Help with ‘A view from the bridge’ please someone?

I'm in Year 11 and one of my assigned coursework is 'A view from the bridge', which I already have done but the teacher returned to me today as I totally flopped it. The question for the coursework piece is: Describe the relationship between Eddie and Catherine in 'A view from the bridge'Can someone please help me with this? After marking my original essay, my teacher put; "This could be a good essay; you offered some insight into the characters. Refer to title in your essay. You were supposed to write about Act 1 - Boxing Scene, Language, Audience Reaction and Stagecraft.Can someone help me with this please? I don't remember the play and I didn't even understand it.Thanks!

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One Response to “Help with ‘A view from the bridge’ please someone?”

  1. lyndy says:

    In 1955, when the play was first performed, the double kiss would have been utterly shocking. Eddie has lost the audience’s sympathy, and loses it yet further when he calls the immigration authorities. At the time, we see how the phone-booth gradually lights up, symbolizing the triumph of Eddie’s desperation over his conscience—-LanguageThe device of depicting Italian and Sicilian immigrants, enables Miller to make them more or less articulate in English. Only Alfieri, is a properly articulate, educated speaker of American English: for this reason he can explain Eddie’s actions to us, but not to Eddie, who does not really speak his language. Eddie uses a naturalistic Brooklyn slang (“quicker” for “more quickly”, “stole” for “stolen” and so on). His speech is simple, but at the start of the play is more colourful, as he tells Catherine she is “walkin’ wavy” and as he calls her “Madonna”.Catherine’s speech is more often in grammatically standard forms, but not always. Her meekness is shown in the frequency with which her speeches begin with “Yeah”, agreeing with, or qualifying, Eddie’s comments.Rodolpho speaks with unnatural exactness. The words are all English but the phrases are not always idiomatic. He recalls vivid details of his life in Sicily, and he is given to poetic comparisons, as when (p. 46) he likens Catherine to “a little bird” that has not been allowed to fly.Marco has to think before he can speak in whole phrases or sentences; this means he says little, which, on stage, reinforces two ideas: that Marco is thoughtful, and that he is a man of action, rather than words.boxing scene ———————The climax of Act One is beautifully choreographed by Miller: Rodolpho teaches Catherine to dance, the action allowing physical closeness; Eddie, to “win back” his beloved, humiliates Rodolpho in a boxing “lesson”; but the final action trumps Eddie’s, as Marco, who has silently watched what is happening, shows Eddie the danger he invites by threatening Rodolpho. Politeness does not permit Marco to say anything, and the gesture is far more effective as the audience sees the chair “raised like a weapon” over Eddie’s head, symbolizing the destruction he will shortly bring on himself.The two kisses at the start of Act Two are equally effective on stage: one with its suggestion of incest and the other illustrating Eddie’s mistaken belief in Rodolpho’s homosexuality. When Marco is arrested he shows his condemnation of Eddie before he speaks it, as he spits in his face. The final action of the play is where Eddie dies by his own hand (a metaphor of his self-destruction) and his own weapon (perhaps a metaphor for his sexuality).—–stage craft=Set, properties, sound and lightingThe set of the play is not (or should not be) naturalistic (closely or exactly resembling what it depicts). The building is “skeletal” but the few props (properties – objects used on stage) are authentic-looking. The arrangement enables the inside of the apartment, the street outside and Alfieri’s office all to be represented without any scene changes. The area in use will be lighted when needed, otherwise dark. Alfieri can remain on stage throughout, if need be: the light can go up or down as required. Props may be as simple as the coins Mike and Louis pitch, or Eddie’s pocket knife for cutting an apple. One very important prop is the phonograph (record-player) which is used in the dancing episode, to play Paper Doll. At the start of the play a foghorn tells us where we are. Lighting is used theatrically, as the phone booth glows brighter and brighter, signalling Eddie’s idea, then determination, to call the immigration officials