Buried Child

Another weird one. This play, however, intrigued me more than the other so far. It was a challenge to figure out where the characters were coming from. It took a conversation with a fellow classmate to realize that the baby had belonged to the son ( the slow one) and the mother. It really amazed me how detached the mother was from her surroundings and how self righteous she would be acting sometimes, not speaking directly to her husband in the room, but talking at him. I found myself to be so entranced in what was going on that it took Shelly's character to bring me back and help realize, that no, this not a normal family and it is not okay with the dead baby in the back yard. I was wondering why the estranged son would even come back to be apart of something so strange. As the play went on, you saw that he slowly became one of them and adapted to their ways of life. What makes Buried so different from Trifles or Noises is that the inside thoughts are not inside but spoken to where everyone can hear. The mother is defiantly an example of this because of her detachment from everyone the house. She goes about her days think of what she can do for herself and sticks up for her son in way that teases him and makes fun of his ability to think. And not to even mention how Shepard had the brother sticking his fingers in Shelly's mouth to dominate her. What a way to keep our attention.

Noises off

Noises Off  was much to read. For me, I feel that the text really did prove to be quite challenging, and in between texts it became difficult to follow. I don't know if it was the intention of the writer to show off how truly consistent and flow the play could be, but needless to say, I was lost in translation. Although confusing, I remember the movie for this script, but just like all movies, it's never like the plays or books that they've been made after. When reading Noises, I feel I was paying more attention to the stage directions and the mention what the actors were doing physically than the text that they spoke. A play within a play is one thing, but a play where everything comes crashing down, not ont is it funny, but it cause the tempo of the play to almost have a staccato rhythm to it. Everyone's energy is high and I'm pretty sure the characters' blood are rush from the situation that is happening on stage. There is never a dull moment in this play because there's no room for it. Every character is on the edge of their seat because they are trying to make the play work despite the chaos around them. Indeed the script is long and the text can be lengthy in explaining what is going on, but e haste-i-ness ( I that is even a word) keeps the audience and characters engaged in the world of the play.

The Glass of Water

When learning that this was a well made play, I thought to myself "we're the other plays that we had been reading bad made plays?" Then I had later learned that it was more of a category of a play than an actual title of a play. Eugene Scribe's Glass of Water was a play with little extremes, in that, it did not have to dire of circumstances and the charters weren't that entirely hard to decipher. No true psychological problems in the play. The example of secret and open loves including that of the Dutchess, the Queen, and Bolingbroke was one of the major parts of this play. Through all the activity in the world of Glass of Water, Bolingbroke seems to stand out as the protagonist. I find him to it perfectly due to the fact that he hasn't done anything too horrible or too triumphant. One of the simple reasons this character stands out to me is due to the audience being introduced to him in the first science and he s giving his thoughts on love and howitzer was just youthful folly. Bolingbroke uses everyone's love interest as a way to get what he needs in his political arena. His influence affects the decisions of those around him and, with his influence, his presence in the story carries it along.