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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات ممكن احد يشرح لي ال naturalism in a dolls house
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
لكن علشانا بالهوا سوا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
maybe not
أنا اسفه خلاص بسكر فمي :mh12: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
حلفي منهو قال لش. اذاصحيح وناسة لان المعروف ان ثلاث اسءلة يعني كيف تكون اجاباتهم قصيرة؟؟؟ ردي علي ضروري:71: وعندي استفسار ثاني حياة الكتاب والسامري حق مسرحيات ثانية يجون في الاختبار؟؟؟؟ كريهين شوي |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
السلام عليكم
ممكن احد يحط لنا ال well-made play تبع a doll's house جزاكم الله الف خير و شكرا مقدما |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
what's the difference between realism and naturalism????
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
women's right in a doll's house:Cry111:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
والأسئلة مباشرة ، والإجابات to the point وبدون مقدمات ولا خاتمة .. وقالت إن أطول إجابة براجرافين .. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
مدري تبي تخرعنا ذي ووجها ولا أيش ؟؟ أشك أنها تعرف الأسئله هالأنسانه بس تخربط من رآسها :41jg: 3 >> بدأ العد التنازلي حقي :tongue: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
د/ مها قالت السؤال الاول بكون اجباري نحله
والكوتيشن قالت بتجيب لنا بسج بس ماتبغى كومنت كامل عليه بتجيب أسئلة على هالكوتيشن وتبينا نجاوب من خلال هالكوتيشن وبالحل فيه نربط المسرحيتين ببعض :000: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
realistic writers present the upper class and rich people it is on Drama 8 , the last page. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات أنا فهمت ان ابسن كان عنده stages
من شرح الدكتوره مها ! ممكن أحد يوضحها لي ؟ |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات من اللي طلعت عن الستيج دايركشن؟؟ يآآريت تحطونه هنـآآآ:106:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
ms 2012
الله يطمن قلبك طمنتيني :love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
A doll’s House’ belongs to stage number two in his career; the stage of realism which is dealing with the way people in small town face certain issues. The play ‘Ghosts’ belongs to the second stage also. Ibsen also is interested in how society is built on hypocrisy or lies and how the truth is one thing and appearance is another. This is in his realistic stage; the second stage. The third stage is about modern issues. Does ‘A doll’s House’ belong more to this stage like dealing with modern issues and problems? دراما 8 |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
طيب ما قالت الكوتيشن من اي مسرحيه ؟
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
this is not the answer. Realism DOES NOT deal with rich ppl but rather with ordinary people. لا تغلطين بالاجابه في الاختبار في فرق بينهم بس مو قادرة اوصل له شكرا على اجابتك though |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
Introduction: The definition of Stage Directions: Stage directions are directions given to the actor(s) by the director. They involve the set of the stage as well as the physical movement of the actors on stage. It is a way to help readers to visualize the characters and to give a pictorial dimension to the play. Ibsen uses non-verbal elements such as screen directions and setting descriptions to symbolise aspects of characters and their relationships to each other. A. Stage directions- Set Ibsen’s stage directions in A Doll’s are very specific and systematic. The way the objects are extensively described to allow the reader to vividly visualize the set exactly like what Ibsen intended without being showed on stage. For instance, EVERY WALL IS DESCRIBED with the position of every door and what lies behind it. B. Stage Directions- Physical Movements Ibsen’s stage directions also reflect his realistic view of his characters. He writes down every movement, however slight it might seem. Peter Watts describes how Ibsen sees his characters as if from out of a mist until they gradually emerge into clear images A. Stage Directions- Set: 1. Torvald The stage directions also go on to describe Torvald's office, showing his personality, independence and occupational status with one small description. By the end of the play, we see that Torvald’s obsession with controlling his home’s appearance and his repeated suppression and denial of reality have harmed his family and his happiness irreparably 2. The Christmas Tree The Christmas tree, a festive object meant to serve a decorative purpose ,it symbolizes Nora’s position in her household as a plaything who is pleasing to look at and adds charm to the home. There are several parallels drawn between Nora and the Christmas tree in the play. Just as Nora instructs the maid that the children cannot see the tree until it has been decorated, she tells Torvald that no one can see her in her dress until the evening of the dance. Also, at the beginning of the second act, after Nora’s psychological condition has begun to erode, the stage directions indicate that the Christmas tree is correspondingly “dishevelled.” 2. The Stove: The porcelain stove has very symbolic meaning throughout the play. It is portrayed as the heart of the domestic space. It is often referred to as a provider of warmth and comfort. "lets get cozy here by the stove." Additionally, the stove symbolises Nora's place as a wife and the way society expects her to act in this role. Whenever Nora moves towards the stove in the play she moves back to her place as a wife B. Stage Directions- Physical movement: 1. After Krogstad pays Nora a visit for the first time, the stage directions play a large role in displaying Nora's anxiety. "She starts to busy herself by tidying the children's clothes, but soon stops". Soon, she moves on to her needlework, but after only a stitch or two, she stops. She begins "busily decorating the tree" until her husband comes home. It is easy for the audience to see that Nora is uneasy, and by keeping herself busy, she distracts herself from her fears. Ibsen's stage directions are effective in creating greater depth and feeling in his characters, making them more real to the audience. 2. Stage directions allow readers to Examine Nora's actions when trying to wheedle money as her present from her husband. Ibsen states 'playing with his coat buttons and without raising her eyes to his' and then 'speaking quickly'? this intensive sketch enable readers to come to a conclusion that because of Ibesn’s making up to him by touch is habit, but guilt over her reasons for asking prevents her from looking at him she is psyching herself to ask for the money and is being manipulative, knowing that her touch will melt him; she doesn't look straight at him at first but meets his eyes dazzlingly when she asks for the money 3. The most memorable line is a stage direction: "From below, the sound of a door slamming shut." Every analyst of this drama voices some variation of the "door slam heard round the world," symbolizing closure of the 19th century and Victorian assumptions regarding the role of wife and mother, of tradition, religion and law. The Production of A Doll’s House: Two weeks before the premiere a print run of 8,000 copies of the script had been published, and it already had sold out. The world premiere of A Doll’s House (Et dukkehjem) took place at the Royal Theatre in Copenhagen on December 21, 1879 with Betty Hennings as the first Nora and Emil Poulsen as Torvald, and H.P. Holst as the director of the production. The premiere date was fitting for the Christmastime setting of the play. the play was so heatedly debated in Scandinavia in 1879 that, as critic Frances Lord observes, "many a social invitation in Stockholm during that winter bore the words, 'You are requested not to mention Ibsen's Doll's House!" Writing for the Norwegen newspaper Folkets Avis, the critic Erik Bøgh admired Ibsen's originality and technical mastery: "Not a single declamatory phrase, no high dramatics, no drop of blood, not even a tear." Ibsen was obliged to supply an alternative ending for the first German production when the famous leading lady Hedwig Niemann-Raabe refused to perform the role of Nora, stating that "I would never leave my children!" Since the playwright's wishes were not protected by copyright, Ibsen decided to avoid the danger of being re-written by a lesser dramatist by committing what he called a "barbaric outrage" on his play himself and giving it an alternative ending in which Nora did not leave. Because of a lack of success, Niemann-Raabe eventually restored the original ending. Finally, The first British production opened on 7 June 1889, starring Janet Achurch as Nora. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
مكتوب انه مر ب 4 ستيجيز بس مافهمتها بالضبط لما نكتلم عن البوقرافي لإبسن احسه مهم البارت اللي جبتيه هو اللي يتكلم عن الستيج الثاني اللي خلاله كتب a doll house |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
السلام عليكم
سؤال: ما هو الفرق بين problem play/well-made play/ and drama of ideas? من بحثي الآن اتضح لي انهم نفس النظرية صح؟؟؟؟ افيدوني الله يجزاكم خير |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
you can check |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بليز اللي عندها ملازم للدكتوره للمسسرحيه الثانيه ياليت تنزلها
لان دكتوره سميره ماشرحت كل المسسرحيه |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
بحثت عن أشياء تخص المسرحيه الثانيه غير اللي اساسا مذكوره في المحاضرات ولقيت هذي The presence of the tree and a rock important, he says the setting , is complete with animal, vegetable, and mineral. Having all three elements present – animal, vegetable, and mineral – would seem to suggest that the world of Waiting for Godot is a complete one. Nothing is missing, everything is present, and yet still the world is empty. Still the world is without purpose because characters fail to provide it with meaning through their actions. While Vladimir and Estragon wait for Godot, they also wait for nightfall. For some reason (again, arbitrary and uncertain), they don’t have to wait for him once the night has fallen. The classic interpretation is that night = dark = death. The falling of night is as much a reprieve from daily suffering as death is from the suffering of a lifetime. There’s also the issue of the moon, as its appearance in the sky is the real signal that night has come and the men can stop waiting for Godot. Estragon, in one of his "wicked smart" moments, comments the moon is "pale for weariness […] of climbing heaven and gazing on the likes of us." Though the man remembers nothing of yesterday, he does in this moment seem to comprehend the endless repetition of his life. And if the moon is weary just from watching, imagine what that says about the predicament of the men themselves. In Samuel Becket's Waiting for Godot tree is an important symbol. Many critics are of the opinion that tree represents Cross in which Jesus Christ is crucified. If we take tree as cross then there is a hidden meaning which Becket is trying to bring. Christ died on the cross in order to redeem the people but for Valdimir and Estragon it is a tree which misleads them. By waiting there under the tree they don't get any salvation but only confusion. This tree also symbolises the cross in which two thieves who have died with Jesus. One thief get salvation at the last minute. Are they waiting for the last minute repentance? The question is unanswered. We also see in the second day of their waiting there are four or five leaves. This indeed a symbol of hope but at the end of the play this has become 'hoping against hope'. In some of the gospels the cross is been called as tree. If we take that into account tree represents cross. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
بس اختلاف مسمى |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات هذا اللي عندي عن stage directions in dolls house
The definition of Stage Directions: A. Stage directions are directions given to the actor(s) by the director. They involve the set of the stage as well as the physical movement of the actors on stage. It is a way to help readers to visualize the characters and to give a pictorial dimension to the play A-Stage directions- Set A. Ibsen’s stage directions in A Doll’s are very specific and systematic. The way the objects are extensively described to allow the reader to vividly visualize the set exactly like what Ibsen intended without being showed on stage. For instance, EVERY WALL IS DESCRIBED with the position of every door and what lies behind it. B. Stage Directions- Set: 1. Torvald The stage directions also go on to describe Torvald's office, showing his personality, independence and occupational status with one small description. By the end of the play, we see that Torvald’s obsession with controlling his home’s appearance and his repeated suppression and denial of reality have harmed his family and his happiness irreparably 2. The Christmas Tree The Christmas tree, a festive object meant to serve a decorative purpose ,it symbolizes Nora’s position in her household as a plaything who is pleasing to look at and adds charm to the home. There are several parallels drawn between Nora and the Christmas tree in the play. Just as Nora instructs the maid that the children cannot see the tree until it has been decorated, she tells Torvald that no one can see her in her dress until the evening of the dance. Also, at the beginning of the second act, after Nora’s psychological condition has begun to erode, the stage directions indicate that the Christmas tree is correspondingly “dishevelled.” 2. The Stove: The porcelain stove has very symbolic meaning throughout the play. It is portrayed as the heart of the domestic space. It is often referred to as a provider of warmth and comfort. "lets get cozy here by the stove." Additionally, the stove symbolises Nora's place as a wife and the way society expects her to act in this role. Whenever Nora moves towards the stove in the play she moves back to her place as a wife B.Stage Directions- Physical MovementsIbsen’s stage directions also reflect his realistic view of his characters. He writes down every movement, however slight it might seem. Peter Watts describes how Ibsen sees his characters as if from out of a mist until they gradually emerge into clear images 1. After Krogstad pays Nora a visit for the first time, the stage directions play a large role in displaying Nora's anxiety. "She starts to busy herself by tidying the children's clothes, but soon stops". Soon, she moves on to her needlework, but after only a stitch or two, she stops. She begins "busily decorating the tree" until her husband comes home. It is easy for the audience to see that Nora is uneasy, and by keeping herself busy, she distracts herself from her fears. Ibsen's stage directions are effective in creating greater depth and feeling in his characters, making them more real to the audience. 2. Stage directions allow readers to Examine Nora's actions when trying to wheedle money as her present from her husband. Ibsen states 'playing with his coat buttons and without raising her eyes to his' and then 'speaking quickly'? this intensive sketch enable readers to come to a conclusion that because of Ibesn’s making up to him by touch is habit, but guilt over her reasons for asking prevents her from looking at him she is psyching herself to ask for the money and is being manipulative, knowing that her touch will melt him; she doesn't look straight at him at first but meets his eyes dazzlingly when she asks for the money The most memorable line is a stage direction: "From below, the sound of a door slamming shut." Every analyst of this drama voices some variation of the "door slam heard round the world," symbolizing closure of the 19th century and Victorian assumptions regarding the role of wife and mother, of tradition, religion and law. دعواتكم :love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
عندي المحاضرات بس ما أعرف كيف أحطهم هنا ؟! ارسلي لي ايميلك :) |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات اللي تعرف امثله على ظهور الناتشوراليزم في دولز هاوس تسدحها
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
hello :53:
bnat whoever has history of english language with dr.Hudaa :53: meen 3ndw answers ??q10 /what is meant by linguistic interfernce + q14/ mention examples of the borrowing from arabic,latin,french,german + q12/ prestigious language :mh12: and did she say anything about our final o meen aish exactly ndris ... ktheer bnat r really lost with her m3 her grades al 5aysa :Cry111: thaannqqq n gd luck all:love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
يعطيكم آلعافيـــة يآآآرب..
بآلتوفيـــق:love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
"Absurdist Theatre" discards traditional plot, characters, and action to assault its audience with a disorienting experience. Characters often engage in seemingly meaningless dialogue or activities, and, as a result, the audience senses what it is like to live in a universe that doesn't "make sense." Beckett and others who adopted this style felt that this disoriented feeling was a more honest response to the post World War II world than the traditional belief in a rationally ordered universe. Waiting for Godot remains the most famous example of this form of drama.
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اسفه نسخت بالغلط :biggrin:
شوفو هذا اخذته من طالبات جامعه :(204): Distinctions between realism and naturalism Let' s consider the differences between the work of the realists (e.g Ibsen) and those of the naturalists (e.g Chekhov and Zola). We can do this best by considering two speeches from associated plays. (reference: 'Acting in Person and in Style', 1980) For eight years I've been waiting patiently; I knew, of course, that such things don't happen every day. Then, when this trouble came to me - I thought to myself; Now! Now the wonderful thing will happen! All the time Krogstad's letter was out there in the box, it never occurred to me for a single moment that you'd think of submitting to his conditions. I was absolutely convinced that you'd defy him - that you'd tell him to publish the thing to all the world; and that thenة (Nora to Torvald. 'A Doll's House' by Henrik Ibsen) Not only in two or three hundred years but in a million years of life will be just the same; it does not change, it remains stationary, following its own laws which we have nothing to do with or which, anyway fly backwards and forwards and whatever ideas, great or small, stray through their minds, they will go on flying just the same without knowing where or why. They fly and will continue to fly, however philosophic they may become; and it doesn't matter how philosophical they are so long as they go on flyingة (Tusenbach 'The Three Sisters' by Anton Chekhov) Nora's speech (realism) In Nora's speech, the flow of words is orderly and selective, logical in intent The lines are believeable and truthful although a little heightened The character is inwardly motivated - this is a realistic speech دعواتكم ياغوالي لان حاملتها العام مع شهال ابليس:017::(269): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنآآآآت .. شطحه
وش تقسيم الدرجات لأعمال السنه تبع دكتورة مها سلام ؟ الميد 20 و ريسيرتش 10 ؟؟ باقي 10 على ايش ؟؟ << بيجيك أكبر طآآآآف :(269): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
مدري يمكن مقسمه حضور ومشاركه وصدقات جاريه:cheese: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بسألكم سؤال شاطح :biggrin:
تتوقعون دكتوره لميا تجبر النص ولا :(107): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
لا
الميد 25 بحث او برزنتيشن 10 مشاركه 5 :biggrin: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
^^
قصواء اللي اعرفه ان النص لازم ينجير بالفاينل يعني السالفة غصبا عنهم:biggrin: لاكن عاد اذا بطيروه فهذه :hhheeeart4: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
هي قالت البرزنتيشن عليه 15 |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
فيه شي مشترك بين المسرحيتين الي هو الريلجون انهم كانو في ويتنق فور قودت مو متاكدين من الريلجون انه يصدقونها اولا لان فيه اختلاف في الريلجون وجيبو سالفة الثيفس انه في ريلجن قالت انه واحد من الثيفس تنقذه الكرست وواحد ماانقذه وفيه ريلجن انكرت انه فيه ثيفس اساسا :biggrin: وفيه ريلجن قالت انه كلهم مانجوو المهم انه يعنو بدوو يشكوون بلريلجن حقتهم لان كلامهم اختلف وبدوو يتسالون انه نصدقهم ولا لا نصير بليفرز مع ريلجن ولا لا وبلنسبه للمسرحيه الثانيه ادول هاوس تقولين انه نوره تبي تشوف الحياه ووتتعلم الريلجين لانها ماتعرف ايش الريلجين وتبي تتاكد المهم انه كلهم في المسرحيتين انسينترتنتلي ابوت ريلجون وووبس :(269):
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
أنا مره بالميد تيرم أخذت عندها 6 ونص من عشره وخلتها سبعه .... يازينها :love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات انا مع د سميره وقالت ان من المسرحيه الثانيه بتجيب كوتيشن وسؤال ايساي بيكون عن :ثيم ,لانقوج ,كاركترز ذا بالنسبه للمسرحيه الثانيه
,, لكن الاولى ماعندي خبر هل هي بتلتزم بالمسرحيه ولا بتجي من مواضيع الريسيرش الي سويناها !! :/ الي تقدر تفيدني لاتبخل علي الله يعافيكم |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
:sdfgdsf::love080:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
السلام عليكم ورحمه الله وبركاته
اتمنى من الي سالت عن الفرق بين الناتشيوريلزم والريليستك انها تشوف مشاركتي قبل لا تدخل الامتحان حسيت هالبارجراف مره حلوو لكنه مجرد بارجراف لو ترجعون للبحوث الي بالايميل احسن واوسع Realism shouldn't be confused with its Naturalism. Though the two styles were being developed around the same time, they have some significant differences. Basically, Naturalism was just a lot more hard core about representing everyday life exactly as it is. Naturalist plays wanted to show a slice of life exactly as it is. Characters might talk on and on about nothing in particular and the plays might have no obvious climax – just like most days are for most people. Realism, however, is unafraid to be a little unrealistic. Look at A Doll's House. Sure the characters talk in a generally conversational way, but the plot is obviously and unapologetically contrived. There are melodramatic devices like secret revealing letters. The doorbell rings at convenient times, bringing trouble for Nora. People enter and exit just when Ibsen needs to move on to the next scene and bring on new ideas. This wasn't a bad thing to Ibsen. His goal was to examine ideas, to challenge individuals to really think about their society, not to present photographic reality. A Doll's House is widely considered to be one of the prime examples of realism. وبالنسبه للاشياء المشتركه بين المسرحيتين فاتوقع غير الريليجون فيه الريليسزم الاولى واضح فيها الريليزم والثانيه كل الاشياء والكلام الي يقولون او يسوونه يعبر عن اشياء واقعيه في الحياة بس معروض لنا بطريقه غير <-- اتوقع هيك دعواتكم انجح بالنقد :mh12: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
uncertainty
ثيم مشترك برضوا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
:icon9:شدعوه محد عبر سؤالي
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
^
إذا مافهمتي عآدي أوضح لك :cheese: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنتحر شربت كوفي عشان اصحصح المغرب والحين طار النوم:biggrin:
المشكله ماخلصت وعقلي متنح:41jg: بروح اشرب لبن كود يفيد:24_asmilies-com::24_asmilies-com: <<<<خوفي يطلع تاثير اللبن في الاختبار بس:cheese::(269): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
الله يسسعدك اذا تقدرين تكتبين البوينت ع المقارنه بدون شرح |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
ياحووووبي لك يا ام اس :106: فالك النجاح حبيبتي
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
لا مانصحك لبن يجيب النووم ترا :53::24_asmilies-com: انا شكلي بنام واكمل مذاكره على الساعه 6 |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
Class Discussion: Waiting for Godot
1. Traditional well-made play vs. the experimental theater of the absurd. Whatever else you say about this play, one thing is indisputable. This is a really weird, unusual play! Seeing it 50 years later, it still seems really uncanny, very other. It creates the kind of lasting impression that defines most great literature. But it also defies all our expectations for what a play is supposed to do, what drama is supposed to do. Traditional Drama Theater of the Absurd A story with a clearly defined beginning, middle and end. Linear progression; Freytag’s Pyramid: exposition, rising action, climax, falling action, resolution • Beginning: Thebes is suffering and Oedipus is trying to save it. Middle: he searches diligently for the truth that will save it. End: He discovers the truth, and Thebes is saved. • Freytag’s pyramid describes the unfolding of the action. Story seems meaningless or absurd. Progression is circular rather than linear. • Two characters arrive to stand around waiting for Godot? Godot never comes. They keep waiting. • Act II repeats the same action as ACT I. The play ends in the middle; the characters are still waiting. Well defined characters, clear motivations • Seeing him in action allows us to see that Oedipus is kingly, a man of power and accomplishment. He’s kindhearted but rash in his temper, intelligent but irreverent. He’s powerful and determined to use his power to save Thebes, regardless of the personal costs. Character motivation is unclear; actions and dialogue may seem nonsensical or surreal • Didi and Gogo are nobodies, two bums. Why should Godot care about them? Why should we care about them? • They’re trying to save themselves, but why? They don’t do anything “meaningful” while they’re waiting except talk. • They seem like clowns. Their talk is mostly “blather” that doesn’t lead to anything. Plot with causal sequence of events. We can reflect on why things are happening, what the causes and implications are. • Plot is usually considered the central focus of dramatic art. It’s the most contrived thing about drama. Life is not a plot. But in a traditional play, like Oedipus, there’s a clear casual sequence of events, a plot, as in any well-made play. Because “A” happens, “B” happens, which causes “C” to happen… Although you might not see it coming around the bend, the central conflict leads a train of events as inevitable as a railroad track leading straight to a climax and resolution. That’s a good plot. There’s no causal sequence to observe. Things happen without clear causes. • Why are these characters waiting for Godot? Why do they continue to wait? • Why don’t they learn from their experiences? • Who are Pozzo and Lucky and why do they appear? Where are they going? • What effect did their encounter have? The message in a bottle. We expect the traditional play to provide us with the key to its meaning, the solution to the problem, the moral of the story. • Oedipus: Character determines fate. Meaning is subjective and ambiguous. • Godot: ? We’re left wondering exactly what the writer intended it all to mean. • We have to supply the meaning ourselves. Why have these artists, Beckett chief among them, turned away from the traditional drama? • Traditional drama doesn’t reflect the world as they see it. Neatly tied-up resolutions are impossible in our modern world. The world as they see it is an incoherent place— they observe it but barely comprehend it and sometimes despair of its apparent meaninglessness. The theater of the absurd is a kind of a nervous breakdown, if you will. There’s nothing out there. It’s sometimes referred to as nihilistic—it believes in nothing. But if you observe closely, I think you might find Beckett is more existential than nihilist—meaning may not be “out there” but it very definitely is “in here.” The existentialist recognizes the meaninglessness but declares it the responsibility of every human being to make our own meanings—to create meaning. • Traditional drama reflects a world view composed of a rational, well-ordered universe, a comforting system of beliefs (faith in something, someone), a stable scale of values, an ethical system in working condition. These artists have an entirely different world view. Their world is marked by chaos instead of order. The universe is void—nothing to believe in but nothingness, which holds expresses or demands ninherent values, no inherently humane or moral ethical code. There are just people existing, being only for themselves, and sometimes by themselves. Waiting for Godot, like a lot of theater of the absurd, rejects traditional conventions: • Life is not a plot—that’s too contrived, too artificial; life is composed of a series of sometimes connected, sometimes isolated moments, images, exchanges, situations that don’t necessarily lead anywhere • People aren’t heroic; they’re often absurd, which can be tragic and comic (tragicomedy) • Carefully crafted dialogue and “meaningful” speeches are too contrived; language isn’t the wonderful tool we think it is: it can be the source of all our most damaging illusions; and most of the time, we either use it carelessly to say nothing at all or we use it to oppress one another in some way. Only rarely does language help us arrive at truth—and at those times, we are usually frightened away. (Near the end of the play, Didi tries to articulate some kind of truth, but in the end he pulls back—“What have I said?”) Just like poetry can sometimes be dramatic, drama can sometimes be poetic. The art of the theater of the absurd in particular aims for a kind of drama that functions very much like poetry, revealing images rather than telling stories. You will probably remember certain images from this play for a long time: • Lucky on the rope, with his bags, and Pozzo treating him like a beast. • Pozzo’s absurd pompous arrogance. • Didi and Gogo’s absurd waiting, their clownish behavior, their friendship • Didi and Gogo saying at the end of each act. “Let’s go,” and then not moving anywhere… It’s not that these images aren’t meaningful; it’s that they’re ambiguous, and we have to supply the meaning ourselves, which is really true of all literature, isn’t it? It’s just more obvious. So like a lot of good poetry, Waiting for Godot is very ambiguous. Because it is so abstract, it invites viewers to find their own meaning, pursue their own interpretations. It’s a kind of abstract expressionism for the theater. Beckett has tried to strip away all outer contexts, everything external that might help you situate the action and the characters, anything that might give the play an obvious, intended “meaning.” The meaning of this play is what you choose to make of it. Beckett gives you a shape to work with, that’s all. The shape of a place (set). What is this place? A country road, a tree. It could be anywhere. Does it seem “realistic”? Do you need it to be realistic? Does the setting in the film feel like an imaginary world or the real world? Why? How would the play seem different if the set were designed to evoke a specific setting? Say, a bombed out neighborhood in London after WWII, or a contemporary urban street—a deserted lot next to a row of abandoned houses? What if Gogo and Didi were two old men in a suburban park? How does the “Beckett on Film” set color your understanding of the play? Was it anything like you imagined when you read the play? Sound. Did you miss hearing a music soundtrack? What’s the effect of watching a film with no musical soundtrack? • Silences stand out more emphatically • Silence becomes part of the play’s theme • Silence seems to take on a character of its own—an intolerable void, a nothingness the characters desperately try to fill with their chatter. • Although the characters battle the silence, they sometimes fail, and the audience experiences it again and again, which is Beckett’s intention, it seems Lighting. The one lighting effect—day turns rapidly to night. What’s the effect of this rapid change? • Surreal, dreamlike effect amplifies the theme of uncertain time • Night seems caused by Godot’s absence, his failure to arrive as promised Plot. Very nontraditional. The movement is circular and symmetrical rather than linear and progressive. The second act parallels the first. • Is the second act a progression in a subtle way? Is it mere repetition, or is something else revealed? • The dilemma intensifies in Act II: the characters have a harder time passing the time; Gogo is more desperate to leave; Pozzo is more helpless; things are a little more absurd. There’s more absurd rhetoric and more absurd clowning than in the first act. • There’s a kind of climactic crescendo in Pozzo’s parting speech and another in Didi’s brief speech just before Godot’s messenger arrives for the second time. (p.103, 104) Theme. Interpret the meaning of the play individually. هذا الشيء أنا قاعده أذاكر منه هو حلو عن البسورد ثيتر >>> إذا جيت عند الويل ميد حطيتهم لك :mh318: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
http://www.ckfu.org/vb/t211165-539.html
شوفي البيدي أف اللي حاطته ميبي نوت ...حللو ومرتب ... الله يوفقها :love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
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:mh12: مآذآكرت شي لسى بس شسمه وش سالفة الرياليزم و النآتشرلزم . . ؟ أحسسهم يتشآبهوون |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
25 على الميد 10 ريسرتش 5 مشاركه حلوه درجتي حمدالله مراعيه :love080: اقتباس:
اقتباس:
قالت السؤال الاول كوتيشن واحد فقط مافيه تشويس! وبتسأل عن اشياء محدده، ويمكن تطلب مقارنه بين المسرحيتين بالكوتيشن :icon9: والسؤالين الثانيين فيه تشويسز وبيكون بعضها عام ومباشر وبعضها لا قالت يمكن اجيب ستيتمنت لـ ناقد واقول علقوا عليه زي اللي بالميد :(177): قالت اللي فاهم ودارس رح يعرف يجاوب.. مو شي حافظينه وتكتبونه وبس.. goog luck all :106: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
بس الناتشترالزم تعطي صوره دقيقه وصحيحه :wink: اما الريالستك صوره صحيحه لكن معدله شوي:(204): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
بس المشكله وين الشيء اللي ينطبق عليه أنه نيترليزم عرفت واحد بس اللي هو أن الثيمز حقتهم كلها بسيمستك ومواضيعها عن الفقر و اللو كلاس ..فممكن نقول نفس ويتنق فور قودوت :g2: |
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^ فآلكم النججآح إن شآء الله , :106: |
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اقتباس:
Realism shouldn't be confused with its Naturalism. Though the two styles were being developed around the same time, they have some significant differences. Basically, Naturalism was just a lot more hard core about representing everyday life exactly as it is. Naturalist plays wanted to show a slice of life exactly as it is. Characters might talk on and on about nothing in particular and the plays might have no obvious climax – just like most days are for most people. Realism, however, is unafraid to be a little unrealistic. Look at A Doll's House. Sure the characters talk in a generally conversational way, but the plot is obviously and unapologetically contrived. There are melodramatic devices like secret revealing letters. The doorbell rings at convenient times, bringing trouble for Nora. People enter and exit just when Ibsen needs to move on to the next scene and bring on new ideas. This wasn't a bad thing to Ibsen. His goal was to examine ideas, to challenge individuals to really think about their society, not to present photographic reality. A Doll's House is widely considered to be one of the prime examples of realism. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
[QUOTE=M.A.S;5420716]ويتنق فور قودوت ناتشيرلاستيك؟[/QUOTE
أتوقع .. مو شور !!!:g2: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اهمم شي مترك بينهم هو
human condition suffering-change suddely-disease or sicness-:love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بالنسبة لمادة تاريخ اللغة .. منهج الدكتور .. انا نسقته بملف وورد من كتاب اللغويات
ياريت تطلعون عليه وتقولولي اذا فيه شي ناقص والا لا ؟ http://www.7fth.com/ups/download.gif http://www.7fth.com/ups/download.gif http://www.7fth.com/ups/download.gif انا انتساب واطلعت ع المنهجين بالبدايه ذاكرت منهج الدكتورة كم محاضره وبصراحه ماادري انا مع الدكتور والا الدكتورة بس بما ان الاسئله شويس وموحده .. لقيت ان منهج الدكتور اسهل بكثير من الدكتورة فرجعت لمنهج الدكتور ........... بختار بكيفي !!! والله يستر هههههههههه ياريت بعد الاطلاع ع المنهج تفيدوني اذا كان في شي ناقص والا لا بعدين المحاضرات مختصره جدا .. فهل مثلا اسألته بتكون حسب اللي قاله بالمحاضرات نفس الشي باختصار الاجابه مع انو مكتوب عندي انو بالنهائي فيه سؤال ايساي من 10 الى 20 لاينز .. السؤال لو مثلا وحده منهجها الدكتور وجاوبت منهج الدكتوره حتى لو مش معها اصلا بالمنهج بس جاوبت صح .. كده كده ينحسب ليها ؟ .. اممم مستغربه انا :cheese: موفقين يارب |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بالنسبة لمادة تاريخ اللغة .. منهج الدكتور .. انا نسقته بملف وورد من كتاب اللغويات
ياريت تطلعون عليه وتقولولي اذا فيه شي ناقص والا لا ؟ http://www.7fth.com/ups/download.gif http://www.7fth.com/ups/download.gif http://www.7fth.com/ups/download.gif انا انتساب واطلعت ع المنهجين بالبدايه ذاكرت منهج الدكتورة كم محاضره وبصراحه ماادري انا مع الدكتور والا الدكتورة بس بما ان الاسئله شويس وموحده .. لقيت ان منهج الدكتور اسهل بكثير من الدكتورة فرجعت لمنهج الدكتور ........... بختار بكيفي !!! والله يستر هههههههههه ياريت بعد الاطلاع ع المنهج تفيدوني اذا كان في شي ناقص والا لا بعدين المحاضرات مختصره جدا .. فهل مثلا اسألته بتكون حسب اللي قاله بالمحاضرات نفس الشي باختصار الاجابه مع انو مكتوب عندي انو بالنهائي فيه سؤال ايساي من 10 الى 20 لاينز .. السؤال لو مثلا وحده منهجها الدكتور وجاوبت منهج الدكتوره حتى لو مش معها اصلا بالمنهج بس جاوبت صح .. كده كده ينحسب ليها ؟ .. اممم مستغربه انا :cheese: موفقين يارب |
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اقتباس:
هههههههههههههههههههههههههههههههههههههههههههههههههه هه:(269)::(269): للحين ماسكه عمري مانمت الله يستر لانام بالقاعه:bawling: توبه اشرب كافي توبه :41jg: |
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بنات شنقول عن الريليجن لو تسألنا نقارن بين المسرحيتين؟
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
نورا ماعندها clue عن الدين الا من ابوها وزوجها ... وهذا دليل على انهم عاملوها كـ Doll وتحكموا حتى بمعرفتها للدين .
Waiting for Godot من خصائص الـ Theater of absurd ان الشخصيات تؤمن او لا تؤمن بالله .. يعني ماهي متأكده من شي .. فاسترقون وفلادمير مش متأكدين ان Christ هو خلاصهم .. و المسيح متمثل بقدوت .. يعني مش متأكدين ان قدوت بيخلصهم وانا بسأل ... ايش هي مسرحيات برنارد شو الي هي مثال لـ problem play ? |
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اقتباس:
• Mrs. Warren’s Profession • Man and Superman • Major Barbara • Saint Joan • Pygmalion • Heartbreak House |
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بنات ممكن اجابة topic drama of ideas in relation to Bernard Shaw :love080: |
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George Bernard Shaw
In England, George Bernard Shaw who is an Irish-born playwright and critic brought the problem play to its intellectual peak, both with his plays and with their long and witty prefaces. He wrote frankly and satirically on political and social topics such as class, war, feminism, and the Salvation Army. Ibsen had a profound effect on the drama both of his own time and in the twentieth century. His plays stimulated the avant-garde theater in Germany and France, and only the plays of George Bernard Shaw had a greater impact in England His best early plays treat contemporary social issues humorously through the satirical use of love plots and melodrama. Although their content challenges the ruling ideologies of the late Victorian period, their form is often, as Shaw put it, “pleasant.” George Bernard Shaw's "Candida" as a problem play. Is Candida a problem play? yes, 'Candida' is a 'Problem Play'. At its centre lies the problem of love and marriage. Candida, the clergyman Morell's middle-aged and long-married wife, and the 18-year-old poet Eugene Marchbanks grow a relationship ('calf-love'?) between them. The socialist priest and an acclaimed public orator James Mavor Morell gets scared about the relationship because he absolutely depends on Candida in all domestic needs, and if his wife chooses to leave her husband for the sake of her young lover, the outcome would be disastrous. However, at the end, Candida chooses 'the weaker of the two' i.e. Morell. It does not mean that Candida no longer loves the poet; but the poet does not require the services of a devoted wife which Morell desperately requires to promote his public image of an orator and activist. Marchbanks goes out into the dark night with the 'mystery in the poet's heart'. Candida's choice reflects Shaw's insistence on the importance of the practical wisdom. Candida, unlike Nora, is a thoroughly practical minded woman. Though she is not crude like Burgess, she inherits some of her father's utilitarian philosophy. Her final choice of staying with Morell, is not decided by her love for him but the financial and social security of a married life that she is afraid of risking. Shaw's ideas about women play with a vital role in Candida. According to Shaw, a woman is primarily a manifestation of Life Force whose primary function is the biological continuity of the race. Consequently Shaw believes that while choosing a mate, a woman would select the one who would be the best father fro her offsprings, eliminating others. He also deals with the idea of women's emancipation in Candida from an entirely practical point of view. By asserting her will on the two men, Candida converts the patriarchal pattern of the Victorian household setup into a matriarchal one. As a Play of Ideas, Candida is not a pleasant one, the cruel rejection of Marchbanks and the heavy burden of 'mystery' in his soul with which he departs, leaves a sense of bitterness in the minds of the audience. However, the play has a conventional sense of pleasantness in not allowing the institution of marriage to be seriously challenged by love. |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
the drama of ideas in relation to Bernard Shaw George Bernard Shaw is a model to all struggling writers. Throughout his 30s, he wrote five novels – all of them failed. Yet, he did not let that deter him. It was not until 1856, at the age of 38, that his dramatic work made its professional debut. Even then, it took some time before his plays became popular. Although he wrote mostly comedies, Shaw greatly admired the natural realism of Henrik Ibsen. Shaw felt that plays could be used to influence the general population. And since he was filled with ideas, George Bernard Shaw spent the rest of his life writing for the stage, creating over sixty plays. He won a Nobel Prize for Literature for his play The Apple Cart. Also, his cinematic adaptation of Pygmalion earned him an Academy Award. Major Plays: • Mrs. Warren’s Profession • Man and Superman • Major Barbara • Saint Joan • Pygmalion • Heartbreak House Shaw’s most financially successful play was Pygmalion, which was adapted into a popular 1938 motion picture, and then into a Broadway musical smash: My Fair Lady. His plays touch upon a wide variety of social issues: government, oppression, history, war, marriage, women’s rights. It’s hard to say which among his plays are the most profound, but I do humbly offer an annotated list of my five favorite George Bernard Shaw plays. In the 1880s, Shaw began his career as a professional art and music critic. Writing reviews of operas and symphonies eventually led to his new and more satisfying role as a theater critic. His reviews of London’s plays were witty, insightful, and sometimes painful to playwrights, directors, and actors who did not meet Shaw’s high standards. Bernard Shaw is often thought of as the author of plays of ideas or even propaganda plays where the preaching and the laughing are inextricably mixed. However, the actual writing of the plays and the plays themselves are far more complex than either the popular impressions or Bernard Shaw’s explanations would suggest. he created a new type of drama Although Shaw's plays focus on ideas and issues, they are vital and absorbing, enlivened by memorable characterizations, a brilliant command of language, and dazzling wit. Mrs. Warren's Profession (written 1893, produced 1902), a jibe at the Victorian attitude toward prostitution. Arms and the Man (1894), satirizing romantic attitudes toward love and war; In 1897 The Devil's Disciple, a play on the American Revolution, was produced Caesar and Cleopatra (1899), notable for its realistic, humorous portraits of historical figures, Pygmalion (1913), which satirizes the English class system through the story of a cockney girl's transformation into a lady at the hands of a speech professor. It has proved to be Shaw's most successful work— Shaw took hypocrisy as one of his major themes. His best works combined Wilde’s wit and Ibsen’s seriousness of purpose, seeking always to reveal the bogus values of various segments of English society. His best early plays treat contemporary social issues humorously through the satirical use of love plots and melodrama. After the turn of the century, Shaw increasingly built his still rather conventional forms around a conflict of ideas. He frequently attached long prefaces to the printed version of his plays, which were often published before they had been performed; he also took to an extreme the modern tendency to print long narrative stage directions, by which the playwright tries to indicate how the play should be acted. |
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تهقون هذا برنارد مهم ... ما أذكر سميره طرته :24_asmilies-com: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
مها اكدت على ان نذكره بالـ problem play
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ms.2012 & whispers الله يوفقكم ويسهل عليكم :love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات well-made play
نفسس drama of idea |
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يب :biggrin:
نفسها |
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عندي احساس << بدينآآآ:biggrin:
إذا بتجي مقارنه بتكون بين الكوندشن أو االعلاقات احس بيجي ريلزم أو ثيتر اوف ابسورد شخصية بووزو احس جايه جايه :biggrin: |
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اقتباس:
يارب تنجحين ب a+ |
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أبي شي عن السيمبولز بالمسرحيه الثانيه :bawling:
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اقتباس:
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^ +1 :000: |
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Symbols rising of the moon There’s also the issue of the moon, as its appearance in the sky is the real signal that night has come and the men can stop waiting for Godot tree The tree is the only distinct piece of the setting,; Jesus was crucified on a cross, but that cross is sometimes referred to as a "tree," as in, "Jesus was nailed to the tree." That Vladimir and Estragon contemplate hanging themselves from the tree is likely a reference to the crucifixion |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
Naturalism A closer representation to everyday, real life conversation with its thoughts with at times a repetition
Truthful and believeable with a use of silences and pause - this is a naturalistic speech naturalism need not be narrative . Naturalism reflects accurately the surface of life, Naturalism was just a lot more hard core about representing everyday life exactly as it is. Naturalist plays wanted to show a slice of life exactly as it is. Characters might talk on and on about nothing in particular and the plays might have no obvious climax – just like most days are for most people...realism is concerned with the truth of the experience conveyed lead to a call for social change For eight years I've been waiting patiently; I knew, of course, that such things don't happen every day. Then, when this trouble came to me - I thought to myself; Now! Now the wonderful thing will happen! All the time Krogstad's letter was out there in the box, it never occurred to me for a single moment that you'd think of submitting to his conditions. I was absolutely convinced that you'd defy him - that you'd tell him to publish the thing to all the world; and that then Nora's speech (realism) realistic Realism shouldn't be confused with its Naturalism. Though the two styles were being developed around the same time, they have some significant differences. Basically, Realism, however, is unafraid to be a little unrealistic. Look at A Doll's House. Sure the characters talk in a generally conversational way, but the plot is obviously and unapologetically contrived. There are melodramatic devices like secret revealing letters. The doorbell rings at convenient times, bringing trouble for Nora. People enter and exit just when Ibsen needs to move on to the next scene and bring on new ideas. This wasn't a bad thing to Ibsen. His goal was to examine ideas, to challenge individuals to really think about their society, not to present photographic reality. A Doll's House is widely considered to be one of the prime examples of realism جمعت اهم شي في المقارنه الله يوفقناا ياااااااارب :000: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
a “well-made play” calls for a denouement, a resolution which is entirely logical and hence, clear. It is not supposed to have any unsolved issues or loose ends to puzzle the audience. As with a “well-made play”, here all the secrets are revealed, the letter is read, and Torvald forgives Nora. Following the logic of cause and effect, that should be the end of “A Doll’s House”; if it were a “well-made play”. It is here that Ibsen converts this form
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
Analysis of Samuel Beckett's Waiting for Godot
Waiting for Godot is an absurd play by Samuel Beckett. It tells about two tramps (Estragon and Vladimir) who are waiting by a tree for the arrival of Mr. Godot. Estragon and Vladimir through the play have made no progression: waiting for Godot. The play is primarily about hope. It revolves around Vladimir and Estragon and their pitiful wait for hope to arrive. The hopelessness of their lives described by the phrase "Nothing to be done". A direct result of this hopelessness is the daily struggle of how to pass the time. Most of the play tells about their efforts which will help them pass the time. This explains why they stay together. Both Vladimir and Estragon admit to being happier when they apart so the main reason why they continue their relationship is because they need one another to pass the time. Since passing the time is their mutual occupation, they try to find games to help them achieve their goal. As a result, they engage in insulting one another and in asking each other question. Conversation to both is a game to pass the time until Godot comes. There were also times when they consider suicide as another way of escaping their hopelessness. Estragon wants them to hang themselves, but they find it would be too risky. About the language, this play serves the characteristics of absurd play's conversation. The most distinguished characteristic is repetition. We can see many repetitions in this play. These repetitious conversations symbolize the lack of meaning in life. This play is a repetition of circular motions, echoes, actions, and gestures. Estragon: Let's go Vladimir: We can't Estragon: Why not? Vladimir: We're waiting for Godot. This conversation occurs several times in the play. Estragon's requests to leave... |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بلييز ما فهمت ايش البوينت من ويتنق فور قوددوت !!!
احد يقولي عى السريع ايش المقصود فيها؟ ايش الفكره الفلسفيه وراها وانا بعبر من عندي بالاختبار :bawling: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
Estragon is going to be gentle to him. He will to talk to him in a very gentle way and finally after many lines and many silences and stops, they are going to embrace. You see how long it took them to take action which is supposed to have taken place on the first second. It takes all that time for them finally to get to the embracing act. Nothing is spontaneous. Even the embracing act does not pass smoothly. As soon as they embrace he tells him you stink of garlic/ you smell bad/ I do not like to embrace you. And the other says (it is for the kidneys). Again he is diseased. It is comic but the man is suffering. He has physical illness. He is not strong at all. All humans have certain weaknesses. This is what the play is telling us. We are not gods. We are not perfect. We are humans. Then they will be talking about hanging themselves. They repeat the idea of killing themselves
Nora, Torvald, and Dr. Rank each express the belief that a parent is obligated to be honest and upstanding, because a parent’s immorality is passed on to his or her children like a disease. In fact, Dr. Rank does have a disease that is the result of his father’s depravity. Dr. Rank implies that his father’s immorality—his many affairs with women—led him to contract a venereal disease that he passed on to his son, causing Dr. Rank to suffer for his father’s misdeeds. Torvald voices the idea that one’s parents determine one’s moral character when he tells Nora, “Nearly all young criminals had lying -mothers.” He also refuses to allow Nora to interact with their children after he learns of her deceit, for fear that she will corrupt them. هذا تبع الدزيز في الروايتين فيه بعد في الروايه الثانيه اشياء عن الدزيز غير الكدني بس ماعرفت وينها |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
هي كلها نون سينس يعني مالها معنى الفكره الفلسفيه الوحيده الي هي عن الوجود repetition of the suicide existential doubts. There is a certain school of philosophy called existentialism about being existed in this world . Religion is also tied to uncertainty, since there is no way of knowing what is objectively true in the realm of faith |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
الله يوفقكم قلبي معاكم:love080:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اللي عندها ماتيريال عن تالبلاجستيريويس لانقوج تنزلها هنا بليز
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
برجستيريوس:(269):
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنااات الله يسهل عليكم الدراما يا رب!!
بنات ايش فيه المقال مذاكرة وكيف الاسئلة بللليز كل وحده تقول ايش الفوكابس الي بتذاكرها:064: ومشكوورييين مقدمااا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
وآلله للحين مو مصدقه اني خلصت من النقد :71:
. آلله يوفقكم يَ بنآت الدرآمآ آليوم :106: بآلنسبه للمقآل د.هدى بيجي آكسرسآيز .. ومتأكده آنه من ملزمتها الصغننه اللي حلتها ويآنآ كتآبة المقآل .. بتجيب 3 توبيكآت ونختآر وآحد فيها توبيكز دآخليه وخآرجيه عندي لينكآت من قبل آذآ حآبين خذوآ نظره عليها :(269): آنوآع الآيسآيز آلآنترودكشن المنآسبه لكل نوع يهمها الـ Hook Statement جدا جدا جدا جدا .... آلخ ] ! وبعدها بالأهميه آلثيسز .. نجي للبدي برقرافز .. آكثر شي لآحظتنا فيه مش منضبطين فيه من خلال الميد تيرم الـ Organization :icon9: هنا انوآعه وهذا للخاتمه + كلها معروفه بس سوو لها رفرش وخصوصا الـ Conjunctions + Punctuations موجوده بملزمة الميد تيرم الضخمه هالأشياء :(269): Good Luck All :106: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
الدراماا :hhheeeart4:
الييييم |
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