Form and Structure in Cat on a Hot Tin Roof
Form and Structure in Cat on a Hot Tin Roof
Structure- Cat on a hot tin roof isn't a very structured play, in this traditional sense. A normal play has scenes, which divided up acts, but since there's usually so much commotion on stage they would be pointless. If you have to analyse it, it probably would be easier to break the acts down. It has acts, but the only other way it can be divided up is by when people enter an act. Another way the play can be divided is by getting the act's and dividing them into three. There is continuous action most of the time, however there are some pauses put in deliberately. The continuous action's probably the best way and only way to compare it to a normal family. It shows that the family, like most real-life families never stop fighting, playing, and being around each other's usually a pain. The best place to compare the action is at the beginning of the two different act three's. The original act three is more relaxed, there's a lot less panic about the conversation. Now look at the Broadway version. . There's more shouting more rushing around; the conversation's fast, as they're all looking for Big Mama. The most important way to show that there's continuous action is that there are no scenes. There are no cuts in acts. There's always something going on on the stage. There's lots of action. Violent action, loving action, sexual action, and Williams has made different characters react differently, as if they were people.
In terms of Juxtaposition there's a combination of characters, emotions, meaning's and themes. There's a contrast of acts and what they bring to the play. Act One shows the differences between the three couples, and what Mae and Gooper's real intentions are. It introduces all the main characters and focus's particularly on Maggie and Bricks relationship showing all the cracks early on. It is also when Skipper is first mentioned and where Brick's drinking problem first shows. Against the indifferent Brick Maggie's seems a frantic mad woman and Williams emphasizes Maggie's feminity throughout act one. She's the character that keeps the structure of act one stable. Williams changes her from a sex symbol to a frantic cat, and maybe this is what he meant to hold act one together. Williams makes the audience fixated with her. Act one shows another familiar role in the play-lies. We've heard from Maggie that Big Daddy is dying from cancer-but then Big Mama walks in and yells that her husbands only got a spastic colon "Nothin' a-tall's wrong with him but some little functional thing called a spastic colon". It seems the unnatural order of things that the man and his wife shouldn't know about the illness, but their son and his wife do. Williams aims to interrupt Maggie and Brick as many times as possible. The other structure of act one, or indeed the play is love triangles. The one of Brick, Maggie, and Skipper, and the One of Big Daddy, Brick, and differing characters.
Structure- Cat on a hot tin roof isn't a very structured play, in this traditional sense. A normal play has scenes, which divided up acts, but since there's usually so much commotion on stage they would be pointless. If you have to analyse it, it probably would be easier to break the acts down. It has acts, but the only other way it can be divided up is by when people enter an act. Another way the play can be divided is by getting the act's and dividing them into three. There is continuous action most of the time, however there are some pauses put in deliberately. The continuous action's probably the best way and only way to compare it to a normal family. It shows that the family, like most real-life families never stop fighting, playing, and being around each other's usually a pain. The best place to compare the action is at the beginning of the two different act three's. The original act three is more relaxed, there's a lot less panic about the conversation. Now look at the Broadway version. . There's more shouting more rushing around; the conversation's fast, as they're all looking for Big Mama. The most important way to show that there's continuous action is that there are no scenes. There are no cuts in acts. There's always something going on on the stage. There's lots of action. Violent action, loving action, sexual action, and Williams has made different characters react differently, as if they were people.
In terms of Juxtaposition there's a combination of characters, emotions, meaning's and themes. There's a contrast of acts and what they bring to the play. Act One shows the differences between the three couples, and what Mae and Gooper's real intentions are. It introduces all the main characters and focus's particularly on Maggie and Bricks relationship showing all the cracks early on. It is also when Skipper is first mentioned and where Brick's drinking problem first shows. Against the indifferent Brick Maggie's seems a frantic mad woman and Williams emphasizes Maggie's feminity throughout act one. She's the character that keeps the structure of act one stable. Williams changes her from a sex symbol to a frantic cat, and maybe this is what he meant to hold act one together. Williams makes the audience fixated with her. Act one shows another familiar role in the play-lies. We've heard from Maggie that Big Daddy is dying from cancer-but then Big Mama walks in and yells that her husbands only got a spastic colon "Nothin' a-tall's wrong with him but some little functional thing called a spastic colon". It seems the unnatural order of things that the man and his wife shouldn't know about the illness, but their son and his wife do. Williams aims to interrupt Maggie and Brick as many times as possible. The other structure of act one, or indeed the play is love triangles. The one of Brick, Maggie, and Skipper, and the One of Big Daddy, Brick, and differing characters.
