Social history, which looks at the way ordinary people live their lives can be more revealing and engaging than traditional historical approaches, which examine momentous events or periods.’ (Rankin, S., 1999:135). Social historical stories can be successfully presented through the monodrama form. ‘Monodrama is a complete theatrical work and performed by one actor who portrays either a single character, or multiple characters in the dramatic situation.’ (Mackenzie, D., 1996:46). Leah Purcell and Scott Rankin’s Box the Pony (1999), and Sancia Robinson and Wendy Harmer’s What is the Matter with Mary Jane? (1996) are two very exceptional, yet adversative styles of monodrama. Both play-texts carry personal, positive and affirming messages demonstrated through the use of significant themes, distinctive style, clever structure, valuable language techniques and strong symbolism. The use of these elements determine which monodrama best encapsulates the audience’s attention as a monodrama. ‘In the best monodramas, (…) the audience is offered an intensity of focus and a special intimacy with character’ (Harmer, W., 1996:47) which helps to establish the relatable themes found in both Box the Pony and What is the Matter with Mary Jane?. Despite the contrast of the monodramas, both raise critical topics of survival, inner strength and escape. Yet, the personal and confronting nature of both storylines are tackled in humorous ways removing any sense of pessimism. Box the Pony unearths a journey through the highs and lows of “(…) Aboriginal women, mother, sister, daughter, actor, singer and activist,” (Sheahan-Bright,R., 1996:127) Leah Purcell. In spite of Leah having an arduous upbringing and nearly disastrous adulthood, she sends herself up... ... middle of paper ... ...y. 4. Archer, R., 1996, Forewords by Festival Directors, from Box the Pony, Hodder Headline Aust. Pty Ltd, Sydney. 5. Mackenzie, D., 1996, A Study Guide for Teachers and Students, from What is the Matter With Mary Jane?, Currency Press, Sydney. 6. Sheahan-Bright, R., 1999, Notes to Play, from Box the Pony, Hodder Headline Aust. Pty Ltd, Sydney. 7. Mee, S., 1999, Director’s Notes, from Box the Pony, Hodder Headline Aust. Pty Ltd, Sydney. 8. Wheeler, B., 2013, A Companion to Australian Aboriginal Literature, Google Book, viewed: 1/03/14, URL: http://books.google.com.au/books?id=NX_2y2UD5-IC&pg=PA166&lpg=PA166&dq=traditional+language+in+%27box+the+pony%27+Leah+Purcell&source=bl&ots=VLqT-Xa5WV&sig=q6F8Rp1MHhC9TF2Ue3QSLoqECN8&hl=en&sa=X&ei=Zd4NU56KL4nEkwXs1ICgAQ&ved=0CFcQ6AEwCA#v=onepage&q=traditional%20language%20in%20'box%20the%20pony'%20Leah%20Purcell&f=false
The notions of the Australian voice as multifaceted and diverse, is insightfully expressed in Tim Winton's short story anthology The turning and the Drover's wife by Henry Lawson. Australian voice in literature often explores the quality inherent to the Australian identity of overcoming hardships. The stories Fog, On her knees, and The Drover's wife explore these hardships through the notions of mateship,and the importance of family in facing these challenges.
In this essay I will be comparing two playwrights, A Raisin in the Sun and A Doll’s House, to one another. I will also compare the two to modern time and talk about whether or not over time our society has changed any. Each of these plays has a very interesting story line based in two very different time eras. Even though there is an 80 year time gap the two share similar problems and morals, things you could even find now in the year of 2016. In the following paragraphs I will go over the power of time and what we as a society have done to make a change.
Smart, Christopher. “Jubilante Agno”. Longman Anthology of British Literature. Vol.1. Ed. Rossi, Patricia. Addison Wesley Educational Publishers Inc. New York: Copyright 1999. 2650-53
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Many define drama to be a literary work that is to be performed in front of an audience. But to truly define drama one must comply with its themes in order to understand it fully. Drama is a form of art that is visually presented. It displays key characteristics of human emotions to give deeper meaning to what is being presented. Sometimes drama brings out what a person is truly feeling through a tragedy play or a play portraying good fortune. Drama plays are sometimes taken out of real life instances to extend the controversy of the event or elevate the excitement of the situation. Much like in Susan Glaspell’s “Trifles”, where a woman is being put on trial for killing her husband. Trifles are small insignificant things that can be ignored. Women are being ridiculed in this drama due to their lack of voice in society; however their superiority is shown through their keen eye for evidence. Symbolism in this play acts as a precursor to predestined events that take place. It can be observed by looking at anything that has specific significance to a scene, which Mrs. Hale and Mrs. Peters methodically point out. The unfinished quilt, the strangled bird, and fruit are the symbols that give insight what really happened between Mr. and Mrs. Wright, and what went wrong during their marriage to result in such a dreadful end.
O’Hara, B & Beard, M 2006, Copyright, Royalties & Publishing, Omnibus Press, Thomastown, Victoria 3074.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000. p. 2256
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Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000.
... Norton Anthology of English Literature. 9th ed. Vol. D. New York: W.W. Norton &, 2012. 1166-86. Print.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000.
Longman. The Longman Anthology of British Literature, vol. B. Damrosch, D. (ed.). NY, LA: Addison Wesley Longman, Inc. 2000.