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How does the introduction of themes and ideas in the exploration of Making History(TM) help in the character development of Hugh O(TM)Neill and Harry Hoveden?

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How does the introduction of themes and ideas in the exploration of 'Making History' help in the character development of the characters? When directing a performance crucial aims need to be rationalised before actually displaying the play to a target audience. Things like the development of characters and the thesis and notions which shape the ambience of each scene and the characters themselves. This would generate a potential 'identity' for the characters, therefore exhibiting a high quality performance. In this essay I will take a section of act one scene one of Brian Friel's 'Making History' and explore the influence of the themes and concepts on the characters. In the play there are numerous themes that relate to the historical context of Ireland. These are significant as the audience can make a connection to the characters, referencing to the past and how they demonstrate their 'identity' through their body language and words. Brian Friel has used a selection of themes to create his adaptation; religion being one of them. He reveals two types of conflict presented in the play which are external and internal conflict between Catholicism and Protestantism. ...read more.


This process of continual conflict produces change and shapes historical events. You could perhaps state that O'Neill possesses a series of 'bi-polar'. Despite the inevitable propulsion towards war, the private O'Neill with his complexities refuses to be swept away by the simplistic nature of these opposing forces which create a pivotal moment for the audience. If you were to direct O'Neill's characteristics through his internal conflicts you would have to think about his overall perception. He ought to have ostentatious body expressions to create a sense of humour as it illustrates the contrast between him and Harry, a composed and sharp secretary of O'Neill. Friel demythologizes and humanizes the popular image of O'Neill being "the patriot, the lecher and the schemer etc". Another theme used is the creation of status and power between the characters. If we look at O'Neill he appears a fairly authoritive because throughout the play his status and power varies, for example when he brings home his new bride, Mabel he has patriarchal powering bringing her to his dwelling as well as power over Sir Henry Bagenal, because of the marriage to Henry's sister, however Henry balances that by threatening to bring a charge of abduction on O'Neill. ...read more.


Harry should be monotone, he is the informer so when he states that the "Devlins' and Quinn's are at each others throats" an entire quantity of information to do with the external conflicts in Ireland tells us that Harry is the one who knows everything, and he may perhaps be the one that assists Hugh in his deeds. Stanislavski was a drama practitioner, who created 'the system' to encourage actors to create real portrayals of characters by looking at key factors of the character's lives. Stanislavski would generally concentrate on the themes and concepts of the characters as they begin to develop. From this he would begin to 'shape their identity' through realism. By researching Konstatin Stanislavski the actors involved should be able to use various facial and body expressions their characters. They could also use a form of 'emotive memory', developed by Stanislavski to help actors become more emotional and a sense of hysteria. If Friel wanted to create a realistic scene he would probably used Stanislaski's system so he could focus 'in the box' unlike the dramatic directions of brechtian theatre. ?? ?? ?? ?? Hel´┐Żna Collins O' Connor Monday, 24 November 2008 12BW ...read more.

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