In his drama ‘The History Boys’, Alan Bennett utilises comedic factors to play incongruent to the serious matters of the play. The playwright (Alan Bennett) specifically creates comedic scenes and improbable moments in the classroom to challenge and, ultimately influence the student’s perception and viewpoint of serious matters. Michael Billington regarded the play as a ‘deep-wrought and immensely funny play about the value and meaning of education’1 and the character of Hector orchestrates this humour throughout.
When the audience are introduced to the hubristic character of Hector, they experience a sense of trust and devotion between Hector and the students as ‘eight boys of seventeen or eighteen, come briskly on and take Hector out of his motorcycle.’ The stage direction which Bennett employs allows for the students to physically remove Hectors clothes reflecting a relationship which an audience does not expect a teacher and his students to have. Inversion theory can be applied as this is an improbable moment where we question why the boys idolise a teacher so much to remove his clothing. This creates a farcical moment as this is un-orthodox in context of reception. In addition, when an audience views this, an instinctive response of laughter could arise, because of the surreal nature and a sense of shock of the wrongdoing of their actions as their behaviour is the antithesis of the norm, as students should not be removing a teachers clothing who appears god-like – the ‘taking-off of the helmet reveals Hector’ shows the audience that Hector is idolised by the students.
As Bennett crafts Hector to attain omnipotent qualities and be central to the plays comedic effect, his teaching style appears recognisably atypical and ther...
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...deceived: God is not mocked, for whatever one sows, that will he also reap (Galatians 6:7).’3
Besides Dakin and Scripps, Akthar, Lockwood and Timms are less defined but still contribute to the play’s comedy. This comedy is accompanied with the title ‘sir’, however this contributes to the plays comedic effect, as this gentle mockery is towards Hector and Irwin whilst the trio provide the wit in the classroom to echo the wittiness of Hector for the entertainment of an audience.
In conclusion, the microcosm of society represented through the setting of education does allow for farcical moments in the play. Bennett challenges issues such as paedophilia which a modern day audience would see as morally wrong. Bennett uses the character of Hector as the conductor of the plays comedic effect and at the core of the farcical moments through interactions with the characters.
...ition to costume, language and dialogue is what fixes the atmosphere and the action. In a manner very similar to Shakespeare, Calderón weaves description of the scene and of what is occurring into the main thrust of the play. In this sense, he is more than a poet, he is a dramatic craftsman who predominantly through his verse alone, creates a drama in its own right. All the clues to the plot and its themes lie in the text; the use of staging, costume, music and props can be used to enhance what lies in the script. What they give to the play is a fuller and more entertaining dramatic production. Thus, if used sensitively and intelligently by a director, these factors can increase the dramatic power of the work. The primary focus, however, remains the language, which relies on a high standard of acting in order to do justice to the subtleties of the play.
In this extract, Bennett reveals the fate of all the boys, the eulogies told by ‘’Hector’s boys’’ seem to stem the realisation the true extent of Hector’s importance to the boys and how his lessons – though understood late, has managed to shape the boys and contribute to who they are at the ending of the play. The extract reflects an elegy in which we see Hector though obscured by his paedophilia, is a tragic ‘hero’ as he saves the boys from being lost in the system of clichéd education in which there is no individualism.
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.
Comparative study of RIII and LFR reveal the contextual influences on the portrayal of power and the duplicity of humanity, as these values transcendent regardless of era. Shakespeare and Pacino highlight that to learn connections of texts is to dissect each texts and create appreciation of the other, which reshapes the perception of an individual, facilitating a deeper and more enriched understanding of the play and the docudrama.
Eight Men Speak by Oscar Ryan et al presents a variety of epic devices employed throughout its composition. We see “the essential truth in every word of these six acts”(Foreword 5) come to life in this thought provoking presentation of didactic literature. Through the use of Epic Drama we see the effects of our corrupt government as it is brought into perspective using the epic devices of using the audience as active participants, using narration rather than action , and political engagement. These epic devices play a key role in portraying the didactic message of the play. The play causes the reader not only to be a present member of the audience, but to have presence of mind as well; to not only hear what the characters are saying, but to take initiative if they wish to see change.
“A dramatistic explaination appears in terms that performers can comfortably employ in their efforts to stage events” (Pelias and Shaffer 62). This means that the process for understanding text in an aethestic manor needs to be simple and understandable to the performer so it can be clearly related to the audience. So, for the process to be effective it has to be true to reality, otherwise the message of the text will be lost. Pelias and Shaffer describe the questions in Burke’s Pentad as “fundamental of all human action” (62). The simplicity and familiarity of the concepts are comfortable for even the most inexperienced performer.
Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c...
The spectacle of this play is limited which is why there is such weight put on the actors themselves. Their scene and ensembles never show signs of change yet they develop and grow. There is a huge stress on the statue, which whom the Learned Ladies bow
In I Henry IV and II Henry IV, William Shakespeare brings together drama and comedy to create two of the most compelling history plays ever written. Many of Shakespeare's other works are nearly absolute in their adherence to either the comic or tragic traditions, but in the two Henry IV plays Shakespeare combines comedy and drama in ways that seem to bring a certain realism to his characters, and thus the plays. The present essay is an examination of the various and significant effects that Shakespeare's comedic scenes have on I Henry IV and II Henry IV. The Diversity of Society
...ly progressed from a way to tell stories about kings and gods to a way to tell stories about ordinary human beings. By moving our focus off of nobility, the language of plays became the language of every individual, and eventually, due to America’s “melting pot” culture, the language itself became individual. The unique language of American dramatic characters represents not only the diversity of the American people, but also the diversity of all human beings. These dramatically dissimilar differences were not typical of older plays when they were written, but now, they are what make American drama so valuable. Our acceptance and love for characters with different values than ours is representative of the love we can develop for those who are different from us. It represents the worldview that our current culture idealizes and strives to achieve: acceptance for all.
Shakespeare’s tragedies have been studied and recreated time after time in the 400 years since his career. However, through this time, it has become increasingly difficult to keep students engaged with interpretations of decent relevance and relatability. Magnus Cross discusses the magnificent adaptation of Macbeth by Mark Brozel and its importance in today’s English education.
William Shakespeare’s plays are being made into box office film hits at an incredible rate. Films such as Much Ado About Nothing with Kenneth Branagh and Emma Thompson, Hamlet with Mel Gibson and Glenn Close, Othello with Laurence Fishbourne and Henry V with Kenneth Branagh have been seen by a surprising number of teenagers. Often they have not understood it all, or even half of it, but they have been affected by the powerful characters and by the Shakespearean magic which has affected audiences around the world for centuries. They want to know more, they want to understand, and what better motvation can any teacher ask for than that students WANT ? That alone is sufficient reason for any English teacher to start a course in Shakespeare.
These strong drama and dramedy plots are structured around two strong dramatic women who emphasise the importance of character to act as a vessel through which a drama can be represented in a variety of settings. In both, 1940s New Orleans set A Streetcar Named Desire and the Illyria-based Twelfth Night, the plot is centred around a woman hiding her identity, in A Streetcar Named Desire Blanche is the catalyst for the plot as is Viola for Twelfth Night, though women in very different times, they are similar in their affect on the audience but differ in how they deal with loss.
...m, though they are quite safe behind a large facade of iron bars. This technique corresponds to the menacing way that the characters address the camera throughout the performance, and creates the necessary feeling, for the viewers, that no such barrier is available to protect them as they are drawn in uncomfortably closer to the inmates by Brook’s camerawork. We begin to question whether or not the soliloquies, spoken directly into the camera instead of to the protected aristocrats who originally played our ‘part’ of the audience, are still merely just a theater convention, or if the insanity of the performers is used as a catalyst for we, ourselves, to feel threatened directly by what is spoken. We also begin to question whether or not the inmate is even looking at the camera to address the audience, or is simply insane, and addressing the air around them, adding yet another layer to such complex characters. Creating such questions within the audience’s mind also seems to create, for most, the aura of discomfort and skepticism that Brook was aiming to achieve, and reached quite successfully.
Arguably, this play brings into account how complete political power can produce fascism. The play can be seen as a satire that uses the theme of dictatorship which is seen in the killings of innocent citizens by their own leaders.