The appeal of Drama lies primary in the use of spectacle.

How valid is this

statement

Oscar Wilde once elucidated, “I regard theatre as the greatest of all art forms, the most
immediate way in which a human being can share with another, the sense of what it is to be
human in a particular time period.” In drama, it is the reciprocity of a sententious plot and the
analytical dissection of thought-provoking issues that give the script its depth. Surely, the above
prompt is erroneous and certainly, must be reconstructed, since skilled playwrights like William
Shakespeare and Lorraine Hansberry in their respective plays, “Antony and Cleopatra” and “A
Raisin In the Sun” deploy a multitude of dramatic techniques - symbolism and language that
work in tandem with spectacle to elucidate thematic concerns and thus, make for distinguished
and exemplary works of art. Therefore, it is invalid to a great extent to postulate that spectacle is
the primary vehicle employed to amplify thematic concerns.

Irrefutably, in “Antony and Cleopatra,” Shakespeare deftly deploys spectacle, in the form of
costuming and props to engender feminine power, thereby entertaining and educating the
audience. Primarily, in Act 3 Scene 6, Caesar compares Cleopatra’s clothing to that of the
Goddess Isis, asserting, “In th’habiliments of the Goddess Isis.” This is pivotal, because
according to Philemon Holland, “the habiliments of Isis be of different tinctures, textures and
colours, for her whole power consisteth and is employed in matter which receiveth all forms, and
becometh all things-to wit, light ,darkness, day, night and fire. Thus comparing Cleopatra’s
costume to that of Isis is focal, in conveying her power, opulence and versatility. It conveys her
adroit ability to unite pleasure with wisdom. Thereby, creating theatrical appeal as the audience
marvels at Cleopatra’s power and her ability to transcend and revoke gender norms/virtues.
Further, In the final scene before Cleopatra’s death she exclaims, “Give me my robe, put on my
crown,” Cleopatra, though on the verge of death, ensures that she is adorned in her costuming,
thus it is clear that costuming remains an inevitable part of her life, it stipulates her power, and
ultimately creates theatrical appeal, as it leaves readers captivated and mesmerized. Further in
the scene, Cleopatra is seen dressed in the finest ropes as she presses the asp to her breast and
arm, thereby, connoting a bold act of feminine power and virtue. In this way, her skilled use of
costuming and props facilitates her suicide, creates immense theatrical appeal, as the

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Elizabethan audience is left riveted and beguiled by Shakespeare’s powerful depiction of
Cleopatra and her level of control, even regarding her own death.

Incomparably, costuming is aptly manipulated by Hansberry, in “A Raisin in the Sun,” to

elucidate appreciation for the African American Culture, thereby creating theatrical appeal, as
her play resonates with audience for its pertinent lessons. In Act Scene 1, Beneatha emerges
from her room shrouded in the Nigerian attire that Asagai has gifted her. She enters in, “what a
well-dressed Nigerian woman wears,” and added to that, she wears her natural unmutilated hair.
Thus, her costuming is instrumental, as it is Hansberry’s way of resurging African American
culture and identity. Interestingly, during the 1960s, African Americans practiced assimilation-
in which they, integrated and practiced the Western customs and traditions, neglecting and
abandoning their own African American heritage. Therefore, Hansberry’s adroit manipulation of
costuming is her own mode of reclaiming African identity and heritage, it is her means of
condemning and chastising previously held bigoted practices. Frost (2007) affirms that in doing
this, Hansberry would have inspired and reinvigorated African Americans. Therefore, costuming
certainly creates dramatic appeal, as it educates, entertains and resonates with the audience for its
grave messages and indubitably, it encourages African Americans to embrace their heritage.

Undoubtedly, in “Antony and Cleopatra”, Shakespeare skillfully employs characterization to

amplify his concern of gender roles. Primarily, in this play Shakespeare conveys issues of
masculinity and the role of women. Antony is a Roman soldier and one of the leaders of the
triumphirate and interestingly enough, during the Roman times, Roman men were considered
concepts of vitality of power. They were conquerors and heavily engaged in political affairs.
However, through the character of Antony Shakespeare encapsulates his concern of masculinity.
Antony, as indicated in the play is engrossed in his romantic affair with lover, Cleopatra and very
much infatuated, his masculinity appears to be masked as he appears to be less powerful and
certainly less Roman. He loses battles with Caesar and neglects his public duty for his private
affairs with lover, Cleopatra. Interestingly enough, Grams (2016) posits that Antony’s attempt to
commit suicide was his very way of reclaiming his masculinity, however, he butches his own
suicide and it is clear that Antony’s masculinity is obstructed by his unwavering love and
obsession for Cleopatra. Through the character of Antony, Shakespeare not only conveys issues
of masculinity but he also, evinces empathy within readers -we empathize with Antony as before

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our eyes we see the fall of a great man, Shakespeare therefore conveys to the audience that love
can be a destructive force. Thus, eliciting empathy and educating the audience. Additionally,
through Shakespeare’s successful manipulation of characterization of Cleopatra, he concretizes
his concern of the role of women. Cleopatra, like Antony defies the traditional gender norms.
Cleopatra as asserted by Rondazzo (2012) represents otherness; she is a woman in power, of a
darker complexion, outspoken and highly theatrical in her speech. Unquestionably, she opposes
the Jacobian model of feminine virtue, that of purity, docility and obedience. Therefore, through
Shakespeare’s deftly weaved characterization he is able to token his concerns of masculinity and
gender roles apparent at that time, while simultaneously eliciting empathy within readers,
reinforcing the historical context and, entertaining the audience hence, making his play a work of
art; timeless and memorable.

Similarly, Hansberry, through her expert deployment of contrast, in “A Raisin in the Sun” is
able to masterfully engender concerns of the role of women. Through her contrast of the
characters of Mama and Beneatha she underscores the contemporary versus modern view of
women. Beneatha, like, Cleopatra defy the traditional view of women at that time. Baldwin
(2010) remarked, that during the time of the play, being a woman meant marrying young, having
a low desire for higher education and keeping the house clean for the male provider.” Women
were expected to be docile contented housewives. Beneatha is radical in her thinking evident,
when she exclaims “I don’t think I want to be married”, she does not subscribe to the traditional
roles which bound women at the time. She is a feminist and a woman of high ideals hence her
character, augments much of the conflict in the play. Conversely, there is Lena Younger, the
matriarch, the bulwark of the Negro family. She embodies the traditional view of women; she is
a docile and contented housewife. She is chief housekeeper and responsible for all domestic
tasks. She is traditional in her ideals and epitomizes the strong black African American woman.
It is with certainty, that her character presents stark contrast to Beneatha and even Cleopatra,
both women who oppose the traditional view of women in society at that time. Through the
contrast of both women, Hansberry entertains her audience, peaks the audiences’ interest as she
gives them insight into the historical context of the play, she entertains the audience and surely,
revolutionizes their perspective on the woman therefore, in this manner, making her a play
memorable and timeless.

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Indubitably, symbolism is manipulated in, “Antony and Cleopatra” to amplify power and
authority, and this inextricably, creates dramatic appeal. In “Antony and Cleopatra” symbolism
of the sword plays a focal role in purporting the theme of power and authority. The symbol of
the sword is very much in keeping with the Roman culture. The sword represents the Roman
power, strength, masculinity and male pride. The sword, is skillfully, crafted in this play, to
remind the audience of the historical context of the play and the Roman virtues, the sword is
significant as it in keeps with the genre of the play, that of a tragedy and for the Jacobean
audience, this would have been a particular subject of interest, entertaining and peaking their
interest at all times.

Irrefutably, Hansberry manipulates symbolism of the cheque in, “A Raisin in the Sun” to
amplify the thematic concern- of power and authority, and it is through her skillful manipulation
of symbolism that she is able to create theatrical appeal-educating and entertaining her
audience. The cheque bequeaths power, authority and financial independence. For example, for
the character of Walter, this cheque is a momentous instrument, as it is that will bestow him
power and enables him to finance his business venture. Thereby, allowing him to attain social
mobility, embellish his standard of living while concurrently, allowing him to wield power and
authority over his affairs and family life, hence the cheque is the deux et machina for the
character Walter. Therefore, it is clear that this symbol plays a pivotal role in the power and
authority that the character, Walter holds. Therefore, Hansberry makes it clear that for Walter,
money is a penultimate symbol, an instrument that augments his power and authority as it affords
him the opportunity to open a liquor store and improve his family’s poverty-stricken conditions.
Thus, creating theatrical appeal, as the audience is left captivated and intrigued as we wonder if
Mama will bequeath the cheque to Walter .The audience is also left hopeful that Walter will be
able to use this cheque as a mechanism to exert power and authority.

In retrospect, it is certainly, invalid to a great extent to insinuate that spectacle is the primary
vehicle deployed to traverse thematic concerns since it is clear that both playwrights employ a
mélange of techniques that work in tandem with spectacle to engender the multifaceted
thematic concerns, thereby crafting riveting, yet powerfully-moving work of arts. Indefinitely,
their creativity continues to resonate with and bear witness to the everlasting tides and times of
literature.

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