In this I am going to show how important Act 3 Scene 1 is to the play as a whole and how it acts as a turning point. The play is about two families that are alike in class but hate each other.
He was then briefly held in Warburg in Northern Germany. This camp is depicted in two watercolours by Michael Yates. One shows a guard post and the other the perimeter fence. There is also a rather idealised watercolour by HC Spencer of the main road through the camp. Llewelyn might have appeared more frequently in these productions, but for his involvement in escape activities leading to his being moved to another camp, Biberach.
There was considerable escape activity at the camp, which included the preparation of maps of the adjoining countryside this one by Kenneth MacQueen.
The best known of these escape attempts was led by the late Major-General William Broomhall who impersonated a Wehrmacht general.
The "general" and 4 others posing as an adjutant, a batman and two Swiss Red Cross officials managed to get out of the camp, but were re-captured about half an hour later. The operation was skilfully stage-managed with German uniforms specially made within the camp. Timber, electrical fittings, dress materials, paint and costumes, all had to be got into the camp by fair means or foul [a design for one of the costumes, used in a production of "The Comedy of Errors", is shown opposite.
Click here for the remaining costume designs]. We were bribing fairly soon and after the first year we became highly organised so that we managed to get most of our requirements sent into the camp by the Germans.
But certain makeshift devices still persisted. For example we found that excellent three-ply scenery flats could be constructed from Red Cross parcel crates. Dried milk tins, besides their normal uses as chimneys, stoves or tunnel ventilation-pipes, could also be made into reflectors and spotlights.
Pyjamas of the more exotic designs were often used to make feminine creations. It featured a wounded soldier in the trenches during the First World War played by Goodliffe. He is carried forward in time during his dying moments to visit England in the s. Those who took part in this production had no doubt lost any fantasies about the glory of war.
It was, however, set at a curious angle across the corner, in one of the buildings at the camp, with room for an audience of about The theatre building is shown towards the middle on the left side of the road of a Christmas card drawn by Goodliffe in This was published after the war in the "Illustrated London News".
Leichner make-up was ordered from Berlin. Programmes for each play were printed locally and orchestral accompaniment was often provided.
Photographs were taken by the prison guards and show the professional quality of these productions. Most of the plays featured dramatic or melodramatic plots, chosen, no doubt, to relieve the boredom of life in prison.
Both the prisoners and the German military authorities regarded artistic activities at the camp as a "good thing". The guards co-operated, hoping to divert energies which might otherwise be devoted to escape attempts.
The guards also apparently took the view that the more serious productions benefited from cultural influence of the "master race".
German army officers sat in the front row seats at every performance of the more impressive plays. A number of POWs became accomplished as female impersonators. At first they would be easy to please, but we soon found that unless the presentation of female roles was intelligently tackled, any serious productions were impossible.
Two or three clever actors solved this problem, so that our audiences accepted them exactly as the Elizabethans accepted their boy-actors.
He died in May See photo of him taken in February with Jonathan Goodliffe, the designer of this site. One of the most lavish productions by Dan Cunningham was of "Gaslight" by Patrick Hamiltonin November click here for the programme. In a letter to " Theatre World " published in August of the following year, Goodliffe wrote: A vast musical festival has started on a month's run - six separate programmes - a symphony concert - a light orchestral - a choral - a chamber music - dance music, and finally "Song and dance round the World", the last greatly assisted by the presence of Maoris, Russians, Spaniards, etc.
Richard Wood is managing it all. He comes from Glyndebourne.
A copy of the programme is accessible from this section of one of the links featured below. This was accompanied by a string orchestra under Eric Arden, who also wrote much of the specially composed music.- Romeo and Juliet by William Shakespeare Acts 3 scene 1 of the play is a turning point.
How important are the events of this scene to the tragedy of Romeo and Juliet At the beginning of the play the audience already know the plot, from the prologue.
The character that I’m trying to name is basically a psychic that can only use his powers while he is fighting. He has five swords from a giant buster sword all the way down to a small blade, because I based him off an artist that draws a picture using his swords as he fights.
Both Friar Lawrence and the Nurse had the power to help stop the marriage of Romeo and Juliet and, in turn, the events in Act 3 Scene 1.
Benvolio and Mercutio represent opposite sides of Romeos personality. 5 Thou art like one of those fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says “God send me no need of thee!” and, by the operation of the second cup, draws it on the drawer when indeed there is no need.
In conclusion, Act 3 scene 1 has many reasons that show it is the turning point to Romeo and Juliet and this is shown by Shakespeare using the way the characters feelings and thoughts change throughout the act 3 scene 1.
This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.