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A VIEW FROM THE BRIDGE: ACT 1 - Coggle Diagram
A VIEW FROM THE BRIDGE: ACT 1
STAGECRAFT
WHAT FEATURES ARE SPECIFIC TO THE PLAY
stage directions
positioning on the stage
mimiking
set up as a script
just the way that the character speaks
direcct speech
acts and scenes rather than chapters
there's no speech marks
dramatic irony
audience not readers
we are viewing rather than reading
lighting
use of spotlights
colour of the lights
blocking and actors position on stage
use of dialogue
monologues
set and stage design
choice of costumes
use of props
sound effects
THE SET
the street is in view because it is used to show that they are a big community its not just the family in the community
it could also be because they arent a 'wealthy' family
individual-community-society
the knock on/ domino effect on Eddie and the community
the bedroom is visible because it creates an element of suspense because you know what happens there
an element of sexuality
it shows the affairs
Alfieri's office is always there to show that the law is always there
it interfers with everything and it has an impact on their daily life
'they got stool pigeons all over this neighbourhood they're paying them every week for information, and you don't know who they are ( page 16-Eddie)
illegal italian immigrant
the pediment is always is always there because it is symbolic
it shows that things repeat
a pediment is a greek architectural structure
The Great Carthaginian
it evokes the ancient world of myth
formality of wider legal system
the staircase is visible because it shows that there is no escape
your behaviour has an impact on the people above and below
the apple symbolises Adam and Eve
temptation
breaking of holy laws
shows that it keeps on coming back
HOW DOES MILLER USE LANGUAGE AND STAGECRAFT TO ESTABLISH KEY THEMES AND RELATIONSHIPS IN THE OPENING SECTION OF THE PLAY BEFORE THE COUSIN'S ARRIVAL?
obvious tension between B and E
she is angry with E but is unwilling to address issues directly
avoidant
a sexual undercurrent in the relationship between C and E even if neither are 100% aware of it
CHARACTERS
EDDIE
mood swings
very interchangable
'you wanna go to work, heh, madonna'
religious reference
he wanted C to stay young forever
i guess i just never figured you would grow up
phallic imagery of C
closer connection than it should be
distrustful of others
he sees the best in the people he loves but the worst in the rest of the world
'they got stool pigeons all over this neigborhood they're payin' them every week for information, and you dont know who they are. it could be your best friend. you hear?
suppresses his emotions
BEATRICE
she is Catherine's advocate
'she's no baby no more'
Eddie: 'what kind of remark is that'
angry- B can understand him better than he can
CATHERINE
child like naivity
'I'm gonna buy all new dishes with my first pay'
MARCO
is accepted by Eddie
'motions to Marco to sit in the rocker'
is similar to Eddie
puts his family first
RODOLPHO
expresses himself directly
'especially when they are so beautiful
he doesn't pick up on the tension
effeminite
'you could kiss him he was so sweet'
THE ARRIVAL OF THE COUSINS
PAGE 20
'enter Marco and Rodolpho, removing their caps
being friendly and showing respect to Eddie the man of the house
'the immigrants laugh shyly'
their nervous
'a certain formal stiffness to Eddie
not sure how to treat Eddie yet
work out who the alpha male is
Marco in charge
Rodolpho v. enthusiastic
the american dream
PAGE 21
'takes Marcos bag'...'takes Rodolpho's bag
asserting his dominance
'how's the coffee doing
aserting the fact that he has control over the house and the woman
doesn't like how C is into R
when C is in the kitchen she still listens to R
PAGE 22
'Beatrice crosses D and sits on stool
tactful play to goto her husband
she doesn't want her husband to lose it
PAGE 24 and 25
Rodolpho: 'smiling'
shows they are getting more comfortable
Marco: 'rises, crosses to Eddie'
shows that he can see Eddie is in control and respects that
Marco in control of Rodolpho
'Marco raises a hand to hush him
they share the joy that they can be succesfull together
C: 'i got it on'
she's gaining confidence
Eddie and Marco have formed an alliance
the woman are with Rodolpho
BEATRICE TELLS CATHERINE SOME HOME TRUTHS(P.40-43)
(p.42) 'you could tell me bea'
she has guided her all her life and still needs her guidance
(p.40) 'i don't know Bea it just seems wrong if hes against it so much
(p.42) 'well look C if its gonna hurt you so much your gonna end up an old maid here
(p.43) 'okay'
finally figured it out
she agrees with B but we haven't had E's consent
there is an idea of a triangle of jealousy
E is jealous of R because R has 'claimed' C
B sees C as a sexual rival and doesn't like it
C is naive but has loyalty to E
(p.40) 'what am i gonna do just kick him in the face with it'
she still does not want to leave E's side
the way the dialogue is flowing
B is always interrupting C
the infantillisation