Oleanna by David Mamet
The fast pace, repetition and interruptions evident in the interaction
between Carol and John are clear illustrations of the unwritten
contest to have the last word and be right in act 1. The use of these
dramatic and linguistic techniques are what make the interaction
between the two characters so fascinating. Both are constantly
struggling to keep their dignity and reputation. On page 11, Carol
pleads ' teach me. Teach me'. Although this is imperative, the context
in which it is said suggests that she uses it passively in quite a
begging, pleading manner. The active verb also demonstrates her
impatience towards education and frustration with not understanding.
In response, John pleads ?I?m trying to teach you.? He then becomes
the passive subject in attempt to reason and level himself with carol.
Page 10 shows Mamet cleverly using irony to show how John is so
unaware of his behaviour, the language he uses and the effects of
which. He says ?I can?t talk now?. Demonstrating the fact that he is
clearly an intelligent man who is unable to communicate or answer
direct questions. Similar to that of a political figure, persuading
the audience to associate him with power and authority. This is then
confirmed on page 13 when he suddenly takes a very formal and
authoritative tone with Carol. Because their meeting ?was not a
scheduled meeting? John says he is unable to talk to her. Representing
the hierarchy that is still firmly in place between the interactions
of these two characters. The hegemony is quite clear here and is
supported by Carol?s breakdown on page 14. Here it is as though Mamet
is suggesting that language divides us. That language provides
barriers from one culture to...
... middle of paper ...
...niversities are in place to test the students;
professors and lecturers are actually more often put to the test. It
is this message that I believe Mamet conveys in act 1 through his use
of ringing telephones, irony and symbolised hegemony. That because
John will be penalised either way for his behaviour, whether it be
obscured academic language, or inappropriate reasoning with students,
he has no way out of his place in the hierarchy. And that because the
audience will see this, the insight into his life allows us to pity
and appreciate him and feel the awkwardness the educational society
creates for everyone inside it, both the bottom and the top of the
ladder.
Works Cited:
Mamet, David. Oleanna: A Play in Two Acts. The Best Plays of 1992-1993.
Eds. Otis L. Guernsey, Jr. and Jeffrey Sweet. New York: Limelight,
1993. 150-164
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