Although this story generates sympathy for Erik from the audience, he is still a monstrous being in how these experiences influence his life later on in the piece. For the most part, Kay's novel stays in context with Erik's life history as laid down by Leroux. He tries to become a person like his father, and by assuming his characteristics, the boy replaces his father to become the authoritative, father-of-the-household figure and so, by extension, achieves sexual relations with his mother while diminishing the fear of being castrated (Adler, 2010; van Beekum, 2009). To Erik, it was every man on his own and for his own. Film critic Roger Ebert noted that Butler was more "conventionally handsome" than his predecessors "in a GQ kind of way".[2].

In order to do so, he must have Christine in order to create an environment that continuously provides him with that stimulus, love. The three theories of personality are; Trait Theory, Social Learning Theory and Interactionist Theory. The character has been adapted to alternative media several times, including in the 1925 film adaptation starring Lon Chaney, the 1943 remake starring Claude Rains and Andrew Lloyd Webber's 1986 musical. Acknowledging her acceptance, Erik gave Christine a gold ring and kissed her cheek. Hideously deformed at birth, his mother was horrified by his appearance and his father refused to even look at him.

A persons personality is unique to that person there are no two people in the world that have the same personalities. Those behaviors, however inappropriate from a “normal” person’s point of view, were none-the-less necessary in ensuring his survival. Christine submitted to his request in order to save herself, unknowing Raoul had fallen accidentally into Erik’s torture chamber while searching the opera house for her with the help of the Persian and the opera house staffs. In his principles of operant conditioning, Skinner emphasized how behavior can be changed by manipulating the reinforcing consequence (Moore, 2011). Although Leroux did not detail Erik’s personal habits, we can certainly see that he was constantly looking for and acquiring knowledge and skills, being an accomplished magician and ventriloquist, a brilliant architect and master builder, a royal assassin, a music genius with a most haunting, unearthly, yet passionate voice (Leroux, 1910/1990). I believe he unconsciously identified himself with Christine, both talented and tormented but with the exception of her being accepted publically and he loathed. This radical change, however, did not come overnight. However, Kay (as explained in her Author's Note) changes and shapes the character to match her own vision, influenced by other adaptations besides the original.

This tremendous emotional release of positive energy, or catharsis, was so foreign yet comforting to him that he b roke down and cried uncontrollably. Within the Shah’s realm, killing as directed by the Shah was rewarded. Sigmund Freud’s Psychoanalytic Approach to Erik’s Personality The core concept of psychoanalysis developed by Sigmund Freud (1856 – 1939) is the significant influence the unconscious mind has on the conscious (Burkitt, 2010; Freud, 1923/1990). The Character Erik Erik was born in a small town on the outskirts of Rouen, France. The other aspect of his personality was his unconscious need for love and human kindness, something that he knew not existed until he encountered Christine. Because he was gifted as a learner, he mastered the Gypsies’ many different performing skills and incorporated them into his own routines, further securing his acceptance within the band – the members could reliably depend on him as a money maker.

This is just a sample. Seeing the genius with a tortured soul finding happiness at last, Christine cried with Erik. It was through multiple encounters with Christine, each time they learn more about each other, each time his action was reinforced by the increasing level of kindness and respect returned to him, that his behavior was shaped. One such popular literary adaptation is the Susan Kay novel Phantom (1990), a fictional in-depth story of Erik from the time of his birth to the end of his life at the Paris Opera House.

Instead of talking, Erik’s obsession with oral stimulation was manifested as singing: singing to himself, hoping to seek solace throughout his life; and later to Christine as well as giving her vocal lessons. Holmes theorizes that he did not die, but was merely disfigured and therefore took to hiding in the Opera.

One of those feelings the boy represses is the fear of castration, which will be discussed below. He is also physically deformed: according to the original book, his entire body resembles a corpse and his skin emanates the odor of rotting flesh. The Broadway show consolidates everything that makes theater great. "He scored it for the lady he adored," Vernaci opined. In the same way as other different stories, The Ghost of the Drama draws in the shows of ghastliness as a similitude for the out of line aftereffects of social class and its unbending qualifications.

By now, Erik was secretly in love with Christine, and one night he revealed himself to her from behind a mirror in her dressing room, wearing a mask, and led her through the mazes and labyrinths into his domain in the cellar of the theater. Brief liaisons in the shadows, no matter how frequent, were no longer satisfying. It is very likely that Erik’s behaviors were learned and shaped by the hostile environment he constantly found himself since birth. Create your own unique website with customizable templates. Freud theorized that while the boy is struggling with his intense sexual desire toward his mother, he must have also realized that he does not have the physical strength to overpower his father; he fears the father may castrate him as an act of revenge, leaving him without a penis and therefore resembling a girl – Freud termed this unconscious fear “castration anxiety” (Adler, 2010; van Beekum, 2009). When Christine finally escapes from The Phantom, he returns to what he originally was and what he shall always be: monstrous, alone, and unloved. Christine kept her promise and returned to the opera house, but before the burial, she slipped the gold ring Erik had given to her three weeks earlier onto his finger. The Phantom never provides a given name in the novel; he only tells Christine that his name is "Nobody.”, Regardless of his identity, the Phantom in The Canary Trainer is much more unhinged and bloodthirsty than in the original novel or play. Some infants are easier than others to succeed in negotiating and resolving this conflict between the id and the ego (Freud, 1923/1990; van Beekum, 2009) by redirecting their psychosexual energy (libido) toward other challenges. According to the Persian, Erik was born with this deformity and was exhibited as le mort vivant in freak shows earlier in his life. Most likely triggered by seeing her perform on stage that night, Erik resorted to the familiar solution in obtaining reward quickly and easily: he kidnapped her, threatened her with her very life if his addiction was not satiated. Without any internalized social rules and values (superego) as a guide to his actions, his ego had very little to resolve between the id and the superego. The review will focus on the theories that inform and contribute to the process of personal development planning (PDP) and how these theories encompass and relate to the personal aspect. Weaning would therefore create a stressful situation for the infant: giving up the comfort feelings the mother’s breasts have provided. Through operant conditioning, Erik learned to be ruthless, selfish, and hateful. A behavior that is reinforced will likely to be repeated, one that is punished will most likely not. By the intervention of the local police chief (the Persian), Erik escaped to Constantinople and was employed by its’ ruling Sultan to build his grand palace of a similar design. He did whatever made him feel good at the time; he neither feared nor knew punishment because it did not matter what he does or does not do, the results were inevitably the same.

These encounters-in-the-shadow made Erik feel good about himself, and together with a lack of negative consequences, he became obsessed with her – having a “relationship” with Christine made him happy, easing the anxiety within.

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Having not seen his disfigurement, I believe Christine did love Erik before that revelation. Although it was not detailed in the novel, Erik most likely was never breast-fed as his mother loathed his appearance and his father refused to even look at him. Freud also determined 5 psychosexual stages that must be negotiated and satisfied during childhood development, failure on doing so will result in aberrant personality traits. on, Analysis of Erik, Phantom of the Opera Using Two Contrasting Personality Theories. In the novel, Erik was able to utilize this power of the unconscious to strategically place himself in the mind of Christine, letting her to believe that he was sent by her deceased father and thus masquerading as the “Angel of Music”. The Skinnerian approach would view Erik’s personality as shaped by previous history of reinforcement in his given environment, steadily and progressively as he developed from a severely deformed, ridiculed child to a highly talented but tormented adult with little conscience. However, I believe elements from both theories may be combined for a more comprehensive analysis on his behavior. In the original book, Erik transforms Christine from a mediocre, innocent opera singer to a passionate, sexualized and ostentatious artist by having her perform his own compositions, effectively transforming her into his own protege. Erik’s life had been devoted to the satisfaction of the thanatos, the id driving force that leads toward aggression, destruction, and death. One of the first people that Erik meets on his arrival is a blind girl with a fondness for music. The physical location of his lair adds a demonic dimension to his character as it reminds the reader of Purgatory, since he attempts to keep Christine there forever.

Because he could never be accepted by the public regardless of how talented he was, teaching Christine all he knew and thus controlling her may be a way Erik thought he could live his imaginary “good life” through her success. Maslow’s hierarchy of needs placed self-actualization on the very top of the ladder and can only be achieved after all other needs, physiological, safety, belongingness and love, and esteem, are satisfied (Hanley & Abell, 2002). Alas, he was later forced to escape Constantinople for the same reason he fled Persia. In addition to possessing a most eerie and supernatural singing voice, he gained great skills as an illusionist, magician, and ventriloquist. Gina Vernaci, the PlayhouseSquare dramatic VP who has seen and delivered the show again and again and over throughout the years, said "Ghost" is so fruitful in light of the fact that Lloyd Webber composed it for his then-spouse, Sarah Brightman, to sing Christine. can use them for free to gain inspiration and new creative ideas for their writing assignments. Look at the parts of ‘The Music of the Night’ and ‘Phantom of the Opera’. The deformity in the musical includes a gash on the right side of his partially balding head with exposed skull tissue, an elongated right nostril, a missing right eyebrow, swollen lips, different colored eyes, and a wrinkled, warped right cheek. This is equally terrifying and monstrous in nature. Erik developed an obsession toward the beautiful, talented, but emotionally devastated (due to the death of her father) chorus girl. This time, however, it was the eros force of the id that surfaced. Exploiting his deformity for monetary gain, they actually provided Eric a chance to survive into adulthood.

Although this story generates sympathy for Erik from the audience, he is still a monstrous being in how these experiences influence his life later on in the piece. For the most part, Kay's novel stays in context with Erik's life history as laid down by Leroux. He tries to become a person like his father, and by assuming his characteristics, the boy replaces his father to become the authoritative, father-of-the-household figure and so, by extension, achieves sexual relations with his mother while diminishing the fear of being castrated (Adler, 2010; van Beekum, 2009). To Erik, it was every man on his own and for his own. Film critic Roger Ebert noted that Butler was more "conventionally handsome" than his predecessors "in a GQ kind of way".[2].

In order to do so, he must have Christine in order to create an environment that continuously provides him with that stimulus, love. The three theories of personality are; Trait Theory, Social Learning Theory and Interactionist Theory. The character has been adapted to alternative media several times, including in the 1925 film adaptation starring Lon Chaney, the 1943 remake starring Claude Rains and Andrew Lloyd Webber's 1986 musical. Acknowledging her acceptance, Erik gave Christine a gold ring and kissed her cheek. Hideously deformed at birth, his mother was horrified by his appearance and his father refused to even look at him.

A persons personality is unique to that person there are no two people in the world that have the same personalities. Those behaviors, however inappropriate from a “normal” person’s point of view, were none-the-less necessary in ensuring his survival. Christine submitted to his request in order to save herself, unknowing Raoul had fallen accidentally into Erik’s torture chamber while searching the opera house for her with the help of the Persian and the opera house staffs. In his principles of operant conditioning, Skinner emphasized how behavior can be changed by manipulating the reinforcing consequence (Moore, 2011). Although Leroux did not detail Erik’s personal habits, we can certainly see that he was constantly looking for and acquiring knowledge and skills, being an accomplished magician and ventriloquist, a brilliant architect and master builder, a royal assassin, a music genius with a most haunting, unearthly, yet passionate voice (Leroux, 1910/1990). I believe he unconsciously identified himself with Christine, both talented and tormented but with the exception of her being accepted publically and he loathed. This radical change, however, did not come overnight. However, Kay (as explained in her Author's Note) changes and shapes the character to match her own vision, influenced by other adaptations besides the original.

This tremendous emotional release of positive energy, or catharsis, was so foreign yet comforting to him that he b roke down and cried uncontrollably. Within the Shah’s realm, killing as directed by the Shah was rewarded. Sigmund Freud’s Psychoanalytic Approach to Erik’s Personality The core concept of psychoanalysis developed by Sigmund Freud (1856 – 1939) is the significant influence the unconscious mind has on the conscious (Burkitt, 2010; Freud, 1923/1990). The Character Erik Erik was born in a small town on the outskirts of Rouen, France. The other aspect of his personality was his unconscious need for love and human kindness, something that he knew not existed until he encountered Christine. Because he was gifted as a learner, he mastered the Gypsies’ many different performing skills and incorporated them into his own routines, further securing his acceptance within the band – the members could reliably depend on him as a money maker.

This is just a sample. Seeing the genius with a tortured soul finding happiness at last, Christine cried with Erik. It was through multiple encounters with Christine, each time they learn more about each other, each time his action was reinforced by the increasing level of kindness and respect returned to him, that his behavior was shaped. One such popular literary adaptation is the Susan Kay novel Phantom (1990), a fictional in-depth story of Erik from the time of his birth to the end of his life at the Paris Opera House.

Instead of talking, Erik’s obsession with oral stimulation was manifested as singing: singing to himself, hoping to seek solace throughout his life; and later to Christine as well as giving her vocal lessons. Holmes theorizes that he did not die, but was merely disfigured and therefore took to hiding in the Opera.

One of those feelings the boy represses is the fear of castration, which will be discussed below. He is also physically deformed: according to the original book, his entire body resembles a corpse and his skin emanates the odor of rotting flesh. The Broadway show consolidates everything that makes theater great. "He scored it for the lady he adored," Vernaci opined. In the same way as other different stories, The Ghost of the Drama draws in the shows of ghastliness as a similitude for the out of line aftereffects of social class and its unbending qualifications.

By now, Erik was secretly in love with Christine, and one night he revealed himself to her from behind a mirror in her dressing room, wearing a mask, and led her through the mazes and labyrinths into his domain in the cellar of the theater. Brief liaisons in the shadows, no matter how frequent, were no longer satisfying. It is very likely that Erik’s behaviors were learned and shaped by the hostile environment he constantly found himself since birth. Create your own unique website with customizable templates. Freud theorized that while the boy is struggling with his intense sexual desire toward his mother, he must have also realized that he does not have the physical strength to overpower his father; he fears the father may castrate him as an act of revenge, leaving him without a penis and therefore resembling a girl – Freud termed this unconscious fear “castration anxiety” (Adler, 2010; van Beekum, 2009). When Christine finally escapes from The Phantom, he returns to what he originally was and what he shall always be: monstrous, alone, and unloved. Christine kept her promise and returned to the opera house, but before the burial, she slipped the gold ring Erik had given to her three weeks earlier onto his finger. The Phantom never provides a given name in the novel; he only tells Christine that his name is "Nobody.”, Regardless of his identity, the Phantom in The Canary Trainer is much more unhinged and bloodthirsty than in the original novel or play. Some infants are easier than others to succeed in negotiating and resolving this conflict between the id and the ego (Freud, 1923/1990; van Beekum, 2009) by redirecting their psychosexual energy (libido) toward other challenges. According to the Persian, Erik was born with this deformity and was exhibited as le mort vivant in freak shows earlier in his life. Most likely triggered by seeing her perform on stage that night, Erik resorted to the familiar solution in obtaining reward quickly and easily: he kidnapped her, threatened her with her very life if his addiction was not satiated. Without any internalized social rules and values (superego) as a guide to his actions, his ego had very little to resolve between the id and the superego. The review will focus on the theories that inform and contribute to the process of personal development planning (PDP) and how these theories encompass and relate to the personal aspect. Weaning would therefore create a stressful situation for the infant: giving up the comfort feelings the mother’s breasts have provided. Through operant conditioning, Erik learned to be ruthless, selfish, and hateful. A behavior that is reinforced will likely to be repeated, one that is punished will most likely not. By the intervention of the local police chief (the Persian), Erik escaped to Constantinople and was employed by its’ ruling Sultan to build his grand palace of a similar design. He did whatever made him feel good at the time; he neither feared nor knew punishment because it did not matter what he does or does not do, the results were inevitably the same.

These encounters-in-the-shadow made Erik feel good about himself, and together with a lack of negative consequences, he became obsessed with her – having a “relationship” with Christine made him happy, easing the anxiety within.

Nayun Instagram, One Night With The King Cast, For Want Of A Nail Fanfic, George V Siblings, The Truants Wikipedia, Auy Stock Forecast, Jing Tian Height, Antony Starr Interviews, Fools Rush In Song Meaning, Can't Blame A Girl For Trying Chords, Soma Sale, What Have The Romans Ever Done For Us Colonialism, Lobo Movie Release Date, 5 Yoga Breathing Exercises, Why Did Napoleon Invade Russia, Brazil Movie Wiki, Kirikou And The Wild Beasts English Dub, Steve Bailey Obituary Georgia, Houses For Sale Falmouth, Instacart Ipo Filing, Juventus Vs Bayern Munich History, Derby County Fixtures On Sky, Pope Sixtus Nephew, Queen Crown Clipart Transparent Background, Prayer Of Gratitude For Community, Cal Ripken Jr Son, Beyond Meat News, Is Quibi Worth It, Dash Documentation Ios, Holly Hester Now, Ford Fiesta 5,

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