The dramatic impact of Scene One in the Glass Menagerie Essay Example For Students

The dramatic impact of Scene One in the Glass Menagerie Essay Tennessee Williams uses a vary of dramatic techniques in Scene One, to encourage the audience to engage in what is truly behind this spectacular play. He uses mood music, lighting, symbolism, language and gesture, contrast in characters and also a screen device. These are very visual to the audience and help them understand what is going on in certain scenes and important moments. The audience see a change in Toms role at the beginning of the play. Williams uses him as a character and also the narrator of the play. He transfers us from real-time back into his memory of the past events and a good director would choose to do this smoothly in order to give maximum effect. All these techniques that Williams uses form a plastic theatre, which emphasizes the exaggerated props used on the stage. The first dramatic impact the audience receive from the opening scene is the fact that the play starts at the end. Tom has left the household and has become a merchant sailor. Even though he has achieved the life he has wanted, he still has that emotional attachment to the past and to Laura. We will write a custom essay on The dramatic impact of Scene One in the Glass Menagerie specifically for you for only $16.38 $13.9/page Order now The play demonstrates the unhappiness that Tom is feeling and how hard it is for him to let go of the past events. The stage directions in The Glass Menagerie give the audience a focus on what detail the play has. It helps them imagine what the setting would be truly like in real life. It also allows the director of the play to set the stage and give the play the proper feel that Williams intended. The dark alleys mentioned in the stage directions give the setting a claustrophobic environment. This relates to Laura and how she feels outside the apartment. She does not like being in crowds and is very shy. The director of the play may set the stage as having the dark alleys surrounding the apartment, to make it look as if it is closing in on the family, heightening all the tension and locking the anger and frustration in. The overall impression of the stage will be highly effective if the director uses the stage directions in the right manner and concentrates on the important symbolic props, such as Lauras glass collection. Williams also uses music to enhance the dramatic impact of the play at important points. It emphasizes the moods and feelings of the characters when they are acting and it lets the audience begin to feel themselves what the characters must be feeling. The characters themselves do not hear the music, only the audience does so Williams brings in the music from outside the play and not from within it. In Scene One, the piece The Glass Menagerie was specifically written for this play and it heightens the emotion at the end of the scene when Lauras character becomes the subject of that moment. The audience engage in the emotion with her and it shows that Laura has a delicate and fragile character and her vulnerability, which will be shown more clearly during the play. Even the title of the music piece itself, The Glass Menagerie suggests it is fragile and has an important meaning to the play. In the interior setting, effective lighting is used to also emphasize certain emotions during a scene. In scene one, the lighting is dim, reflecting Toms memory. He is remembering the past, which is not a happy one and so bright lighting would not be suitable for this effect. Referring to the stage directions, the lighting is not realistic. This gives the play a slightly surreal feel, as it is in Toms memory, which he exaggerates slightly. At the end of scene one, a shaft of very clear light is thrown on face. This underlines the fact that she cannot cope with her mothers attitude towards her and the gentlemen callers. Laura feels pressurised, leaving an even more distressed character showing. By placing spotlights on the characters at certain times, it expresses their thoughts better and it wants the audience to focus on that character. .ud7473172f1ce4432fcde193b7e6af7c1 , .ud7473172f1ce4432fcde193b7e6af7c1 .postImageUrl , .ud7473172f1ce4432fcde193b7e6af7c1 .centered-text-area { min-height: 80px; position: relative; } .ud7473172f1ce4432fcde193b7e6af7c1 , .ud7473172f1ce4432fcde193b7e6af7c1:hover , .ud7473172f1ce4432fcde193b7e6af7c1:visited , .ud7473172f1ce4432fcde193b7e6af7c1:active { border:0!important; } .ud7473172f1ce4432fcde193b7e6af7c1 .clearfix:after { content: ""; display: table; clear: both; } .ud7473172f1ce4432fcde193b7e6af7c1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud7473172f1ce4432fcde193b7e6af7c1:active , .ud7473172f1ce4432fcde193b7e6af7c1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud7473172f1ce4432fcde193b7e6af7c1 .centered-text-area { width: 100%; position: relative ; } .ud7473172f1ce4432fcde193b7e6af7c1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud7473172f1ce4432fcde193b7e6af7c1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud7473172f1ce4432fcde193b7e6af7c1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud7473172f1ce4432fcde193b7e6af7c1:hover .ctaButton { background-color: #34495E!important; } .ud7473172f1ce4432fcde193b7e6af7c1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud7473172f1ce4432fcde193b7e6af7c1 .ud7473172f1ce4432fcde193b7e6af7c1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud7473172f1ce4432fcde193b7e6af7c1:after { content: ""; display: block; clear: both; } READ: The Taming of the Shrew Essay PaperIn scene one, but also throughout the play, there are several symbolisms. These include objects, colours and also characters. One of the main symbolic props is the fire escape. It expresses the fact that Tom wants to leave the apartment and live his own free life away from Amanda and her tormenting ways. He feels restricted in the confined space and at that present time, the only escape he really has is the fire escape balcony to their apartment, where he regularly goes out to smoke a cigarette. When we see him here, it creates the impact that he is anticipating his escape from the apartment. On the other hand, the fire escape shows that Laura wants to escape into the apartment. She does not enjoy being in crowds because she is shy and over-exaggerates her slight limp. It relates to her collection and shows that it is her only escape. She turns away from the outside world, as at the end of scene one, she believes that she is going to be an old maid. Amanda also tries to re-create the past in scene one. She talks about her gentlemen callers and how Laura will receive them too, but Laura is convinced she will receive none. We see Amandas Southern-living style as she is already preparing for a gentleman caller. One of the most symbolic pieces of prop there is on the stage is the picture of their father. The director may wish to heighten the importance of it by making it large scale compared to the rest of the stage props. In the Toms soliloquy, he says, There is a fifth character in the play who doesnt appear except in this larger-than-life size photograph. Toms tone here is cynical and he also includes a pun to make the fact of his father leaving more comical for the audience. The size of the picture expresses to the audience how big a part he played in the families lives and how they have been left with a saddened memory of him, filled with anger. Amanda, in scene one, says, But I picked your father! This affects Laura and we then know it is a sore point to touch on. When Amanda says this, Laura rises and begins clearing the table, making it obvious that she wishes not to talk about the subject. Later in the play, we see how the dramatic impact of the father abandoning them has when Tom also leaves. The audience also get a dramatic impact when they see the language used by Tom and the other characters. In Toms soliloquy at the beginning of scene one, he describes himself as the opposite of a stage magician. He paints a picture for the audience to set the tone of the play. It is a memory play, so Tom has to use different to contrast between memory and real-time. There is a big contrast between Toms language and Amandas. Tom sees the real world and tends to be sarcastic towards Amanda. He says at the table in scene one, Its you that makes me rush through meals with your hawk-like attention to every bite I take. He is not afraid to show what he feels towards his mother, even though he loves her dearly. Whereas, Amandas language tends to be fantasised and exaggerated in her own little world. An example of this is when Amanda is talking about her gentlemen callers: -seventeen! Gentlemen callers! Why, sometimes there werent chairs enough to accommodate them all. By Amanda expressing this, it makes Laura feel even more insecure about herself and it is Amanda, who I think, is driving Laura to this shyness and low self esteem. Lauras language is very different to Tom and Amandas. .ufb08ab593e8f88a0f2082180e6ea9b22 , .ufb08ab593e8f88a0f2082180e6ea9b22 .postImageUrl , .ufb08ab593e8f88a0f2082180e6ea9b22 .centered-text-area { min-height: 80px; position: relative; } .ufb08ab593e8f88a0f2082180e6ea9b22 , .ufb08ab593e8f88a0f2082180e6ea9b22:hover , .ufb08ab593e8f88a0f2082180e6ea9b22:visited , .ufb08ab593e8f88a0f2082180e6ea9b22:active { border:0!important; } .ufb08ab593e8f88a0f2082180e6ea9b22 .clearfix:after { content: ""; display: table; clear: both; } .ufb08ab593e8f88a0f2082180e6ea9b22 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufb08ab593e8f88a0f2082180e6ea9b22:active , .ufb08ab593e8f88a0f2082180e6ea9b22:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufb08ab593e8f88a0f2082180e6ea9b22 .centered-text-area { width: 100%; position: relative ; } .ufb08ab593e8f88a0f2082180e6ea9b22 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufb08ab593e8f88a0f2082180e6ea9b22 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufb08ab593e8f88a0f2082180e6ea9b22 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufb08ab593e8f88a0f2082180e6ea9b22:hover .ctaButton { background-color: #34495E!important; } .ufb08ab593e8f88a0f2082180e6ea9b22 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufb08ab593e8f88a0f2082180e6ea9b22 .ufb08ab593e8f88a0f2082180e6ea9b22-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufb08ab593e8f88a0f2082180e6ea9b22:after { content: ""; display: block; clear: both; } READ: A Modest Proposal Essay IdeasIn the first scene, the audience see that Laura does not say very much and likes to keep out of the light. We can sense her nervousness and her gestures suggest her low confidence even in her own home. There is a strong contrast between all three characters behaviour. In scene one, at the table, there is tension between Amanda and Tom, which highlights their unique characters and beliefs. Laura has a very shy character contrast to the others and during the first scene, she says very little. When Tom and Amanda argue, we see Laura get slightly uncomfortable and frightened of confrontation. We see her as the person in the middle of arguments as she does not know which way to go and does not want the family splitting up even more. We also see her in this scene get uneasy when the father is mentioned. This triggers the audience to believe that she is still trying to get over the fact that he left them and how big the emotional scar is that was left. A screen device is also included in the stage directions of the play. This has several good dramatic impacts to the play. In scene one, we see the unique effect it has on how the audience can interpret the characters emotions and how it all relates to the past. This comes from a 15th century poet and it praises beautiful women. The title means Where are the snows of yesteryear? and it reminds the audience of Amandas younger past. Overall, the first scene of The Glass Menagerie has a good dramatic base and sets a good tone for the rest of the play. We get a sound viewing of each of the characters and how they behave, and also the audience get some background knowledge prior to actual acting of Toms memory. With this, the audience can then settle into the play well and understand what is happening at certain points.

The Toad Essays - Management, Organizational Structure, System

The Toad Military Organizational Structure Organization involves a intentional formalized structure of roles. People working together towards a common goal, but in specialized areas. The overall effectiveness of any particular association is directly proportional to the functioning of its members. As a firm increases in size the participants lose sight of the concept of teamwork. To maintain the competitive edge a corporation must remain flexible. To this end, varying styles of organizational structure have been implemented. Much of this framework is determined by the business type, goals to be achieved, and even the sociological level of advancement. Our armed forces today reflect this philosophy. Traditionally the military has used a rigid organizational structure. A well defined chain of command is used to delegate responsibilities, even to this day. Divisionalization structure was a common style to maintain a self-contained support and service center. As pointed out by Dessler, this style requires more managers with general management abilities (401). Most subordinate's job is to follow instructions from the higher level (Adams 102). This behavior has been reinforced by a high level of discipline, required for battlefield operations. As technology has redefined combat operations, so has the organizational and management style changed. The military organization today is based upon a geographic departmentalization structure. A specific section is tasked to go into a special area first should the need arise. This metamorphosis is a requirement due to the reduced number of personnel and the need for quick worldwide responsiveness. These numbers alone are not sufficient for adequate results in reaction to many needed operations. To make up for the lack of qualified people, the reserve forces are part of the new reactionary force. In any contingency worldwide these assets may be called up with short notice for global engagement. National Guard personnel serve under the command authority of their respective state or territorial governors until mobilized for a federal mission. This unique status does involve some creative managerial solutions. As a National Guard member I have noticed a uncommon organizational structure utilized. In some ways my unit is organized as a network system. The network is comprised of formal and informal structures. Work has been divided among varies specialized shops centering around maintaining expertise in that one area. Other aspects of the unit show a matrix structure to be present. The fact I have more than one supervisor, as in a project and functional manager illustrate (Wheelen and Hunger 231). This is manifested by the emphasis that work is important not the formal structure surrounding it (Nohria and Eccles 193). A result of multitasking requirements and a limited amount of resources available to non-federal units. But overall, at least upon the surface a functional organizational structure is present. A boundaryless organizational design is an interesting concept. However not practical in the military work environment. In my shop alone there are individuals who need to know who is in charge, or they would be nonproductive. A formal, functional structure, or at least be able to work within one must be maintained. Being accustomed to this style makes the transition of working with our active duty counterparts much easier. Yet our informal network based, matrix style organization is focused upon completing the mission with all our resources, not solely upon described duty roles. The military organizational structure has evolved greatly in the last two decades for the better. And they will do better to incorporate successful National Guard techniques. Any established group that is planning to endure and succeed today must remain flexible. Works Cited Adams, J. L. Conceptual Blockbusting. San Francisco,: W. H. Freeman Co., 1974 Dessler, G. Management: Leading people and organizations in the 21st century. Upper Saddle River, N J: Prentice Hall, 1998 Nohria, Nitin and Robert G. Eccles. Networks and Organizations: Structure, Form, and Action. Boston: Harvard Business School Press, 1992. Wheelen, Thomas L. and David J. Hunger. Strategic Management: and Business Policy. 6th ed. New York: Addison-Wesley, 1998 Bibliography Works Cited Adams, J. L. Conceptual Blockbusting. San Francisco,: W. H. Freeman Co., 1974 Dessler, G. Management: Leading people and organizations in the 21st century. Upper Saddle River, N J: Prentice Hall, 1998 Nohria, Nitin and Robert G. Eccles. Networks and Organizations: Structure, Form, and Action. Boston: Harvard Business School Press, 1992. Wheelen, Thomas L. and David J. Hunger. Strategic Management: and Business Policy.