he is engaged to a nice girl named Betty. When he explains that he will not be back to visit again, Laura bravely smiles. She offers him the broken figurine as a souvenir. After Jim leaves, Amanda scolds her son for bringing an already-spoken-for gentleman caller. As they fight, Tom exclaims: Tom: The more you shout about my selfishness to me the quicker I’ll go, and I won’t go to the movies! Then, Tom assumes the role of the narrator as he did in the play’s beginning. He explains to the audience how he soon left his family behind, running away just as his father did. He spent years traveling abroad, yet something still haunted him. He escaped the Wingfield household, but his dear sister Laura was always on his mind. The Final Lines Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger- anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura – and so good-bye†¦

Menu Selection Assignment Example | Topics and Well Written Essays - 1000 words

Menu Selection - Assignment Example Menu driven interfaces refer to interfaces which enable users to make interactions with computers or technological devices through menus, leading in a series of different screens. The various commands provided by the device enable the user to navigate through the devices and perform various desired functions. The aspect of communication remains the most essential element in ensuring an individual’s capacity to operate a computer or device. In enhancing communication, a dialogue must become established between the person and the device. Within a menu-driven interface dialogue with users becomes established through the information contained within the device, which provides options to users, from which to choose from (Ong & Tan, 2000). Upon the pressing of each button the device provides a predetermined response, subsequently displaying the next screen, as desired by the user. The dialogue element provides the user with different options regarding the services being sought. The device offers guidelines towards ensuring the user performs the desired function. The screens are designed in a sequence which leads the user towards achieving the desired purpose. The modern age has seen tremendous improvement in the utilization of menu driven interfaces among many technological devices. The increased utilization of these interfaces could be attributed to the following reasons Simplicity – menu driven interfaces remain relatively easy to utilize as individuals only have to follow prompts provided by the device. This makes it possible for individuals without previous knowledge of the device become able to use these devices (Gudur, Blackler, Popovic, & Mahar, 2013). All an individual requires in knowledge of the language which the interface communicates with, and following the commands. No commands – the users do not have to enter commands into the device to produce certain information. The use of commands requires

Exam II Essay Example | Topics and Well Written Essays - 1500 words

Exam II - Essay Example It is true that, the application of this agreement has helped to reduce the negative outcome of the war. In February 1848, the Mexican-American war was formally ended by the treaty of Guadalupe Hidalgo. Over the next years, the tension between the United States and the Government of Mexico continued to rumble. The Gadsden Purchase treaty helped to settle the occurrence of dispute on Texas. The Gadsden Purchase included lands west of the Rio Grande and south of the Gila River. The purpose of the Treaty is for the construction of transcontinental railroad in United States along a southern road. The Gadsden Purchase is also linked to the settlement of the border issues. The key boundaries of the United States of American have been settled by the implementation of the Gadsden Purchase. The Mexican army was defeated by the Americans in a number of battles that forced Mexicans to surrender. The war was considered by the Massachusetts as a crime. In 1848, the Treaty of Guadalupe Hidalgo helped to provide half-a-million square miles to United States (Tate, 2013). The line of the Gila River and the Rio Grande became international border. Moreover, the formally gave away of additional territory was not accepted by President Polk. On September 15, 1853, James Gadsden met with Santa Anna. A verbal instruction has been sent by President Pierce for Gadsden. An agent for United States investors, Christopher Ward was the one who took verbal instruction to Gadsden. The instructions gave negotiation option for Gadsden for a greater share of northern Mexico to 15 million dollars and Lower California for 50 million dollars. The instruction of the President Pierce to sell large portion of Mexico was refused by Santa Anna. Santa Anna wanted to gather money to reduce the ongoing reb ellions. This is the reason behind the application of treaty between Gadsden and Santa Anna. Mexican border was heavily raided by Americans. The Treaty was also

The Corrruption Of Innocence :: essays research papers

The Corruption of Innocence   Ã‚  Ã‚  Ã‚  Ã‚  It has struck some leaving a lasting impact while others just let it go by. Some would see it as corruption, and others see everyday life. I see it as the pure loss of innocence in a world of corruption. This new issue has risen in today's generation leaving no one free of it wrath. This has not been the first we have seen of this. The loss of innocence has been referred to over years by many authors, but now we come to see it in our lives a lot more frequently. According to authors like Emerson and Salinger, who although wrote their pieces so far apart, feel everyday in life the American Character is faced upon with the corruption of innocence that takes away from their unique American Character.   Ã‚  Ã‚  Ã‚  Ã‚  In his book, The Catcher in the Rye, J.D. Salinger focuses on the theme of innocence for a large amount of time. Holden constantly refers to everyone as being a phony and that they had lost their innocence, which had been corrupted when they matured and were exposed to society. The society had exposed them to the real world and made them think in order to survive they must follow others. Holden goes in part of the book about jobs he likes and starts to describe job of a lawyer and says how they are sincere and try to save innocent lives, but then he goes on to think about how they are probably phonies and only doing it to be hot-shots and makes lots of money to impress society. (Salinger 172) The outcome of his thoughts was that everybody had conformed and followed each society's ideas, which upset Holden because no one was free of corruption accept the children of society, like Ally. Holden sees it as a major issue in the book and serves as a major role of Holden 's throughout the book. The issue even leads to the title of the book in the sense that it is named after his supposed job he wishes to under take as a Catcher in the Rye. He wants to be a catcher in a field of rye and little children who catches children from falling off the cliff and being corrupted by society. (Salinger 173) Therefore, in fact the theme of innocence has a significant role in this book.   Ã‚  Ã‚  Ã‚  Ã‚  Another author who also uses the role of innocence and corruption as a major theme is Ralph Waldo Emerson in his essay 'Self-Reliance';.

The Three Layers of the Skin

  The skin serves as protection to our body by keeping the right temperature for it to be able to perform its task the accurate way (Encarta, 2007). Furthermore, it also protects the immune system, consequently guarding us from different sicknesses (Encarta, 2007). This paper entitled, â€Å"The Three Layers of the Skin† intends to reintroduce the epidermis, dermis, as well as, the subcutaneous tissue which are the three layers of the skin (Encarta, 2007). In addition to that, it also aims to state the functions of the aforementioned.The skin is composed of three layers. The first one is technically referred to as the epidermis, which is the skin located at the outermost layer (Encarta, 2007). The aforementioned layer, in turn, has layers as well, namely: 1) stratum corneum, which is composed of dead, flat skin cells that shed approximately every fourteen days; 2) stratum licidum; 3) stratum granulosum; 4) stratum spinosum; and 5) stratum basale, which are column-like in sha pe, wherein cells break up and drives the cells into the upper layers, and when they do, they turn flat and die (Encarta, 2007). Furthermore, in this first layer, one can discover the three types of specialized cells including: 1) â€Å"Melanocyte†, which brings into being the pigment technically known as the melanin; 2) â€Å"Langerhans’ cell, which guards the skin’s immune system; and 3) â€Å"Merkel’s cell† (Encarta, 2007).The second one is known as the dermis which is made up of three types of tissue including: 1) collagen; 2) elastic tissue; 3) reticular fibers (Encarta, 2007). The dermis has two layers as well, namely: 1) the papillary layer, which is located on top and that which is composed of a thin arrangement of collagen fibers; and 2) the reticular layer, which is located at the bottom and that which is made up of thick collagen fibers put together in a parallel manner (Encarta, 2007).Moreover, in this second layer, one can discover th e specialized dermal cells, including: 1) hair follicles, which are located along with the â€Å"pili muscle† and that which joins each follicle; 2) â€Å"sebaceous oil glands† & â€Å"apocrine scent glands†, which are related with the follicle; 3) eccrine (sweat) glands; 4) blood vessels & nerves, which convey feelings of itch, pain, as well as, temperature; and 5) Meissner’s & Vater-Pacini corpuscles, which convey the feelings of pressure and touch (Encarta, 2007). The last layer is known as the â€Å"subcutaneous tissue†, which is made up of connective and fat tissues that accommodates blood vessels, as well as, nerves (Encarta, 2007). The subcutaneous tissue actually plays a large role in the control of the skin’s temperature (Encarta, 2007).ReferenceEncarta (2007). Skin. Retrieved May 30, 2007 fromhttp://encarta.msn.com/encyclopedia_761569048/Skin.html

Alcoholism in Women Essay - 1971 Words

Excessive Drinking Among Women: An Increasing Social Concern Most Canadians drink in moderation, however men and women of all ages, races, religions and socio-economic backgrounds are vulnerable to alcohol problems (CCSA, 2004, 4). Excessive drinking as defined by Neil Kessel and Henry Watson, a team of British psychiatrists, is marked by a obsession with drinking, a need for alcohol in order to function at work or in society, followed by guilt and dishonesty with regards to the consumption of alcohol (Bauer, 1983, 12). Traditionally, alcoholism and excessive drinking problems were treated as an illness with the assumption that it afflicted only men. Problem drinking in women however, is beginning to draw increasing†¦show more content†¦As a result of these sex role changes, the increase of consumption of alcohol among women could be attributed to societal factors such as greater female labor force participation, delayed marriage and childbearing in women, societies attitudes surrounding the concept of a successful and fa shionable woman, new advertising and marketing campaigns, the increased availability of alcohol, and womens increased social and psychological freedom in the recent years. There are many devastating and destructive social consequences that can be attributed to this increase in excessive drinking. Society as a whole, must empower, support, advocate for, and educate the excessive drinker in order to reduce this social problem. Physiological Implications It is a common presumption that excessive drinking will produce more harmful consequences among women than among men (Carson-Dewitt, 2001, 1357). Physiologically, women bodies metabolize alcohol differently than mens. Despite the fact that men are more likely to drink and to develop drinking problems earlier than women, women are much more vulnerable to alcohols harmful effects (Gender Differences, 2001, 2). Ethanol alcohol, which is water soluble, is absorbed at a much quicker rate as womens bodies have less body water per pound than mens (Carson-Dewitt, 1357). Women, therefore achieve higher peak concentrations of alcohol in the blood afterShow MoreRelatedA Population-Based Twin Study of Alcoholism in Women826 Words   |  3 PagesDescribe the purpose and at least four major points of the article. The purpose of the article was to see whether or not alcoholism in women is genetic-based. Researchers were interested in seeing the extent to which alcoholism in females may be environmentally or genetically induced. Only one study, and that different to this, has been produced on the matter. 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