Equus dora monologue. Equus Act 1 Summary & Analysis 2022-10-03
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In the play "Equus," Dora's monologue is a powerful and emotional moment that reveals a great deal about her character and her relationship with the play's protagonist, Alan Strang.
Dora is a young woman who has been tasked with the care and treatment of Alan, a troubled young man who has been admitted to a psychiatric hospital after committing a violent act involving horses. Throughout the play, Dora struggles with her own feelings of inadequacy and her inability to connect with Alan, who seems to be completely closed off and unresponsive to her attempts to help him.
In her monologue, Dora reflects on her own feelings of inadequacy and her inability to understand Alan's inner turmoil. She admits that she feels overwhelmed by the complexity of his case and that she often feels as though she is failing him as a therapist. Despite her best efforts, she is unable to make any real progress with Alan and is left feeling frustrated and helpless.
At the same time, Dora's monologue also reveals a deep sense of compassion and empathy for Alan. Despite her own struggles, she remains deeply committed to helping him and is willing to go to great lengths to try and understand what is causing his pain. She recognizes that Alan is suffering from something much deeper than a simple mental illness, and she is determined to find a way to reach him and help him heal.
Overall, Dora's monologue is a powerful and moving moment in the play that reveals a great deal about her character and her determination to help those in need. It is a testament to her strength and her dedication to her profession, and it serves as a reminder of the importance of compassion and empathy in the field of mental health.
Equus Act I, Scenes 7
Both Alan and the horse, therefore, are transformed into Christ-like figures who inflict pain upon themselves for a greater purpose—a purpose which we have not yet discovered. It's also the dead stare in a million adults. Sing that one again. Hesther returns to her bench, while Dysart walks around the stage, transitioning into the next scene. He spent hours with the horses, cleaning and grooming. What do you mean? It wasn't Alan's idea to go there at all. .
She also recounts Bible passages about horses that she used to recite to Alan. Dysart goes to Alan's room to observe him, and when Alan wakes up from his nightmare they simply stare at each other before Dysart leaves. . . No more awful nights. .
He speaks to Alan with a candor that we have not previously seen. Equus, son of Fleckwus. He worked there on weekends. After Alan tells this story, Dysart remarks that he has never been on a horse in his life. You've got a feel for it, I can tell.
She'll bash you a damn sight harder, I can assure you of that. They discuss Alan's exposure to sex and whether or not he is knowledgeable about the subject, and Dora becomes upset. So then, do I? Alan ultimately finds this task impossible and extremely painful, and wishes death on himself. I told him the biological facts. My desire might be to make of this boy an ardent husband, a caring citizen.
But the fact that he sings advertising jingles introduces television and consumer culture as powerful forces that pervade society and hide deeper feeling, from both others and ourselves. A lot of lies. I said, this moment! When Equus asks Dysart to account for him, he is simultaneously asking the psychiatrist how he can account for any of the dark, irrational forces that influence human beings. His mother brought him chocolates. . Dysart leaves the square to talk to Alan.
After a minute, green snakes will come out of that cabinet. Well, we can certainly use the help. Alan had love and care and treats, and as much fun as any boy in the world. Frank: He took a piece of string out of his pocket. Dora also insists that Alan was a normal, gentle boy, while Frank repeatedly comments that his son was a strange fellow. She tells him Dora has come to visit Alan, and they have begun to quarrel. Growing up in a household with parents who so drastically disagree with each other may have had some influence on Alan.
Alan is one patient to you: one out of many. . Her insistence that Alan should not feel embarrassed also demonstrates how much more comfortable she is discussing sex, and offers a general possibility for a less shame-ridden view of sex than that held by either Alan or by someone like Frank. I can only say that. In either case, this particular one. No riders are allowed out on their own.
I just told you. He looked at you with his gentle eyes. If I have to choose between his galloping and your sheer training. To put a bowler hat on top of it's filthy. Dysart asks Dora not to visit again: Alan is at a fragile stage of his treatment and cannot be disturbed. In his final speech, Dysart highlights the ironies of modern society. I only know that.
The animal digs his sweaty brow into his cheek. As the horse begins to run around, Alan is enthralled; this does not go on for long, however, before Frank and Dora appear and are outraged that this man would put their child in such a dangerous situation. I do not know, and nor does anybody else! For example, is she pretty? Don't you be la-de-da with me, young man. There was sweat on my legs from his neck. . . .
%2C Ethan Kai (Alan Strang)%2C Doreene Blackstock (Dora Strang) and Robert Fitch (Frank Strang).jpg)
