Taking Milton’s epic poem Paradise Lost (1667), Samir Calixto in his dance-theatre play of the same title offers a new interpretation of an old order. In his work, God is a vain tyrant, Satan a...Show moreTaking Milton’s epic poem Paradise Lost (1667), Samir Calixto in his dance-theatre play of the same title offers a new interpretation of an old order. In his work, God is a vain tyrant, Satan a tragic hero, Adam a weak marionette, and Eve a brave leader who, with determination and hope, guides Adam out of the Paradise towards enlightenment and a new beautiful world. This thesis aims to examine the difference in portrayal of gender roles in the two works. The main research question seeks to explore performance of gender roles in the background of gender studies and literary criticism on Milton. The sub-questions investigate how literature influences dance and what is the relationship between the two art forms; how the physicality of dance and lack of dramatic text affect possible interpretations; and whether Eve can be seen as the embodiment of the masculine. The emergence of modern dance, particularly understood as a form not based on narrative, is described along with the notion of intermediality and postdramatic theatre. A conceptual base regarding gender theory and adaptation studies is set out with examples from Milton's poem before an in-depth analysis of Calixto's performance.Show less
Disney has been releasing Disney Princess films since 1937. They started out with Snow White and the Seven Dwarfs and just now, a thirteenth film has been added to the list: Moana. A distinct...Show moreDisney has been releasing Disney Princess films since 1937. They started out with Snow White and the Seven Dwarfs and just now, a thirteenth film has been added to the list: Moana. A distinct change in character is noticeable when looking at the princesses. The princesses from the first generation (1937-1959) have passive characters, they are submissive, enjoy domestic chores and play no active role in their own tales. They simply wait to be swept off their feet by a prince. In fact, they represented what people considered to be the perfect woman in those days. However, nowadays, that is not what we consider the perfect woman to be. The second generation princesses (1989-1998) introduced a change. They were rebellious, took agency and instead of falling for any man, they wanted the right one. However, these films still focus on finding love, as if that is all that a woman's life should be about. The most recent princesses (from 2010 onwards) are increasingly more independent and active. They do not rely on men to save them, take matters into their own hands and determine their own fate. They are progressive princesses and continue to increasingly become more proactive and independent. These new princesses provide the twenty-first-century audience with role models they can actually learn from. Disney is not there yet, but they are slowly but surely letting go of the Disney formula.Show less
