Biography of Mark Twain

Mark Twain, born Samuel Langhorne Clemens Nov. 30, 1835 in the small town of Florida, MO, and raised in Hannibal, became one of the greatest American authors of all time. Known for his sharp wit and pithy commentary on society, politics, and the human condition, his many essays and novels, including the American classic,The Adventures of Huckleberry Finn, are a testament to his intelligence and insight. Using humor and satire to soften the edges of his keen observations and critiques, he revealed in his writing some of the injustices and absurdities of society and human existence, his own included. He was a humorist, writer, publisher, entrepreneur, lecturer, iconic celebrity (who always wore white at his lectures), political satirist, and social progressive. He died on April 21, 1910 when Halley’s Comet was again visible in the night sky, as lore would have it, just as it had been when he was born 75 years earlier. Wryly and presciently, Twain had said, â€Å"I came in with Halleys Comet in 1835. It is coming again next year (1910), and I expect to go out with it. It will be the greatest disappointment of my life if I dont go out with Halleys Comet. The Almighty has said, no doubt: Now here are these two unaccountable freaks; they came in together, they must go out together.†   Twain died of a heart attack one day after the Comet appeared its brightest in 1910. A complex, idiosyncratic person, he never liked to be introduced by someone else when lecturing, preferring instead to introduce himself as he did when beginning the following lecture, â€Å"Our Fellow Savages of the Sandwich Islands† in 1866: â€Å"Ladies and gentlemen: The next lecture in this course will be delivered this evening, by Samuel L. Clemens, a gentleman whose high character and unimpeachable integrity are only equalled by his comeliness of person and grace of manner. And I am the man! I was obliged to excuse the chairman from introducing me, because he never compliments anybody and I knew I could do it just as well.† Twain was   a complicated mixture of southern boy and western ruffian striving to fit into elite Yankee culture. He wrote in his speech, Plymouth Rock and the Pilgrims,1881: â€Å"I am a border-ruffian from the State of Missouri. I am a Connecticut Yankee by adoption. In me, you have Missouri morals, Connecticut culture; this, gentlemen, is the combination which makes the perfect man.† Growing up in Hannibal, Missouri had a lasting influence on Twain, and working as a steamboat captain for several years before the Civil War was one of his greatest pleasures. While riding the steamboat he would observe the many passengers, learning much about their character and affect. His time working as a miner and a journalist in Nevada and California during the 1860s introduced him to the rough and tumble ways of the west, which is where, Feb. 3, 1863, he first used the pen name, Mark Twain, when writing one of his humorous essays for the Virginia City Territorial Enterprise in Nevada. Mark Twain was a riverboat term that means two fathoms, the point at which it is safe for the boat to navigate the waters. It seems that when Samuel Clemens adopted this pen name he also adopted another persona - a persona that represented the outspoken commoner, poking fun at the aristocrats in power, while Samuel Clemens, himself, strove to be one of them. Twain got his first big break as a writer in 1865 with an article about life in a mining camp, called Jim Smiley and His Jumping Frog, also called The Celebrated Jumping Frog of Calaveras County. It was very favorably received and printed in newspapers and magazines all over the country. From there he received other jobs, sent to Hawaii, and then to Europe and the Holy Land as a travel writer. Out of these travels he wrote the book, The Innocents Abroad, in 1869, which became a bestseller. His books and essays were generally so well-regarded that he started lecturing and promoting them, becoming popular both as a writer and a speaker. When he married Olivia Langdon in 1870, he married into a wealthy family from Elmira, New York and moved east to Buffalo, NY and then to Hartford, CT where he collaborated with the Hartford Courant Publisher to co-write The Gilded Age, a satirical novel about greed and corruption among the wealthy after the Civil War. Ironically, this was also the society to which he aspired and gained entry. But Twain had his share of losses, too - loss of fortune investing in failed inventions (and failing to invest in successful ones such as Alexander Graham Bell’s telephone), and the deaths of people he loved, such as his younger brother in a riverboat accident, for which he felt responsible, and several of his children and his beloved wife. Although Twain survived, thrived, and made a living out of humor, his humor was borne out of sorrow, a complicated view of life, an understanding of life’s contradictions, cruelties, and absurdities.   As he once said, â€Å"There is no laughter in heaven.†Ã‚   HUMOR Mark Twain’s style of humor was wry, pointed, memorable, and delivered in a slow drawl. Twain’s humor carried on the tradition of humor of the Southwest, consisting of tall tales, myths, and frontier sketches, informed by his experiences growing up in Hannibal, MO, as a steamboat pilot on the Mississippi River, and as a gold miner and journalist in Nevada and California. In 1863 Mark Twain attended in Nevada the lecture of Artemus Ward (pseudonym of Charles Farrar Browne,1834-1867), one of America’s best-known humorists of the 19th century. They became friends, and Twain learned much from him about how to make people laugh. Twain believed that how a story was told was what made it funny   - repetition, pauses, and an air of naivety. In his essay How to Tell a Story Twain says, â€Å"There are several kinds of stories, but only one difficult kind—the humorous. I will talk mainly about that one.† He describes what makes a story funny, and what distinguishes the American story from that of the English or French; namely that the American story is humorous, the English is comic, and the French is witty. He explains how they differ: â€Å"The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter. The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the comic and witty stories must be brief and end with a point. The humorous story bubbles gently along, the others burst. The humorous story is strictly a work of art, — high and delicate art, — and only an artist can tell it; but no art is necessary in telling the comic and the witty story; anybody can do it. The art of telling a humorous story —- understand, I mean by word of mouth, not print — was created in America, and has remained at home.† Other important characteristics of a good humorous story, according to Twain, include the following: A humorous story is told gravely, as though there is nothing funny about it.The story is told wanderingly and the point is â€Å"slurred.†A â€Å"studied remark† is made as if without even knowing it, â€Å"as if one were thinking aloud.†The pause: â€Å"The pause is an exceedingly important feature in any kind of story, and a frequently recurring feature, too. It is a dainty thing, and delicate, and also uncertain and treacherous; for it must be exactly the right length--no more and no less—or it fails of its purpose and makes trouble. If the pause is too short the impressive point is passed, and the audience have had time to divine that a surprise is intended—and then you cant surprise them, of course.† Twain believed in telling a story in an understated way, almost as if he was letting his audience in on a secret. He cites a story, The Wounded Soldier, as an example and to explain the difference in the different manners of storytelling, explaining that:   Ã¢â‚¬Å"The American would conceal the fact that he even dimly suspects that there is anything funny about it†¦. the American tells it in a ‘rambling and disjointed’ fashion and pretends that he does not know that it is funny at all,† whereas â€Å"The European ‘tells you beforehand that it is one of the funniest things he has ever heard, then tells it with eager delight, and is the first person to laugh when he gets through.† †¦.†All of which,† Mark Twain sadly comments, â€Å"is very depressing, and makes one want to renounce joking and lead a better life.† Twain’s folksy, irreverent, understated style of humor, use of vernacular language, and seemingly forgetful rambling prose and strategic pauses drew his audience in, making them seem smarter than he. His intelligent satirical wit, impeccable timing, and ability to subtly poke fun at both himself and the elite made him accessible to a wide audience, and made him one of the most successful comedians of his time and one that has had a lasting influence on future comics and humorists. Humor was absolutely essential to Mark Twain, helping him navigate life just as he learned to navigate the Mississippi when a young man, reading the depths and nuances of the human condition like he learned to see the subtleties and complexities of the river beneath its surface. He learned to create humor out of confusion and absurdity, bringing laughter into the lives of others as well. He once said, â€Å"Against the assault of laughter nothing can stand.† MARK TWAIN PRIZE Twain was much admired during his lifetime and recognized as an American icon. A   prize created in his honor, The Mark Twain Prize for American Humor, the nation’s top comedy honor, has been given annually since 1998 to â€Å"people who have had an impact on American society in ways similar to the distinguished 19th century novelist and essayist best known as Mark Twain.† Previous recipients of the prize have included some of the most notable humorists of our time. The 2017 prizewinner is David Letterman, who according to Dave Itzkoff, New York Times writer, â€Å"Like Mark Twain †¦distinguished himself as a cockeyed, deadpan observer of American behavior and, later in life, for his prodigious and distinctive facial hair. Now the two satirists share a further connection.† One can only wonder what remarks Mark Twain would make today about our government, ourselves, and the absurdities of our world. But undoubtedly they would be insightful and humorous to help us â€Å"stand against the assault† and perhaps even give us pause. RESOURCES AND FURTHER READING Burns, Ken, Ken Burns Mark Twain Part I, https://www.youtube.com/watch?vV-x_k7zrPUwBurns, Ken, Ken Burns Mark Twain Part II https://www.youtube.com/watch?v1arrRQJkA28Mark Twain, http://www.cmgww.com/historic/twain/index.php/about/biography/Mark Twain, history.com, http://www.history.com/topics/mark-twainRailton, Stephen and University of Virginia Library, Mark Twain In His Times, http://twain.lib.virginia.edu/about/mtabout.htmlMark Twain’s Interactive Scrapbook, PBS, http://www.pbs.org/marktwain/index.htmlMark Twain’s America, IMAX,, https://www.youtube.com/watch?vb0WioOn8Tkw (Video)Middlekauff, Robert, Mark Twain’s Humor - With Examples, https://amphilsoc.org/sites/default/files/proceedings/150305.pdfMoss, Walter, Mark Twain’s Progressive and Prophetic Political Humor, http://hollywoodprogressive.com/mark-twain/The Mark Twain House and Museum, https://www.marktwainhouse.org/man/biography_main.php For Teachers: Learn More About Mark Twain, PBS, http://www.pbs.org/marktwain/learnmore/index.htmlLesson 1: Mark Twain and American Humor, National Endowment for the Humanities, https://edsitement.neh.gov/lesson-plan/mark-twain-and-american-humor#sect-introductionLesson Plan | Mark Twain and the Mark Twain Prize for American Humor, WGBH, PBS, https://mass.pbslearningmedia.org/resource/773460a8-d817-4fbd-9c1e-15656712348e/lesson-plan-mark-twain-and-the-mark-twain-prize-for-american-humor/#.WT2Y_DMfn-Y

The World War I And The Great War - 1143 Words

World War 1, also known as the â€Å"Great War† was a long, bloody war that raged on from 1914 until 1919 between many smaller European countries, Germany, Great Britain, Russia, Turkey, Italy, France, China and finally the United States. In this paper, I will be examining the causes that led up to this global feud. The three factors that led to the war were Nationalism, Industrialism and Colonialism. However, in order to understand how each of these three factors played a huge role in starting World War 1, one must have some background on each of them. Nationalism can best be described as a sense of pride for a country and when citizens are unified. Nationalism played a very important role in causing World War I because it led to increased competition between the ‘Great Powers’. The Great Powers consisted of Germany, China, France, Great Britain, Russia and the United States. Industrialism is when a country turns to factories and the production of goods as a means of capital. Industrialization came with the early 1900s and the economies in the respective countries became heavily reliant on manufacturing and labor. Increased nationalism and excessive pride led to economic competition. Colonialism is when a larger, wealthier country gains control of an often-smaller country, and serves as a form of government for the country. The increased sense of competition, created a race for who could retain ownership of the most countries. All three of the listed factors go hand in hand.Show MoreRelatedThe Great War : World War I894 Words   |  4 Pages The Great War: World War I World War I, otherwise known as the Great War, began as a small battle that eventually developed into a prodigious uproar between several countries. WWI’s beginnings are controversial and historians throughout the world have several theories about the destructive event. Said to be one of the most disastrous and ruinous struggles between nations, The Great War lasted from July 1914 until November 1918. Referred to as a World War because of the global participation andRead MoreWorld War I And The Great War1472 Words   |  6 PagesWorld War I was usually suggested to as The Great War. The war began sometime in 1914 and lasted four years, ending in 1918. America endorsed, in this era, a great amount of devastation. Throughout those four years alone approximately nine million casualties occurred and in addition millions more were mutilated, grief-stricken, handicapped, or traumatized. World War I is referred to by some, the first catastrophe, man-made, of the twentieth century. Many historians continue to contemplate the essentialRead MoreThe Great War Of World War I1490 Words   |  6 PagesThe Great War also considered to be World War I, although not initially named that due to not knowing that there would have been a second one. The war lasted from 1914-1918 and was one of the most violent wars known to history. Before war broke out many of these countries were flourishing economically and wanting to advance their country. During this time period many of the countries were unified and if there was one country that were to engage in war with one then it would cause a major war. ARead MoreWorld War I And The Great War1004 Words   |  5 PagesWorld War I or the Great War as it became known, occurred due to many causes, some of which are still unknown. The obvious trigger was the assassination of the heir to the AustriaHungarian throne archduke Ferdinand and his wife Sophie on the twenty-eighth of June 1914. But a great portion of the cause dealt with past disputes between the Great Powers and such aggressive principles as Nationalism: the strong feeling of pride and devotion to one s country, Imperialism: the domination of one countryRead MoreWorld War I And The Great War1249 Words   |  5 PagesWhenever you come across World War I, don’t you ever deeply think about how it all started? Who would have known that just 2 pulls of a trigger could have triggered a demoralizing World War? World War I, also known as â€Å"The Great War,† was a war that primarily took place in Europe. It officially started on the 28th of July in 1914 and it unexpectedly lasted until the 11th of November in 1918 (about 4 years). The most predominant countries that fought in this war include Great Britain, France, RussiaRead MoreWorld War I And The Great War1147 Words   |  5 Pagesperspective of being the First World War, it truly lived to the name of â€Å"The Great War†. While no war is ever simple, this one was very complex for its time. It was a vast war with a revolutionary impact on military advances. The end result of the war, catastrophic. It was a conflict on a global scale that later involved over thirty nations. If anything it was a war on politics, and really illuminates what poor political stamina can result in. With all of this in mind the question stands, â€Å"What madeRead MoreThe Great War And World War I Essay1198 Words   |  5 PagesBetween 1914 and 1918, many of the worlds leading countries were neck to neck in a bloody and gruesome battle known as the Great War or World War I. The United States practiced its policy of isolationism, a policy of remaining apart from the affairs or interests of other countries. However, in April 1917 the United States officially entered the war. Although the United States only fought in two battles, at St. Mihiel and the Meuse-Argonne, the fighting took a heavy toll on American lives. In anRead MoreThe World War I And The Great War1560 Words   |  7 PagesWorld War One , also known as the Great War was a global war fought between the allied powers and the central powers from July 1914 to November 1918. The assassination of Franz Ferdinand led to the outbreak of world war one. Franz Ferdinand was the arch duke of Austrian-Hungarian Empire and was considered as the heir of the Empires monarchy throne. However there was many other factors that caused world war one. Alliances which is an agreement be tween two or more countries which gives help if oneRead MoreWorld War I And The Great War1196 Words   |  5 Pagesfrom this 20th century time period under the influence of mass media. World War I, or the Great War, was one of the bloodiest wars of all time. It was a war sparked by militarism, alliance, imperialism, and nationalism. However it’s affliction laid the groundwork for post war prosperity. Nearly all social classes felt its benefits. Workers rights improved, taxes were lowered, technology advanced, and industry boomed. The war was brutal and the roaring twenties were a chance for the United StatesRead MoreWorld War I And The Great War1509 Words   |  7 Pagespower. World War I, also known as the Great War was the outcome of many tensions and a sequence of calamitous incidents that plunged Europe into a disaster zone. Due to the use of the machine gun and trench warfare, most of the war was a battle of attrition between the â€Å"Triple Alliance† and the â€Å"Triple Entente†. Millions of people fought and died in this war, among them thousands of Canadians. There have been many attempts to reconstruct experiences and battles of the First World War in prose

Critical Analysis of NMBA Samples for Students †MyAssignmenthelp.com

Question: Discuss about the Critical Analysis Case study of NMBA. Answer: Topic Sentence: The AustralianNursing and Midwifery Council (ANMC) have initially adopted an idea of introducing a code of conduct for registerednursing and Midwifery professional practising in Australia. Elaboration: The concept behind the development of the code of conduct is to determine the capacity of the professional conduct within a set of regulations. The development of the code of conduct would be helpful for understanding the activity of thenursing professionals within regulations which eventually monitor and restrict unprofessional and unethical conduct regarding handling health care users. The primary objective of the Code of Professional Conduct for Nurses in Australia is to formulate a set of professional conduct for the nursing professionals within their professional domain. The healthcare users, regulatory and professional bodies can expect or assess the performance of thenursing professionals with the help of these guidelines or code of conduct. In the present discussion, a reflective essay has been outlined for the understanding of the professional conduct of the respondent in the case study in line with the Code of Professional Conduct for Nurses in Australia. The contextual cas e is the documentation of the tribunal conducted by Nursing and Midwifery professional standards committee NSW against a set of professional conduct by Heather Conyard within the health care premises. The objective of the reflective essay is to develop a scope of further research and new incorporations through the analysis of the professional conduct of Heather Conyard mentioned within the tribunal proceeding in line with the professional code of conduct. The below mentioned standards are the suitable code of conduct for the best outcome relative to the critical situation mentioned in the case study I am considering three nursing standards for conducting the critical analysis of professional conduct of Heather Conyyard within the health care premises regarding patient A. Therefore a comparative analysis could be done on that basis for the understanding of the nursing code of conduct mentioned in NMBA and for the development of the comprehensive idea about an unsatisfactory performance (Fisher M, 2017 ). Standard 1.6: According to registered nurses standard of practice, Standard 1.6 is applicable to maintain the standard practice of nurses with the health care premises for developing a research applicable for the treatment plan. According to the standard 1.6, a registered nurse needs to maintain a comprehensive, accurate and on time documentation of the vital signs of the patients for the development of the assessment and corresponding treatment plan (Terry et al. 2017). Standard 3.7: The nursing standard 3.7 has been mentioning the core competencies of a registered nurse. According to the Standard 3.7, a registered nurse has to encourage the best practises during the professional service period resulting from the best outcome for the treatment plan of the health care user. Therefore, a nurse has to be competent for the role in the health care system in accordance with all necessary code of conduct during a treatment procedure which would be helpful for developing the best treatment plan for the health care user (Brown et al. 2017). Standard 4.4: The nursing standard 4.4 has a crucial role in developing a nursing credential. The standard 4.4 elaborates the role of a registered nurse during a crisis period and ability to evaluate the importance of the situation. A nurse should assess the situation and available resources present in the health care premises for encountering the critical situation for further course of treatment as the best outcome for the health care user (Vogt T, 2015). Standard 5.5: A registered nurse has to perform according to a necessary code of conduct for coordinating necessary resources for evaluating the critical situation and construct an efficient planning for the implementation of the significant steps as the best outcome of the practice. Therefore the assessment of the situation would have a huge reflection on the future course of action depending upon the competency of the registered nurse (Terry et al. 2017). Standard 7.3: A registered nurse who has been handling a critical situation has been being competent with the necessary practices which would be helpful for developing a course of action applicable to the situation. Therefore, the nurse has to note and determine the necessary vital signs of the patient and communicates with the concerned person for further guidance (Terry et al. 2017). Evidence: The Nursing and Midwifery Council of NSW is the responsible body for assessing the professional conduct of registered nurses within the nursing code of conduct for establishing the professional conduct as unsatisfactory. The contextual case study is the documentation of the decision statement regarding an unsatisfactory conduct of Heather Conyyard within the healthcare premises. According to the case study, an 81 years old female patient has admitted to Glen Innes District hospital with various physical discomforts and various treatment attempts have failed to recover her. She died on 12th January 2012 under the supervision of Heather Conyyard who was the respondent for recording and conducting the professional duties within the protocol or nursing code of conduct. I am conducting a critical analysis of the professional conduct done by Heather Conyyard within the capacity in line with the nursing code of conduct for the understanding of the unsatisfactory conduct which would be helpf ul for reviving the patient A. The contextual case study, the patient, an 81 years old female patient admitted to the Glen Innes District Hospital with significant physical discomfort. The vital signs at that time were not critical and associated treatment plan has been advised by Dr Haron and waited for the further review. On 11th January, Heather Conyyard, a registered nurse was in charge of the shift. According to the case study, the respondent has done all necessary steps during the shift change procedure regarding the patient but there was a significant unsatisfactory professional conduct took place between 17.10 hours to 21.00 hours which results in an unfortunate demise of the patient in the following morning. Heather Conyyard failed to assess the situation completely between 17.10 hours to 21.00 hours and performed significantly critical mistakes contrary to the code of conduct.as a registered nursing professional, Heather Conyyard has to perform accurate and timely document ation as the reference of the further treatment plan which she failed to do (White and E. 2017). Example: The lack of documentation has been further resulting in an insignificant reviewing which misled the course of treatment. Heather Conyyard has to identify the appropriate course of nursing conduct complying with the critical situation for the best outcome for the patient. According to the case study, Heather Conyyard failed to identify the necessary course of conduct suitable for the best outcome of the patient as the vital signs of the patient showing no significant improvement and additional complains also has been mentioned (Fisher M, 2017 ). Therefore, the nursing practices performed for the patient was not complying with the code of conduct mentioned in NMBA and not in line with nursing standard 3.7. Therefore, it is a significant breach of the code of conduct which would a critical offence according to section 139B of the National Law. Furthermore, Heather Conyyard also breached the nursing standard 4.4 as she failed to assess the significance of the situation between 17.10 hour s to 21.00 hours resulting in a delay of the treatment (Brown et al. 2017). Hence an unsatisfactory performance regarding code of conduct takes place which is a clear violation of the section 139B. Standard 5.5 and 7.3 also have been violated during the treatment proceeding as the respondent failed to assess the resources during the critical situation and simultaneously failed to inform the concerned doctor or any substitute doctor. Therefore, the whole treatment has been delayed which resulting in the demise of the patient (Brown et al. 2017). From the above discussion it could be concluded that the competency of the nursing profession would be very crucial for assessing and handing a critical medical situation. NMBA has developed a significant code of conduct for the registered nursing professionals, which clearly identifies the role of the nurses during various critical conditions and liability towards the nursing ethics. Therefore the professional conduct of the nurses has been monitored and controlled by NMBA for the best outcome of the health care users. During the critical analysis of the unsatisfactory conduct of Heather Conyyard, I have noticed that as a registered nurse she has completely failed to perform in accordance with the standard code of conduct which is a clear breach of standard practice. Therefore, a violation of section 139B of national law has been observed in this case which identifies critical unsatisfactory professional conduct not performed for the best interest of the patient. Concluding sentence: Every registered nurse has to be competent about their responsibility and perform in accordance with the capacity of the code of conduct for the best interest of the patient. This critical analysis has clearly identified the areas of the standard code of conduct which has been violated during the course of treatment and a comparative study also has been done for the comprehensive analysis of the unprofessional conduct by Heather Conyyard. Therefore, critical areas have been identified which need to assess for further evaluation of necessary code of conduct during the various critical medical emergency. References: Brown, R.A. and Crookes, P.A., (2017). How do expert clinicians assess student nurses competency during workplace experience? A modified nominal group approach to devising a guidance package.Collegian,24(3), pp.219-225. Daly, J., Speedy, S., Jackson, D. (2017).Contexts of nursing: An introduction. Elsevier Health Sciences. Edmonds, L., Cashin, A., Heartfield, M. (2016). Comparison of Australian specialty nurse standards with registered nurse standards.International nursing review,63(2), 162-179. Fisher, M. (2017). Professional standards for nursing practice: How do they shape contemporary rehabilitation nursing practice?.Journal of the Australasian Rehabilitation Nurses Association,20(1), 4. Schneider, Z., Whitehead, D. (2013).Nursing and midwifery research: methods and appraisal for evidence-based practice. Elsevier Australia. Terry, K., Stirling, C., Bull, R., Fassett, D. (2017). An overview of the ways nurses understand and utilise the existing Australian Competency Standards for Registered Nurses.Collegian,24(2), 109-116. Vogt, T. (2015). Life after graduationProfessional issues and registration 101.Women and Birth,28, S6. White, E. (2017). Clinical supervision: Invisibility on the contemporary nursing and midwifery policy agenda.Journal of advanced nursing,73(6), 1251-1254.

Theatre Research Paper Sample Essay Example

Theatre Research Paper Sample Essay Introduction Traditionally, a theatre has always played an essential role in the life of human society. It was one of the most popular arts, and it remains quite favorite for many people in different countries, regardless a tremendous technological progress the humankind has made in recent years that seemed to put the theatre under a threat of gradual degradation. Nevertheless, the theatre as an art is still popular and keeps progressing in many countries of the world. In this respect, it is particularly important that the theatre keeps progressing in the UK, the motherland of one of the most outstanding play writers of the world and undoubtedly the best English speaking play writers, William Shakespeare. It is particularly noteworthy that the theatre has been recognized as a national treasure of the United Kingdom that found its reflection in the creation of the Royal National Theatre of London, one of the most important cultural institutions of the kingdom and probably of Europe and even the world. In fact, it is very important that the theatre has received the status of the Royal National Theatre because it underlines its significance for the whole nation. This is why it is necessary to trace the history of creation and development of the Royal National Theatre and its current position, perspectives, and the role of British society. The history of the creation of the Royal National Theatre Speaking about the Royal National Theatre of London, it is primarily necessary to dwell upon the history of its creation because it is very important to realize what was the reason for the creation of the theatre and what was the initial goal of its creators. This will obviously provide ample opportunities for better understanding the nature and the role of the theatre for British society. We will write a custom essay sample on Theatre Research Paper Sample specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Theatre Research Paper Sample specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Theatre Research Paper Sample specifically for you FOR ONLY $16.38 $13.9/page Hire Writer In this respect, it should be said that physically the Royal National Theatre is a relatively new formation because of its historical accounts a bit more than forty years since the date of its foundation. It should be pointed out that the idea of the creation of the Royal National Theatre was not new and it appeared not fort but much more years ago. In fact, it is estimated that the idea of the creation of the National Theatre originates from late 19the century, but it is hardly possible to define a precise date when this idea had been shaped and had got started to develop. Nonetheless, it is possible to refer to William Archer and H. Granville Barker who in the early 20th century, to put it more precisely in 1904, in their Preface to a National Theatre underlined that â€Å"†¦ the National Theatre must be its advertisement – must impose itself on public notice, not by posters and column advertisements in the newspapers, but by the very fact of its ample, dignified, and liberal existence† (1907). They defined its basic goals as follows: â€Å"It must bulk large in the social and intellectual life of London†¦ It must not even have an air of appealing to especially literary and cultured class. It must be visibly and unmistakably a popular institution, making a large appeal to the whole community†¦ It will be seen that the theatre we propose would be a National Theatre in this sense, that it would be from the first conditionally – and, in the event of success, would become absolutely – the property of the nationà ¢â‚¬  (Archer and Barker 1907, p.5). It is obvious that the National Theatre was initially viewed as the theatre for large masses of people, as a popular theatre that would be accessible and understandable for all; that would attract people to the art and spread the culture into masses. In fact, it is possible to estimate that the Royal National Theatre was thought of as a theatre that could be a cultural core of the nation. Gradually, these ideas were developing and eventually they had been realized on October 22, 1963, when the National Theatre headed by Laurence Olivier started its work with the opening night of Hamlet starring Peter O’Toole. This date is traditionally considered to be the date of the foundation of the National Theatre of London, which was later attributed as the Royal National Theatre of London in 1988. The main events in the history of the Royal National Theatre Since the date of its foundation, the Royal National Theatre has faced some peaks and troughs, but the theatre is still accessible and may be proud of its history. In this respect, it worth to mention that despite its relatively short history, starting with 1963, there have been produced over 600 plays, and nowadays there are over 1,000 performances a year, given by a company of 150 actors to over 600,000 of people (Callow 1997). It is quite remarkable that the Royal National Theatre started in premises at the Old Vic and it did not have a new building as well as it did not receive a new building as it had been initially promised. In fact, the National Theatre did not have a permanent home until 1976, when Denys Lasun’s National Theatre building was opened (Callow 1997). Probably, the latter fact was also a result of the change of the director because in 1973 Peter Hall â€Å"took over the dictatorship† (Cohen and Smith 1997, p.301) in the National Theatre. It is under his run the National Theatre of London, and in 1976-1977 the Theatre opened its new buildings in the South bank of the Thames. And only more than a decade ago, in 1988 the National Theatre got a new name. This year the name of the company was changed to the Royal National Theatre of London (Callow 1997). But it is not only the name that was changed but so was the director. As a result, in 1988 Richard Eyre took over as a director of the Royal National Theatre. He was later succeeded by Trevor Nunn in 1997 and Nicholas Hytner in 2003. Nowadays, the Royal National Theatre â€Å"engages many of England’s talented actors, directors, and designers to produce its repertory of classics and modern plays† (Hunkin 2004, p.106). Among its most successful performances that made the Royal National Theatres of London recognizable all over the world may be named Cats, Les Miserable and many others.Nonetheless, it still worth to mention that the problem with the permanent home the theatre lacked at the beginning of its existence, was not the only problem the Royal National Theatre faced. There were also problems concerning the popularity of the theatre and sometimes the lack of innovations that often put the theatre into crises that marked the change of its directors. Not surprisingly that the recent years were marked by often changes of the Theatre’s directors compared to the past years. Nicholas Hytner as an Artistic Director of the Royal National Theatre It should be said that the appointment of Nicholas Hytner as an Artistic Director of the Royal National Theatre was the result of the stagnation of the theatre and the obvious necessity of changes that were vitally important for further development of the theatre. At the same time, Nicholas Hytner was perceived in different ways as a director of the Royal National Theatre of London. Nonetheless, it is necessary to underline that he realised his mission and the role of the theatre for British society. For instance, at the beginning of his work in the Royal National Theatre, he emphasized that â€Å"it is a great time to be a national theatre and to rise to the challenge to living up to our name. We want to tell the stories that chart the way the nation is changing. We want to bring front-line reports from new communities and generations, and we want to see the present redefined in the context of the past† (Hunkin 2004, p.59). In such a way it seems that he understands the challenges the theatre faces in the current situation. As a result, he initially planned to adopt the theatre to the current needs of the society that was changing. It is an undeniable fact that nowadays, British society is getting to be more heterogeneous, more diverse, and it tends to be rather multicultural that the theatre should take into consideration. On assessing the role of Nicholas Hytner for the Royal National Theatre and its progress, it is necessary to point out that his work is highly controversial. On the one hand, he tends to be innovative and appeals to use new original forms but, on the other hand, his policy is considered to be too radical that often leads to conflicts and even the protest of some part of the audience. To better understand such a situation and the position and policy of Nicholas Hytner, it is necessary to draw some examples and basic concepts of his policy. For instance, Nicholas Hytner underlines the importance of the theatre at large and the Royal National Theatre in particular as educational tools that should be accessible for British children, which as he states ‘are robbed.’ In other words, the new director of the Royal National Theatre estimates that â€Å"a cultural apartheid is being created in which children from state schools are missing out on theatre and art† (Hunkin 2004, p.152). In this respect, it should be said that, to a certain extent, he is right because children from state schools are deprived of a possibility to get acquainted with art and theatre because of the lack of funding. As a result, the â€Å"pillars of British culture† (Hunkin 2004, p.166) remain a kind of terra incognita for the vast majority of British children. However, on the other hand, what would the British children, which Nicholas Hytner cares so much about, see in the Royal National Theatre headed by this Artistic Director? One of the basic concepts of his policy is the idea that the theatre should be offensive since, according to him, â€Å"the Western theatre was invented in Athens precisely to put on stage feelings that were too dangerous to experience in real life† (Hunkin 2004, p.218). Not surprisingly that he considers that offense in a way is a part of the theatre. As a result, it is possible to speak that such a concept seems to be too radical for the director of the Royal National Theatre of London and in such a context the recent protests of the Sikh community eventually resulting in the closure of a play are quite logical and demonstrate the degree of radicalism in the policy of the new Artistic Director. The predecessors of Nicholas Hytner and difference in their policy However, despite certain radicalism that seems to be typical for the policy of Nicholas Hytner, he is a successor of the policy started by his predecessors. In fact, his primary motivating factor is the necessity to sustain the development of the theatre and keep its popularity among people. In other words, the Royal National Theatre should progress and remain close to ordinary British people, understandable and interesting for them. Not surprisingly that â€Å"Hytner’s approach to the theatre will not be seen like a million miles away from that of his predecessors† (Hunkin 2004, p.322). Nonetheless, there are some differences if not in the policy then, at least in the objectives Nicholas Hytner faces compared with his predecessors. For instance, it is not a secret that Trevor Nunn, the producer of famous Cats and Les Miserable, â€Å"became the centre of controversy for his decision to stage so-called extravagant, commercial production in the theatre† (Hunkin 2004, p..325) while one of the main tasks of Nicholas Hytner’s policy is to prevent the Royal National Theatre of London from commercialisation and the increase of the role of commercial productions. By the way, business productions have always been used by the directors of the Royal National Theatre to make this institution more financially independent and stable. And this is probably the main difference between Nicholas Hytner’s strategic goals and his predecessors. The role of the Royal National Theatre for British cultural life Apparently, it is difficult to underestimate the part of the Royal National Theatre in the life of British society. It is even possible to estimate that the theatre is a cornerstone of the cultural life of the British society because it sustains the uniqueness of the national theatre, art, and culture at large. Naturally, nowadays the Royal National Theatre has to overcome the resistance that the new pop culture poses before traditional British theatrical art. In fact, it is hardly possible to deny that the contemporary society is characterized by an extremely high level of consumerism that affects the attitude of people to the theatre and art at large. In such a situation the Royal National Theatre of London seems to be a rare exception from general rules of the consumer society which appreciate primarily the artistic success and not commercial one. Furthermore, nowadays British society and the Royal National Theatre face new challenges such as the spread of new cultures in the UK resulting from an increasing number of immigrants from different countries of the world. As a result, the UK becomes an unprecedentedly multicultural nation where different culture should live in harmony, and in such a situation the role of the Royal National Theatre is hardly possible to underestimate since art has power to unite people, regardless their ethnic or racial differences, social status, educational level, etc. My mission statement for the Royal National Theatre Taking into account what has been just mentioned above, it is possible to define the perspectives and the primary goals the Royal National Theatre should achieve in the nearest future. If I managed to gain such a public and national recognition that I could become the Artistic Director of the Royal National Theatre of London I Would primarily define the primary objectives, which should correspond to the current social and cultural changes that take place in the British society. In this respect, I believe that one of the main goals of the Royal National Theatre is to sustain its basic principles, according to which the theatre serves to the interest of ordinary people and it should involve possibly larger audience in order to promote art both classical and modern, make it more accessible for people without changing its cultural value. In other words, it is necessary to develop traditions of British theatre as a branch of art and the Royal National Theatre should be a kind of a beacon for the broad audience and for other shows that are currently too commercialized. At the same time, it seems to be inevitable that in perspective the Royal National Theatre would absorb rich traditions of other cultures that are currently growing in power in the UK, such as Indian for instance, and eventually, the theatre would contribute to the harmonization of the new multicultural society using art.