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DRAMATIC DIFFERENCES IN TWO PLAYS.   Term Paper ID:30366 Click to get this paper

Essay Subject: Analysis of Ibsen's HEDDA GABLER and Pirandello's SIX CHARACTERS IN SEARCH OF AN AUTHOR.... More...

7 Pages / 1575 Words 2 sources, 2 Citations, APA Format $28.00 Return to List of Papers

Paper Abstract: Analysis of Ibsen's HEDDA GABLER and Pirandello's SIX CHARACTERS IN SEARCH OF AN AUTHOR. Depictions of society and of the world. The power struggle. Destiny and manipulation. Potential and form. Struggle for social status and financial security in HEDDA GABLER. Struggle between what is real and what is not in Pirandello's play. Paper Introduction: Ibsen's play Hedda Gabler and Pirandello's play Six Characters in Search of an Author present several profound dramatic differences. Ibsen wrote his plays while a sojourner in Italy, although he was Norwegian. Pirandello was Sicilian born and emphasized his Italian nativity through his first creative efforts. While Ibsen's themes deal a lot with the moralistic faults of modern society, Pirandello's themes of tragedy and disillusionment expose his own personal trials and tribulations. What we shall deal with here in comparing these plays, is contrasting the following items: Hedda Gabler's realistic depiction of society, with strong class differences between aristocracy and bourgeois worlds while "Six Characters" chooses to sketch a picture of conflict between the world of Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. They are encased within theseforms, imprisoned by them to the action they were imagined for. Like one's bouquet, the day after a ball... I have not. The Hedda play is concerned with the making and unmaking of the human world. But for themselves, they do not exist, they aren't any more. I want, for once in my life, to have power over a human being's fate.MRS ELVSTED. Dee, c1992.Pirandello, Luigi. . He, like the mother who facescertain sorrow, are forced to play their roles as written for them. An object ... that would have something fascinating about it? In Hedda, the power struggle is created when Hedda cannot control circumstances and fate in her own life, so she pursues the illusion of the control of the fate of another by stealing Eljert's manuscript and turning him back to drink. Ibsenwrote his plays while a sojourner in Italy, although he was Norwegian.Pirandello was Sicilian born and emphasized his Italian nativity throughhis first creative efforts. [Throwing her arms passionately round her.] I think I shall burn your hair off, after all. No. In Six Characters, a struggle of power is created when the characters cannot perceive the actors' performances as 'real' enough. Your task is made much easier by the fact that we are all here alive before you . Potential vs. The eternal moment! Although they appear solid outwardly, this bourgeoisie class isfragile and vulnerable to both loss of wealth and accompanying loss ofstatus. They cling to me to keep up my torment actual and vivid for me. Six Characters is motivated by the existence of being without a reason for being, a paradoxical torment. I live and feel every minute of my torture. I seem to smell lavender and dried roses in all the rooms. BRACK [laughing]. . And all the time, it seems, you weren't interested in the least? That led to our engagement and marriage and wedding trip and everything. You're an old hand, you know.The Father. She is constantly manipulating other characters into believingthey are in control of themselves, when she is in fact controlling theiractions. The actors in Six Characters, on the other hand, are seeking anotherauthor to create their story to give them meaning beyond their existencereminiscent of the way human beings might seek a Higher Power outside ofthemselves to give definition to their lives.The Manager. What? Ah, if you could only realise how poor I am. Heaven knows, I wasn't. She [Indicating the STEP-DAUGHTER.] is here to catch me, fix me, and hold me eternally in the stocks for that one fleeting and shameful moment of my life. And you sir, cannot either fairly spare me it. While Hedda has the potential to create a future for herself outsideof the ghosts of her past, a future with Tesman and possibly a child, shedecides to end her life and desecrate the very thing she could havecreated. I say born for the stage, because . You will understand, sir, born as we are for the stage . It happens all the time. No, I should think it's more likely the late Mrs Falk bequeathed it to you! You've got a nerve though, I must say, to come here and fling it at me like this . There are two distinct sets of people within theplay, the 'real' actors and the 'imaginary' characters. This is delightful! The very first Act of the playintroduces us to a study of the life-worlds of Hedda and her husband Tesmanthrough their relationships with a vast array of environmental objects -the portrait of Hedda's father and his pair of pistols being the mostdramatically significant. Well, well, that will do. HEDDA. Because I have never been an author: that's why.The Father. 3. BRACK. HEDDA. . .The Manager. You must be the author.The Manager. In Hedda, the characters are representatives of specific classes andmirror images to the reality of upper and middle European bourgeoisie inlate nineteenth century Europe. In theplay's final moments, the drama attempts to blur the line between realityand fiction leaving the manager and the actors unsure of the very thingthey just witnessed whether it was reality or acting. My friend you can't imagine how horribly bored I'm going to be out here. Why not?The Manager. Then why not turn author now? And here you are, offered such riches! And in my own case, passion itself, as usually happens, becomes a trifle theatrical when it is exalted.The Manager. Oh, nonsense. . When Hedda dies by suicide, we are moved at how to judge her for heract. . Hedda Gabler's realistic depiction of society, with strong class differences between aristocracy and bourgeois worlds while "Six Characters" chooses to sketch a picture of conflict between the world of reality and perception. In Hedda Gabler, death is the tragically beautiful and successful end to a disappointed life. Yet,despite her poverty, Hedda still considers herself a member of the upperbourgeoisie, even to the point of feeling she married beneath her class andthat creates hat she despises within herself. It's taking place now. The power struggle. As one make's one's bed one must lie on it, I was going to say. They willnot only change identities, but they will grow old, changing appearancebefore finally dying. Theywill always remain the same. We cannot just yell cut and begin again, yet when thefinal curtain is drawn upon our life, the characters will come to the frontagain. Preferably, of course. . What are you talking about?The Father. How unrealistic are human beings when contrasted to the characters ofthe imagination. ...You see, it was through this passion for the villa of the late Mrs Falk that Jørgen Tesman and I found our way to an understanding. We will not. Six Characters then deals with the immutable relationship of realityfor the characters. Yes, you, you! I never have had.MRS ELVSTED. BRACK. The actors, however, will change. Manipulation. They are consistently torn between life versus formwhere, in actuality, they are the form. Six Characters, on the other hand, explores the struggle between whatis real and what is not. She can't give it up! R E F E R E N C E SIbsen, Henrik. What better way to show her ultimate state ofcontrol than by having her appear to lack the control to continue living? No. Except for Brack, whom she comes to resent for his control ofher.HEDDA... In fact, it was bothin one dimension, because for the characters, it was reality while for theactors, it was acting and can be recreated again. Ideals that had appeared certain in the 19th Centurycould no longer be trusted. I could give you the address of an author if you like . Etext http://www.mvnc.edu:443/nzr/faculty/trearick/english/rearick/readings /manuscri/six_characters/six_characters_whole_play.htm You don't want any special qualities. But haven't you got that?HEDDA. .The Manager. In Six Characters, death is the destiny of the actors, more proof of their unreality. Shecontinues mental games with them appearing mentally superior when they failto comprehend her dissatisfaction. All the characters within the play Hedda are on the verge of povertyexcept for Brack. This is a verysolid depiction of the fragmentation created around the rise of thetwentieth century. Now that we have made it more or less comfortable for you? HEDDA. Ibsen's play Hedda Gabler and Pirandello's play Six Characters inSearch of an Author present several profound dramatic differences. HEDDA. Chicago: I.R. Destiny vs. My torment isn't a pretended one. His aunts have mortgaged themselves to help him buy hishouse. It reminds one of the departed, all right. That would be worth having wouldn't it? Tesman's finances are in a state ofthreat dependent upon his receipt of the professorship he has worked sohard to achieve. It won't do.The Father. .The Father. (HG, pp 3 4-5) Thea risks social status and financial security when she chooses toleave her husband and follow Ejlert. What they play out is infuriating to the characterssince it appears 'unreal'. Form. Lord knows what kind of an object it could be... Six Characters in Search of an Author. . Yet, nothing that is performed on the stage can bereal. Well, well. She is consistently dissatisfied with the materialistic expense atwhich Tesman and his aunts will attempt to please her tastes. We are apprised of Hedda's private world, onethat suggests she is riddled by a ghost-filled past and not creating aforeseeable future. Well, but now? And she [Indicating the STEP-DAUGHTER.] has run away, she has left me, and is lost. English Title: Hedda Gabler / Henrik Ibsen ; in a new translation by Nicholas Rudall. Within this specific play, charactersHedda and Ejlert have experienced loss of status. The theory of relativity suggested that whatone could measurably observe was a direct function of where one was whileobserving it and the Uncertainty Principle presented the even moredisturbing thought process that the very act of observation distorted thething being observed. But won't there be some object or other in life for you to work for, like other people, Madam Hedda? No sir, no. This is most distinctive when the sontries to escape from his particular form but is unable to because he isrestricted to the space of the stage. They can't speak any more. Everybody does it. Look here! . But you see, without an author . Not over your husband's?HEDDA. Hedda and Thea have married for money as admitted to inthe following exchange between Hedda and Brack: HEDDA. If I now see her here before me, it is only to renew for me the tortures I have suffered for her too.The Father. Oh! . What weshall deal with here in comparing these plays, is contrasting the followingitems: 1. They areunable to step out of what they are. .The Manager. While Ibsen's themes deal a lot with themoralistic faults of modern society, Pirandello's themes of tragedy anddisillusionment expose his own personal trials and tribulations. BRACK. Are you amateur actors then?The Father. 2. Those two children there -- have you heard them speak? No, no. .The Father. Pirandello's paradox. (HG, p.324) Her stealing of Ejlert's manuscript leading to his eventual suicideand then her burning of the manuscript leading to Tesman's mistaken beliefin her strong love for him pull back the curtain further on this devious,spiteful, controlling woman. One fundamental difference between the two setsand what could be considered a fact in favor of the reality of thecharacters over the actors is that the characters are unchangeable. The upper bourgeoisie practiced extremely restricted social customsand all their wealth was inherited. The characters, in a real sense, can never die andare representative of the eternal. Hedda Gabler. BRACK. The characters depict this through the eternal sorrow of the motherand the eternal remorse of the father.[The MOTHER, who watches the progress of the scene with The SON and theother two children who cling to her, is on thorns; and follows with varyingexpressions of sorrow, indignation, anxiety, and horror the words andactions of the other two. HEDDA. From time to time SHE hides her face in her handsand sobs.]The Mother. We act that rôle for which we have been cast, that rôle which we are given in life. I? Hedda has lost her moneywhile Ejlert has destroyed his social reputation and experienced a loss ofmoney by his own hand through drinking and unacceptable behavior. But perhaps Aunt Julle brought the smell with her. Hedda, Brack and Ejlert are all from theupper bourgeoisie while all other characters are from the lower bourgeoisieclass. When you see us live our drama . These two particular thought processes play heavily within SixCharacters as the actors observe the characters and then play back whatthey have 'observed'. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.