39 Matching Annotations
  1. Nov 2021
    1. Don’t laugh at me! Ifonly my father and grandfather could rise from their gravesand look at this whole thing, at their Ermolai, their beaten,barely literate Ermolai, who ran around barefoot in the winter,at how this same Ermolai bought the estate, than whichthere’s nothing more beautiful in the world. I bought theestate where my grandfather and father were slaves, wherethey weren’t even allowed into the kitchen. I’m dreaming,I’m making it up, it only seems so . . . It’s the fruit of yourimagination, covered in the darkness of the unknown . . .(Picks up the keys, smiling tenderly) She threw down thekeys. She wants to show she’s no longer in charge here . . .(Jingles the keys) Well, it makes no difference.

      It's interesting to me that even Lopakhin seems to have a vague reason of why the cherry orchard is so significant. He clearly views his purchase of the property as a success because it is a clear symbol of the end of his serfdom and his families, however when talking about the purchase he kind of just says he's happy because it is...beautiful?

    2. Nonplussed) Here . . . Take this . . . (Rummages in her purse)No silver . . . Never mind, here’s a gold piece for you .

      I find this line demonstrates to the audience one of the main issues with Lyubov Andreevna. As Varya goes on to say, "the people at home have nothing to eat, and the people at home have nothing to eat."Despite the fact that her reckless spending is ruining her family's life, and causing them to lose their beloved cherry orchard, she still gives away her gold coins without a second thought.

  2. wt3fall2022.commons.gc.cuny.edu wt3fall2022.commons.gc.cuny.edu
    1. : Old partner? It's more than twenty years now. Did I ever get a raise?! Since you're so keen on reforms, why don't you reform my wages? W-\,NG LIFA: That's no way to talk! If business gets better, of course I'll give you a raise! Enough of that now. We're opening tomorrow. We need all the luck we can get. Let's not argue. Just leave it at that, all right? LI SAN Leave it at what? If you don't reform my wages, I'm leaving! (Someone calls from the back "Li San! Li San!") WANG LIFA: Mr. Cui is calling you-better hurry up. We can talk about this later.

      Li San says here that he has worked for Wang for over twenty years without a raise. He is overworked, "sore" and not being compensated for his extra work. I am happy he stood up for himself, but the way Wang Lifa responded to his threat to quit shows how little Wang Lifa respects him. He kind of waves him off and says they can discuss everything later...

    2. a eunuch?

      I guess I'm confused with why this transaction is happening through a pimp? I would think that if he has money and power, regardless of his, uh, situation it shouldn't be difficult to find someone who is willing to become his wife regardless. Why does he have to use a pimp to find a peasant girl? I'm sure this isn't important but it's bothering me...

    1. ecting a heartfelt welcome. You hate me with all your being. Of the two of us, who is wrong? Who is right? Only time will tell. MELISSA: You poor slob. You didn't think twice about groveling before me. You deserve nothing but contempt. If I were a hater, I'd put this country

      How could he expect anything other than how Melissa is reacting to him? Honestly, I think that Melissa is more level headed than most people would be in her situation. I also respect her love for her country. Although she is beyond hurt, she is not willing to put Amandia through more pain.

    2. I haven't uttered a single insult. I'll not say so much for the one who's insulted the grief of a woman, of a sister restrained from attending her brother's funeral.

      It's wild to me how the New Leader is so cold toward Melissa considering he had just had her entire family imprisoned and as a result had her brother murdered. The fact that when she states this to him, all he can answer in response is "your parents haven't been mistreated." It's like he doesn't have any compassion.

  3. Oct 2021
    1. AND I GET OFF ON THE PAIN I INFLlCT! GIRLS. You really love it! ORJN. WHEN I START EXTRACTING YOUR MOLARS-GIRLS. (DON'T TRY IT!) 0RJN. YOU GIRLS WILL BE SCREAMlNG LIKE HOLY

      This song is so funny. I've always wondered about the people who choose to become dentists. Sadists! This song also gives us insight into Orin's inner life. He enjoys inflicting pain, and on top of that is addicted to laughing gas. He has no remorse for his patients, or Audrey. He believes that because he is successful in his career he views himself as a "success," and that outweighs the fact that he is a monster. He is a true villain.

    2. MATCHBOX OF OUR OWN A FENCE OF REAL CHAIN LINK

      It's both sad and sweet that the largest dream Audrey can have for herself is a home described as a "matchbox." I feel like that shows how hard her life has been up until now. She has been in such a toxic relationship that it's hard for her to picture something great. However, the life she describes in this song is significantly better than her current situation. Audrey deserves to be happpppy!

  4. wt3fall2022.commons.gc.cuny.edu wt3fall2022.commons.gc.cuny.edu
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    1. In ten years time she'll still be dead. When I'm living with it, dealing with it, when a few days pass when I don't even think of it, she'll still be dead. When I'm an old lady living ion the street forgetting my

      this all reads as more of a poem to me than a play. I'm interested to see how it is performed but honestly I don't think I would want to actually watch

    2. – ASK. ME. WHY

      ugh yeah I was triggered and jumped the gun on my judgement in my previous annotations. This is sad and it...sucks? I can't think of a better way to word it. This all just sucks.

    3. SARAH KANE 4.48 PSYCHOSIS 6 tunnel of dismay, my humiliation complete as I shake without reason and stumble over words and have nothing to say about my 'illness' which anyway amounts only to knowing that there's no point in anything because I'm going to die. And I am deadlocked by that smooth psychiatric voice of reason which tells me there is an objective reality in which my body and mind are one. But I am not here and never have been. Dr This writes it down and Dr That attempts a sympathetic murmur. Watching me, judging me, smelling the crippling failure oozing from my skin, my desperation clawing and all-consuming panic drenching me as I gape in horror at the world and wonder why everyone is smiling and looking at me with secret knowledge of my aching sh

      I'm sorry but so far I hate this play. I don't know I hope I'm not being insensitive but as someone who has been depressed I guess I just don't quite understand the point of this? Again, not trying to be insensitive but this feels self indulgent. But I guess is all art self indulgent? I don't know maybe / probably I'm feeling triggered by something lol

    1. As a woman, I was born to share love, not hate. ANTINous: At times you forget yourself. CORYPHAEUS: We heard you! And it's got a nice ring, " ... born to share love, not hate"

      It seems like the other characters are familiar with Antigona and seem to be almost poking at her for the assertion that women were born to share love and not hate. I don't know if I am reading this incorrectly but she seems to be viewed as a bit "manic" in this moment and it's almost expected/ assumed of her by the folks around her? This play is a bit hard to follow but in this moment it seems as if they are all have very specific assumptions of one another

    2. We're going already. I'd like another coffee. (rises with his cup in hand, looking for coffee. Stops in front of Creon's effigy) I ',,j l11lormal1011 for Fon·,~111-r'-. ANTINOUS: (Something falls on the table. He picks it up, full of disgust.) What is this? What is thisfilth? CORYPHAEUS: Don't worry about it! Tiresias will come, and though blind, Tiresias the priest will settle everything. (He puts on Creon's robe.) What's new, old Tiresias? Your face-darkened as though doubly blind-frightens me. I never de-viated from your counsel. Which is why I ruled this city well. (emphasizes) With skillful covenants. (pause) What is this filth? It's falling on me! (leaves, picking off the filth falling on him)

      This moment represents the immeasurable disconnect? One person is battling, battling and eventually accepts the attack. While on the other hand, the other characters are complaining of the chill and planning the rest of their day. Stopping for coffee. gross

    1. establishment. Just look. Snares. Mantraps. JESSE: Let's pack it in. This isn't an ordinary temple, it's a trap. URIAH: Temple equals temple. I've got to get my helmet out of there. JESSE: Can you reach it? URIAH: No. JESSE: Perhaps I can get this latch to lift. POLLY: Don't damage the temple, though. JESSE: Owl Owl Ow! URIAH: What's up now? JESSE: Hand's got stuck. POLLY: Let's call it off. JESSE indignantly: Call it off? I need my hand back. URIAH: My helmet's in there too. POLLY: Then we'll have to go through the wall. JESSE: Owl Owl Owl He pulls his hand out. It is covered with blood. They'll have to pay for this hand. I'm not calling it off after that. Give us a ladder, come on! URIAH: Wait! Hand over your paybooks first. A soldier's paybook must never be damaged. You can replace a man anytime, but a paybook is sacred if anything is. They hand over their pqybooks to him. POLLY: Polly

      This part of the play illustrates how money is valued over the individual. Uriah says, "you can replace a man anytime, but a paybook is sacred if anything is." I feel like this quote shows us that these characters believe that human life is easily replaced. However, if we must keep living what is the point if we can't get paid. Life is hard enough so if you're going to fight for anything it shouldn't be to survive but to get the paycheck. yikes.

    1. MANSOUR (angrily yet cautiously taking every care of what he says):' · placed my wagers on nobody. I didn't say a word. JABER: What are you waiting for, then? Hesitation in making a decisio also has grave consequences. Make a choice now, the Caliph or th Vizier? MANSOUR (fearfully looks around): I seek refuge in God's protection. hope nobody sees us or eavesdrops on our conversation.

      I feel like this section here shows how powerful the Caliph and Vizier are. Mansour is so fearful of what might happen if him and Jaber were overheard even joking about them, he refuses to even pick a side. It makes me wonder why Jaber isn't fearful or cautious at all. Is there something he knows that could keep him protected? He even goes so far as to say, "in my minds eye, see them cut off his head. His blood spills like a fountain." Why is he so bold? Is it due to his age? He is ten years younger than Mansour...Are we supposed to consider him clever or reckless? Are we supposed to view Mansour as a coward?

    2. (rubbing his backside with the palm of his hand as if he is being · . flogged):

      This does not seem to be a realistic or naturalistic play. Jaber is acting as if he is being flogged, despite the fact he is not. Is the actor instructed to perform this way to illustrate to the audience how violent it would be? This play seems to be Brechtian. It is very political so far, and this particular line demonstrates the social forces as play by having the actor be hushed for speaking openly about his political goals, and then demonstrating what would literally happen to him if he was heard (flogging.)

  5. Sep 2021
    1. 7he alcohol has no visible effect on him, now or ever

      I wonder if this is hinting at BJJ being an alcoholic? doubt it initially though...I kind of feel like the alcohol is a symbol for something, like maybe a mask of some sort that doesn't work? Like an easy fix that doesn't actually fix anything?

    2. "It's a person who is one-eighth black." "Ah ... And you ... like this play?"

      I love the stereotypical trope of a shrink in theatre, film and tv. It's honestly one of the few generalizations I love to watch because it makes me excited for the inevitable HBO show that follows the life of a therapist. I can't wait to hear what they think/say about us all behind our backs.

    1. hat do you mean it doesn't matter? She's taking it to school. She's showing it in class. You know what, never mind. You want to take a half-baked mess to school, you want to embarr

      hate

    2. BRUCE. Every other girl at this party is going to be wearing her prettiest dress and you want to put on ... What? What? Your jean jacket? Trousers? S'alright with me. You understand you'll be the only girl there not wearing a dress, right? Is that what you want? You want ev<;ryone talking about you behind your back. S'alright with me, change your clothe

      fascinating to see how Bruce combats his daughters attempt at individuality. self loathing?

    3. E. Every other girl at this party is going to be wearing her prettiest dress and you want to put on ... What? What? Your jean jacket? Trousers? S'alright with me. You understand you'll be the only girl there not wearing a dress, right? Is that what you want? You want ev<;ryone talking about you behind your back. S'alright with me, change

      hate

    4. , a college freshman SMALL ALISON around 9 years old BRUCE BECHDEL Alison's father HELEN BECHDEL Alison's mother CHRISTIAN BECHDEL Alison's brother, around 10 years old JOHN BECHDEL Alison's brother, around 6 years old

      Another aspect of the intro I feel is important to note is the character descriptions. The majority of actors are defined by their relationship to Alison. What does this mean for the characters that are not?

    5. Theater can't show you a person's inner life; it can only show you behavior.

      This is an interesting idea to explore. One could argue that theatre is the ultimate medium to explore a characters inner life. It is interesting to me that this author tries to differentiate the theatre from other art forms by stating, "Activities like thinking, feeling, drawing, or remembering can only be shown on a stage if they are externalized." This can be said of a novel, film or painting, etc. However, the theatre allows nuance to the characters point of view. In a novel it is written in stone. In a film it is directed and edited to the exact vision of the creator. However, in theatre the characters inner life can evolve and change performance to performance in the way they actors feel truthful.

    1. 26 WOYZECK WOYZECK. Captain, I'm only a poor devil, I have nothing else in this world. Captain, if you 're joking with me. CAPTAIN.Joking? Me joke with you? DOCTOR. Your pulse, Woyzeck, your pulse short, violent, jumping, irregular. WOYZECK. Captain, the Earth is as hot as Hell. I'm cold, ice cold. Hell is cold, I'd bet on it. Bitch, bitch, impossible. CAPTAIN. Do you want a couple of bullets in your head? He's stabbing me with his eyes. I'm only telling you for your own good. Because you're a decent fellow, Woyzeck, a decent fellow. DOCTOR. Face muscles arc rigid, tense, occasionally twitching. Behaviour: excited, tense. WOYZECK. I'm going. It's possible. The bitch. It's very possible. Nice weather we're having. Captain. See what a beautiful solid grey sky, makes you want to knock a nail in and hang yoursel( All for the difference between yes and no. Is the 'no' to blame for the 'yes' or the 'yes' to blame for the 'no'? I must think about that. He goes out, wiJh long steps,fost sl.ow/y and tlt.m quick!,. DOCTOR (rushing ef/6 him). A phenomenon! Hey, W oyzeck! A rise! CAPTAIN. That fellow makes me dizzy. How fast the big rascal runs, groping like a spider's shadow, and the little one runs after. The big one is the thunder and the little one is the lightning. Haha! Grotesque, grotesq

      A common thread I have noticed between characters in this play is the lack of empathy they posses. First, with Marie handling her child. She does not come across as tender. She teases him and tells him that the sandman will cause him to go blind. She does not seem to be aware of his physical comfort. Woyzeck has to ask her to adjust him because he was pinched by a chair while she looked at herself in the mirror. The Doctor does not register the emotional turmoil of anyone around him, rather just noted their physical state. And here, the captain watches Woyzeck and the doctor run away views them as grotesque.

    2. Doctor! Don't run about so, stop rowing along like that with your walking stick. You're racing towards death. A decent man with a clear conscience doesn't rush about like that, a decent man

      What is with the captain and moving too quickly

    3. Good Woyzeck, you're a decent man, a decent man. But you think too much. It wears you down. You look so hunted. Our discussion has quite upset me. Go now and don't run so. Slowly, nice and slowly down the road

      I find it very interesting that the Captain is encouraging Woyzeck to move slowly and accuses him of "thinking too much." It brings to mind the the massive wealth disparity in America and how the lower class is often "kept in their place," through lack of education and resources. The army and navy set up camp in lower income schools, attempting to enlist teenagers with the promise of travel and other broad ideas with the knowledge that many of the students they are baiting do not have the resources to apply for further education. Understaffed public schools, over crowded classrooms, student loans, $60 college application fees all widen the gap between who is able to traditionally "succeed." I believe these practices are a conscious choice by certain people in power. The Captain represents these people here.

    1. JEAN. Not in your presence. I wouldn’t take the liberty.MISS JULIE. But if I were to order you to?JEAN. Then I’d obey

      Miss Julie is coming across as very manipulative. It seems as if she is trying to separate herself from her status by spending an unusual amount of time with her help and those of a lower class then her. She demands Jean dance with her rather than one of the men who were awaiting to. However, as much as she tries to separate herself, she is using her position of power to "order" those below her into doing things they don't seem particularly keen on doing. For instance, ordering Jean into dancing with her, or demanding her kiss her shoe despite his objection, or by trying to force Kristen awake by her nose. It is interesting that when Jean stands up to her by arguing on Kristens behalf, reminding Miss Julie or Kristens hard work, she steps back and thanks him. It does make one wonder if that was genuine or another tactic of manipulation.

    2. I went with the Count to the station and on my way back past thebarn I just stopped by for a dance. And who do I see but her ladyshipwith the gamekeeper, leading the dance? But as soon as she claps eyeson me, she comes rushing straight on over and invites me to join her inthe ladies’ waltz. And how she waltzed!—I’ve never known the like.She’s crazy!KRISTIN. She always has been, but nothing like these last two weeks, sinceher engagement ended

      It is very interesting that multiple characters here have brought up Miss Julie and her relationship to people of a lower class or wealth level of her own in only the first few pages. It seems that she is well-to-do considering she has servants, but the way her behavior is being described points to her not acting like woman similar to her. Jean mentions her waltzing with the game keeper. Jean also mentions that recently, after her engagement ended she has bees spending time with her servants, as opposed to her father. Her ex fiance was apparently not rich either. I feel like this early character development probably tells us a lot about Miss Julie as a woman and her relationship to her own wealth.

    3. Miss Julie is coming across as very manipulative. It seems as if she is trying to separate herself from her status by spending an unusual amount of time with her help and those of a lower class then her. She demands Jean dance with her rather than one of the men who were awaiting to. However, as much as she tries to separate herself, she is using her position of power to "order" those below her into doing things they don't seem particularly keen on doing. For instance, ordering Jean into dancing with her, or demanding her kiss her shoe despite his objection, or by trying to force Kristen awake by her nose. It is interesting that when Jean stands up to her by arguing on Kristens behalf, reminding Miss Julie or Kristens hard work, she steps back and thanks him. It does make one wonder if that was genuine or another tactic of manipulation.

    4. It is very interesting that multiple characters here have brought up Miss Julie and her relationship to people of a lower class or wealth level of her own in only the first few pages. It seems that she is well-to-do considering she has servants, but the way her behavior is being described points to her not acting like woman similar to her. Jean mentions her waltzing with the game keeper. Jean also mentions that recently, after her engagement ended she has bees spending time with her servants, as opposed to her father. Her ex fiance was apparently not rich either. I feel like this early character development probably tells us a lot about Miss Julie as a woman and her relationship to her own wealth.