Short Story Cinderella In Theatre

Short story cinderella in theatre.

If we use the word “crisis” instead of “conflict,” we can see how plays are built. The dramatist leads up to a crisis in the life of the main character (leads up very swiftly, in a short play); in the crisis, the character makes an important discovery about himself or others which changes the way he thinks or feels. This discovery alters his direction. The reader is still in suspense: which way will he go?

Riders to the Sea is nearly always described as a modern tragedy, a term rarely applied to a one-act play. In point of fact, few plays since the seventeenth century have been accepted as true tragedies; Synge’s play, compared with Agamemnon or Oedipus Rex or Lear or Phédre, seems like a different kind of play. In classical tragedy, the tragic hero is the victim of Fate, suffering from a tribal curse which the gods require that he expiate. The renaissance and seventeenth-century tragedies, products of a Christian culture, magnify the flaw in the tragic hero’s nature – a flaw that brings about his misfortunes, which generally enable him to find redemption through death and transfiguration.

If Maurya is the protagonist of Riders to the Sea we are given no hint that she is living under a tribal curse or that her misfortunes are due to some weakness that resides within her.