English Drama - reading plays - Essay Example

English Drama - reading plays According to Jacobus, Antigone rose to be a renowned play around the Greek society (26). This is for the reason that, during the early period, there were myths that touched on the various gods (26). This in the play is clearly depicted through the scene comprising of the myth of Oedipus. The relation between the various gods among the Greek society is portrayed in the play, where the son of King Laius shows the tragedy that occurred in the time within the royal family (26).

Child abandonment revealed in the play was a veritable teaching to the people of Greece since, at that time, many of the servants working for the rich were not to bear children so as to remain loyal to the king and the gods (26). Jacobus indicates that this teaching can be understood through the character of the abandoned child who receives help from the shepherd (26). The play comes as a lesson to the people living around at that period in terms of what the future holds for the people. After Oedipus discovers that Polybus is not the biological father, Oedipus is dedicated to investigate who the real father is, but without success (27).

Soon on his way, Oedipus meets with the father under weird circumstances at the time when their chariots collided (27). As a result of Oedipus’ pride, he kills Laius who happens to be the real father. Enders states that this comes as a lesson to the people since, during the time, there were prophesies relating to the incident (28). These imply that prophesies were not only correct, but also were fulfilled. The medieval audience faces almost similar lessons from the plays Everyman and Shepherds.

The plays focus on the fall of the Western Roman Empire and the shifting of Roman power to Constantinople and the Roman Empire of the Eastern. The plays brought out lessons to the people ranging from the result of war and poor leadership. This is in various scenes showing pantomime, mimes and through the dances (Enders 29). Considering The Tempest and A Midsummer Night’s Dream, subplots are in use so as to crystallize the commentary (30). This aids in making clear the connotations of the various aspects that are covered in the plays.

The Tempest, for example, uses subplots to shape up the commentary on the meaning of a civilized man. In the plays, the subplots help to catch the attention of the audience by providing more emphasis on a character so as to link a certain theme brought out in the play. The subplots focus on one perspective at a time and ensure that the audience can follow through the play without getting mislaid. Shakespeare, in his play, uses subplots to remind the audience of the two characters scheme against Prospero, who is also a character in the play (32).

In the two plays, subplots help to give a deeper emphasis on the characters ranging from being imprudent and power-hungry. These aspects act as stress points and help to draw the attention of the audience towards the moral of the play. Since the plays are aimed at giving lessons to the audience, the two use subplots as pointers to the audience on the extents persons will go so as to acquire power. In the view point of Enders, these demonstrations are beneficial since they feature the livelihood of the people during the time (32).

During the Restoration period, the role of women begins to unfold in the theatres (33). In western drama, the character of women is downscaled, since women did not have actual roles in leadership positions. These women were not regarded as significant in the plays. In such plays, that is, Greek, the role of women clearly indicates oppression and fear as evident in paintings (33). Over the years, the female character was necessary since the world was getting revolutionized in terms of women taking up leadership positions (34).

Considering The Rover, it was necessary to change the dynamics of the stage where theater, which provided restoration, was a privilege for the courtly and aristocratic audiences. The roles became more inclined on women since the play demonstrated anti-puritan, which mostly constituted of women especially those of the middle-class subjects (35). From the play frivolity, nationalism, comedy of manner and sex can be proven, and are more appealing when depicted by women. In the Greek, there is little spectacle on the stage (35).

With the continued growth of spectacle on the stage, there are word fights, costume, disguise and baroque word play as seen in The Rover (36).This aspect requires that actual word ‘play’ be audible, which is depicted in the play when women play the role other than letting the female character be disguised. Jacobus argues that, as a result of these changes, the female character remains supreme and requires actual women to play these roles (37). Works Cited Enders, Jody. The Medieval Theater of Cruelty: Rhetoric, Memory, Violence.

Ithaca, N.Y.; London: Cornell University Press, 2002. Print. Jacobus, Lee. The Bedford Introduction to Drama. 6th Ed. Bedford/St Martins, 2009. Print.