IGNOU MEG 02 Free Solved Assignment 2022-23

IGNOU MEG 02 Free Solved Assignment 2022-23

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IGNOU MEG 02 Free Solved Assignment 2022-23, IGNOU MEG 02 BRITISH DRAMA Free Solved Assignment 2022-23 If you are interested in pursuing a course in radio production and direction, IGNOU MEG 02 can be an excellent choice. In this article, we will take a closer look at what IGNOU MEG 02 is all about and what you can expect to learn from this course.

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IGNOU MEG 02 Free Solved Assignment 2022-23  is a course offered by the Indira Gandhi National Open University (IGNOU) under the School of Journalism and New Media Studies. As the name suggests, it is a course on “Production and Direction for Radio.” The course is designed to provide students with a comprehensive understanding of radio production and direction and covers various topics related to this field.
IGNOU MEG 02 Free Solved Assignment 2022-23

IGNOU MEG 02 Free Solved Assignment 2022-23

Q1. Discuss Waiting for Godot from the perspective of the theatre of the Absurd.

Waiting for Godot is a play written by Samuel Beckett and first premiered in Paris in 1953. The play is often considered one of the defining works of the Theatre of the Absurd, a genre of theatre that emerged in the 1950s and 1960s.

The Theatre of the Absurd is a term used to describe a type of drama that presents a world that is irrational, illogical, and meaningless. This genre often depicts characters who are trapped in situations that they cannot understand or control, and who are struggling to find meaning in a world that seems to have none.

Waiting for Godot is a perfect example of the Theatre of the Absurd. The play is set in a desolate and empty landscape, with two characters, Vladimir and Estragon, waiting for a character named Godot who never arrives. The characters’ attempts to pass the time are interrupted by a variety of strange events, including the appearance of a messenger who brings them confusing messages from Godot and the arrival of a man named Pozzo and his slave, Lucky.

The play is characterized by its lack of plot and its reliance on repetitive and circular dialogue. The characters seem to be stuck in a never-ending cycle of waiting, without any clear idea of what they are waiting for or why. Their attempts to pass the time are often futile and pointless, and their conversations are marked by confusion and misunderstanding.

One of the key themes of the play is the search for meaning in a meaningless world. The characters are constantly questioning the purpose of their existence and their reason for waiting for Godot. However, they never find any satisfactory answers, and their search seems to be doomed to failure.

In conclusion, Waiting for Godot is a perfect example of the Theatre of the Absurd. The play presents a world that is irrational, illogical, and meaningless, and its characters are trapped in a never-ending cycle of waiting and confusion. Through its exploration of the search for meaning in a meaningless world, the play offers a powerful commentary on the human condition and the nature of existence.

Q2. Discuss the typical Shakespearean comic elements in the play in A Midsummer Night’s
Dream.

A Midsummer Night’s Dream is one of Shakespeare’s most beloved comedies. It contains several typical Shakespearean comic elements that contribute to its humorous and lighthearted tone. Here are some of the typical comic elements found in the play:

  • Misunderstandings and miscommunications: Shakespeare often uses misunderstandings and miscommunications between characters to create humor. In A Midsummer Night’s Dream, the misunderstandings between the lovers and the fairy characters lead to many comedic moments.
  • Irony: Shakespeare also employs irony to create humor. For example, the fact that the stern and serious Egeus is undone by the playful antics of the fairy Puck is ironic and humorous.
  • Playful language: Shakespeare’s comedies often feature puns, wordplay, and witty repartee. A Midsummer Night’s Dream is no exception, with characters like Bottom and Puck delivering many playful and witty lines.
  • Physical humor: Shakespeare also uses physical humor to create laughs. In A Midsummer Night’s Dream, the scene where the fairy queen Titania falls in love with Bottom, who has been transformed into a donkey, is a prime example of physical comedy.
  • Satire: Shakespeare often uses satire in his comedies to poke fun at societal norms and conventions. In A Midsummer Night’s Dream, the play-within-a-play satirizes the pompous and self-important behavior of amateur actors.

Overall, A Midsummer Night’s Dream is a prime example of Shakespearean comedy, featuring a range of comic elements that combine to create a humorous and light-hearted tone.

Q3. What do you think is the dominant quality of Hamlet’s character? Discuss with suitable
examples.

As an AI language model, I do not have personal opinions, but I can provide insights on Hamlet’s character as portrayed in the play.

One of the dominant qualities of Hamlet’s character is his complex and contemplative nature. Throughout the play, Hamlet is shown to be a deep thinker who is constantly analyzing his own thoughts and feelings. He struggles with conflicting emotions and is often torn between his desire for revenge and his moral conscience. For instance, in Act III, Scene 1, Hamlet delivers the famous soliloquy “To be, or not to be” in which he contemplates the pros and cons of taking his own life.

Another notable quality of Hamlet is his intelligence and wit. He frequently uses wordplay and puns to express his thoughts and feelings, and his verbal sparring with other characters in the play is often seen as a display of his intelligence. For example, when Polonius asks Hamlet what he is reading, Hamlet replies with a clever pun: “Words, words, words.”

However, Hamlet’s intelligence is also a double-edged sword, as it can sometimes lead him to overthink and become paralyzed by indecision. He spends a great deal of time planning his revenge on his uncle, Claudius, but ultimately struggles to take action. This is exemplified in Act III, Scene 3, when Hamlet has the opportunity to kill Claudius while he is praying but decides not to, as he believes it would be an easy death and Claudius would go to heaven.

In conclusion, Hamlet’s character is multifaceted and contains various qualities. However, his contemplative nature and intelligence are two dominant qualities that shape his actions throughout the play.

Q4. Can The Alchemist be understood as a satire? Give suitable examples.

While The Alchemist by Paulo Coelho is not typically categorized as a satire, it can be interpreted as a satirical work in some ways. Satire is a literary technique that uses humor, irony, exaggeration, or ridicule to expose and criticize human folly and vices, often with the aim of inspiring change. In this sense, The Alchemist can be seen as a satirical commentary on human desires, beliefs, and values.

Here are some examples of how The Alchemist could be understood as a satire:

  • Satire of Materialism: The protagonist Santiago starts his journey seeking material wealth and treasure, but learns that true wealth lies in the journey itself, rather than the destination. Coelho uses this to satirize the idea that money and possessions are the only things that matter in life, and suggests that people should instead focus on pursuing their dreams and finding personal fulfillment.
  • Satire of Organized Religion: Throughout the novel, Santiago encounters various religious figures and symbols, but ultimately finds his own spirituality in nature and the universe. Coelho uses this to satirize organized religion and the idea that people need to follow strict dogmas and rituals to find spiritual fulfillment.
  • Satire of Romantic Love: One of the characters Santiago meets on his journey is a woman named Fatima, with whom he falls in love. However, he ultimately decides to pursue his personal legend and leave her behind. Coelho uses this to satirize the idea that romantic love is the ultimate goal in life, and suggests that people should prioritize their personal growth and aspirations over romantic relationships.

Overall, while The Alchemist may not be a traditional satire, it can be interpreted as a critique of various aspects of human society and behavior.

Q5. Discuss the play Pygmalion as a romance? Elaborate.

Pygmalion is a play by George Bernard Shaw that is often categorized as a romance due to its central theme of the transformation of a common flower girl into a refined and elegant lady. However, it is important to note that the romance in Pygmalion is not a conventional one, and the play subverts many of the typical elements of a romantic story.

The romance in Pygmalion revolves around the relationship between the protagonist, Eliza Doolittle, and her mentor and teacher, Professor Henry Higgins. Higgins is a renowned phonetician who takes on the challenge of transforming Eliza’s cockney accent and coarse mannerisms into those of a lady of high society. As Eliza progresses in her lessons, she becomes more refined and polished, and Higgins becomes increasingly invested in her transformation.

However, the romance between Eliza and Higgins is complicated by several factors. First, there is a significant age gap between the two characters, with Higgins being much older than Eliza. Additionally, Higgins is portrayed as a cold and unfeeling character who is more interested in the intellectual challenge of transforming Eliza than in her as a person. He is often insensitive and dismissive towards her feelings, and he fails to recognize the emotional toll that his treatment of her is taking.

Furthermore, the play explores themes of class and social mobility, which further complicates the romantic elements of the story. Eliza’s transformation is not just about her accent and manners, but also about her ability to move up the social ladder and be accepted by higher society. This dynamic creates a power imbalance between Eliza and Higgins, with Eliza becoming increasingly aware of her own agency and autonomy.

In the end, the play subverts the traditional romantic ending by having Eliza reject Higgins’ advances and assert her independence. While the play ends on an ambiguous note, with Eliza leaving Higgins’ home without saying where she is going, it is clear that she has gained a sense of self-awareness and confidence that she did not have at the beginning of the play.

Overall, while Pygmalion can be classified as a romance, it is not a conventional one. The relationship between Eliza and Higgins is complex and fraught with tension, and the play explores themes of class and social mobility that complicate the romantic elements of the story. Ultimately, the play subverts the traditional romantic ending by having Eliza reject Higgins’ advances and assert her independence, making Pygmalion a unique and compelling example of a romance.

Q6. Discuss the art of characterisation in The Playboy of the Western World?

“The Playboy of the Western World” by J.M. Synge is a play that centers around the character of Christy Mahon, a young man who arrives in a small Irish village claiming to have killed his father. The play is a study of character, and Synge employs various techniques to develop and shape the characters in his play.

Firstly, Synge uses dialogue to reveal the characters’ personalities. Throughout the play, the characters speak in a distinct Irish dialect, which gives them a unique voice and character. Christy’s poetic and grandiose language contrasts with Pegeen’s more practical and earthy speech. This contrast in language reveals the differences in their personalities, social status and values.

Secondly, Synge uses physical descriptions to develop and differentiate the characters. For example, Christy’s appearance changes throughout the play, as he goes from a timid and meek character at the beginning, to a confident and arrogant one by the end. Synge uses this physical transformation to show how Christy’s experiences have shaped him.

Thirdly, Synge uses the characters’ interactions with each other to reveal their personalities. The play is full of witty banter, which not only entertains the audience but also reveals the characters’ strengths and weaknesses. For instance, the character of Shawn Keogh is revealed as petty and jealous through his interactions with Christy.

Finally, Synge uses symbolism to add depth and complexity to the characters. For example, the white shirt that Christy wears when he arrives in the village becomes a symbol of his newfound confidence and status as the “playboy.” The characters’ attitudes towards the shirt and its significance reveal their own attitudes towards Christy and the changing social order in the village.

In conclusion, “The Playboy of the Western World” is a masterful example of characterisation in drama. Synge uses a variety of techniques, such as dialogue, physical descriptions, interactions and symbolism, to create memorable and complex characters that capture the essence of Irish society at the turn of the 20th century.

Q7. Discuss Murder in the Cathedral as a poetic drama.

Murder in the Cathedral is a poetic drama written by T.S. Eliot. It is a play that tells the story of the assassination of Thomas Becket, Archbishop of Canterbury, in 1170. The play is a poetic drama because it combines the elements of poetry and drama to create a unique form of literature.

The language used in the play is highly poetic and dramatic, with complex symbolism, allusions, and metaphors that help to create a richly layered and nuanced experience for the reader or audience member. The poetic language is used to convey the spiritual and philosophical themes of the play, such as the conflict between Church and State, the nature of martyrdom, and the struggle between the temporal and the eternal.

The use of verse is also a key feature of the play. The entire play is written in verse, which helps to create a heightened sense of drama and elevate the language. The verse is written in a style reminiscent of medieval poetry, with alliterative lines and irregular rhythms. This creates a sense of timelessness and connects the play to its historical setting.

In addition, the play is structured as a series of poetic dialogues between the characters, which helps to emphasize the conflict between them and their different perspectives. The dialogues are often highly symbolic and philosophical, exploring the nature of power, loyalty, and sacrifice.

Overall, Murder in the Cathedral is a poetic drama that combines the elements of poetry and drama to create a unique and powerful form of literature. Its use of highly poetic language, verse, and symbolic dialogues helps to create a richly layered and nuanced experience for the reader or audience member.

Q8. Comment on the historical significance of Look Back in Anger.

“Look Back in Anger” is a play written by John Osborne, first performed in 1956. It is considered to be a seminal work in the history of modern British drama and a landmark of the post-World War II era. The play is set in a cramped attic flat in the Midlands and portrays the life of Jimmy Porter, an angry young man who feels trapped in a society that he perceives as hypocritical and morally bankrupt.

The play’s significance lies in its breaking with the conventions of earlier British drama, which tended to be either lightweight comedies or formulaic tragedies. Osborne’s play introduced a new type of protagonist, the “angry young man,” who was disillusioned with the status quo and angry at the world around him. This character, and the play itself, struck a chord with a generation of young people who were struggling to come to terms with the aftermath of World War II and the changing social landscape of post-war Britain.

The play was also significant in its use of language. Osborne rejected the polished, “well-made” dialogue of earlier British drama in favor of a more naturalistic style that incorporated colloquialisms and slang. This made the play more accessible to a wider audience and helped to bring a new energy and immediacy to the stage.

“Look Back in Anger” was a commercial and critical success and is credited with ushering in a new era of British drama. It paved the way for other “angry young man” plays, such as Arnold Wesker’s “Chicken Soup with Barley” and Shelagh Delaney’s “A Taste of Honey,” and helped to establish a new generation of playwrights who were unafraid to tackle social and political issues in their work.

Q9. Write an essay on British Drama in the twentieth Century.

British Drama in the twentieth century is a diverse and complex body of work that reflects the changing social, cultural, and political landscape of the era. The century was marked by two world wars, significant changes in the social and economic structures of the country, and the rise and fall of the British Empire. These events and many others influenced the themes, styles, and techniques used in British Drama.

At the beginning of the twentieth century, British Drama was dominated by the works of playwrights such as George Bernard Shaw, Oscar Wilde, and John Galsworthy. These writers were part of the so-called “Edwardian” era, a period characterized by social and economic stability, a sense of confidence in the future, and a belief in progress. The plays of these writers often explored themes such as the conflict between individual desires and societal expectations, the nature of morality and ethics, and the tensions between different social classes.

However, the outbreak of World War I in 1914 brought about a dramatic change in the mood and themes of British Drama. The war shattered the optimism of the Edwardian era, and many writers turned to more realistic and socially engaged forms of drama. The most notable example of this is the work of the playwrights associated with the “New Drama” movement, such as John Osborne, Harold Pinter, and Arnold Wesker. These writers sought to create a new kind of drama that was more relevant to the changing social and political realities of the time. Their plays often explored themes such as the decline of the British Empire, the tensions between the old and the young, and the breakdown of traditional family structures.

The 1950s and 1960s saw the emergence of “Angry Young Men” playwrights, such as John Osborne and Harold Pinter, who focused on the disillusionment and anger of working-class characters who felt trapped by the rigid social structures of British society. These writers sought to challenge the dominant cultural and political assumptions of the time and create a more authentic and honest portrayal of life in Britain. Their plays often featured characters who were struggling to find their place in a changing society, and who were often thwarted by their own limitations and the constraints of the social order.

In the 1970s, British Drama was marked by a renewed interest in political and social issues, particularly the rise of feminism, the struggle for civil rights, and the fight against the Vietnam War. The plays of writers such as Caryl Churchill, David Hare, and Howard Brenton explored these themes in a range of different styles, from the avant-garde experimentation of Churchill to the more conventional, realistic drama of Hare and Brenton. These writers sought to use drama as a means of engaging with the pressing political and social issues of the time and creating a space for debate and discussion.

In the 1980s and 1990s, British Drama underwent another period of change, with the rise of “in-yer-face” theatre and the emergence of a new generation of playwrights such as Sarah Kane, Mark Ravenhill, and Martin McDonagh. These writers rejected the more conventional forms of drama and sought to shock and provoke their audiences with their explicit depictions of violence, sex, and taboo subjects. Their plays often featured characters who were alienated and disconnected from society, and who struggled to find meaning and purpose in their lives.

In conclusion, British Drama in the twentieth century reflects the changing social, cultural, and political landscape of the era. From the optimism of the Edwardian era to the disillusionment and anger of the post-war period, and from the political engagement of the 1970s to the shocking provocations of the 1990s, British Drama has been a vital and dynamic force in the cultural life of the country, constantly challenging and reinventing itself in response

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