Language Follows Evolution of Jackson and Trewe Relationship Paralleling the Colonization to Post-Colonial Movement in Pantomime
The play opens on the edge of a cliff; anything can happen. Derek Walcott, a playwright from the Caribbean, lives his own life on the edge of a cliff. Walcott’s family placed strong emphasis on education and ancestry. His inherent duality, European and African, mirrors that of post-colonialism (Gilbert 131). It is this duality that Walcott tries to reconcile in his work, drawing on his experiences in the theatre and in the Caribbean (King 260). In Pantomime, Walcott employs the versatility of language to describe the evolving relationship between main characters Harry Trewe and Jackson Philip paralleling the colonization to post-colonial movement and comes to a tentative reconciliation.
Walcott sets the stage for numerous parallelisms by naming his play Pantomime. A pantomime is a traditional British Christmas entertainment that features stock characters in costume who sing, dance and perform skits. The tradition dates back to the 16th century, stemming from Commedia dell’ Arte, which included farce-like elements and masquerade. Ironically, the general premise of a pantomime, the characters speak the same language but do not seem to understand each other, echoes that of Walcott’s Pantomime. Trewe’s pantomime is based on wordless storytelling versus Jackson’s background as a Calypsonian, which deals with improvisation of words based on a given topic. Also, Elaine Savory suggests that Walcott may have chosen this form because the two men feel most comfortable exploring life from behind a mask, like those one might find in a pantomime (227). Already, their background hinders their communication and ...
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It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
When they arrive at the Montresor estate, Montresor leads Fortunato down the stairs into the catacombs. Down here is where the Amontillado Fortunato is going to taste and where the revenge of Montresor is going to take place. As he get closer and closer, the narrator opens up more and more to how he is going to kill his "friend". It sound like it is a premeditated murder. Montresor seems so inconspicuous that he acts like he cares about Fortunato which is still a part of his plan.
Poverty and low wages have been a problem ever since money became the only thing that people began to care about. In Nickel and Dimed: On (Not) Getting By in America by Barbara Ehrenreich, she presents the question, “How does anyone live on the wages available to the unskilled?” This question is what started her experiment of living like a low wage worker in America. Ehrenreich ends up going to Key West, Portland, and Minneapolis to see how low wage work was dealt with in different states. With this experiment she developed her main argument which was that people working at low wages can’t live life in comfort because of how little they make monthly and that the economic system is to blame.
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
To an extent, the characters in the play represent aspects of the Australian identity and experience. However, Rayson's vivid grasp of speech patterns to evoke character, and her ability to manipulate the audience with humour and pathos move the text beyond mere polemic and stereotype. In an almost Brechtian way, she positions us to analyse as we are entertained and moved.
Teenage Depression. Everywhere you look these two words appear together as one, in newspapers and magazines, as well as in scholarly reports. Teenage depression is one of today's "hot topics" this among other teenage mental health problems, has been brought to the forefront of public consciousness in recent years after several incidents involving school shootings (CQ 595). The environment that teens grow up in today is less supportive and more demanding than it was twenty years ago. Not only are the numbers of depressed teens rising, but children are also being diagnosed at younger and younger ages. Studies have found that, "There is an estimated 1.5-3 million American children and adolescents who suffer from depression, a condition unrecognized in children until about 20 years ago" (CQR 595). This increase in depression is due to social factors that teenagers have to deal with everyday. A recent study found that, "About five percent of teenagers have major depression at any one time. Depression can be very impairing, not only for the affected teen, but also for his or her family-and too often, if not addressed, depression can lead to substance abuse or more tragic events" (NAMI.org). Gender roles and other societal factors including the pressures on girls to look and act a certain way, the pressures on boys to suppress their emotions and put on a tough front and the pressures on both sexes to do well in school and succeed, all contribute to depression in teens today. Depression is a growing problem which crosses gender lines and one that needs to be dealt with with more than just medication.
The language of a text helps to define the drama of a play, create suspense and provide subtle clues and similes to involve the reader in the sub-context of the play. In “Trifles”, Susan Glaspell uses language and simile with particular skill to define the major themes of the play: gender dominance and subjugation, confinement and
Montresor, fifty years after it happened, is confessing to the murder of his foe, Fortunato. He justifies his actions by saying that Fortunato caused him a thous...
Werner, Craig, Thomas J. Taylor and Robert McClenaghan. Critical Survey of Drama, Second Revised Edition: James Baldwin. April 2003. .
There are frequent footnotes in the novel, many of them containing statistics about low-wage lifestyles. One claims that “In 1997, a living wage for a single parent supporting a single child in the Twin Cities metro area was $11.77 an hour” (Ehrenreich 127). Throughout the novel, Ehrenreich never gets paid this much in any of her jobs. In fact, she is amazed when a potential wage for a job is “not $8.50 but an incredible $10 an hour” (Ehrenreich 142). Even living on her own Ehrenreich could hardly pay for the basic necessities to live, it would have been impossible to do so with a child to care for as well. Another statistic stats that “Nearly one-fifth of all homeless people (in twenty-nine cities across the nation) are employed in full- or part- time jobs” (Ehrenreich 26). This fact shows the flaws in the low-wage workforce. After all, minimum wage is meant to be designed to be able to support people with necessities such as shelter and food, yet 20% of those without homes cannot afford shelter with these wages. Through these statistic, ehrenreich is able to establish that it is nearly impossible to live a decent lifestyle with just low-wage job
In the excerpt from Barbara Ehrenreich’s, “Nickel and Dimed”, Ehrenreich uses her own knowledge and scientific experience from a PhD in biology to further research the life of a low wage worker. She goes through her own low wage job experience with the corporate cleaning agency, “The Maids.” Ehrenreich offers a profound perception of the day-to-day challenges and sacrifices that low wage workers face to keep their jobs, support their families, and survive in a corporate driven society.
This play shows the importance of the staging, gestures, and props making the atmosphere of a play. Without the development of these things through directions from the author, the whole point of the play will be missed. The dialog in this play only complements the unspoken. Words definitely do not tell the whole story.
Goldman, Emma. The Social Significance of the Modern Drama. Berkeley. Edu, n.d. Web. 09 May 2012.
I thoroughly enjoyed the process of devising and developing our recontexualised version of Shakespeare’s play because of the various challenges it gave us such as the use of accents in the dialogue and being attentive to the original fluid language of Shakespeare. We chose to recontextualise the play in 1950s Britain because we wanted to play with the ethnical stereotypes and the strong enforcement of masculinity through media and social norms in that era such as the Malboro Man.