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Themes in Blackrock play
Themes in Blackrock play
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Blackrock was first performed in 1995. The play explores the causes of violence by individuals as well as ideas surrounding mateship and gender. The representations of mateship, masculinity and violence portray Australian culture in Blackrock as dangerous, homophobic and one that is accustomed to gender inequality. Dramatic conventions are employed by Nicholas Enright to challenge the reader or viewer’s view towards mateship, reinforce the idea of masculinity and challenge the idea that Australian culture is safe. The representation of mateship in Blackrock challenges the popular ideas held by Australian society towards it. The play’s negative representation of mateship reshapes the reader or viewers attitude towards it. The boundaries of …show more content…
From the beginning of the play it was evident something bad would occur at Toby 's birthday party down at Blackrock. Parallel scenes 3 and 5 foreshadow a tragedy. Rachel and Cherie are forbidden from going to the party. Cherie tells her mother she "won 't drink. Or get into drugs. Or muck around with boys." Her mother implies to her what 's the point in going then. Stewart tells Rachel "Not to a party at Blackrock ... You always go out before sunset, unless you were looking for ... A punch-up. "The party is fueled by alcohol, which a common outcome is violence. The social behaviour of teenagers is implied to be wild. The recurrence of forbidding girls from going to the party emphasises that girls are at a great risk of being hurt at the party and implies that the night could end a disaster for any one of the girls. Len 's boxing ring represents the culturally accepted form of violence. "Donny can be your mate outside, your best mate in the world. But in the ring you got two allies [fists], one friend [brain], and no mates. It 's just you and him and the sweet smell of blood." The boxing ring allowed for men to release their violent drive which was an attribute of masculinity at the time. The repetition of blood reminds the reader or viewer of Tracy 's murder. Violence anywhere seemed to be a daily occurrence whether at parties, towards objects, in the home or in the ring. Violence in the play challenges the popular idea that Australian culture was
The play, “Riley Valentine and the Occupation of Fort Svalbard”, by Julia- Rose Lewis is an exploration of the resilience of teenagers. The play is heavily symbolic and supports the dramatic meaning of the show. Throughout the Queensland Theatre Company’s interpretation of this play, the director, Travis Dowley, expresses forms of dramatic elements to articulate three types of manipulations. These manipulations include the manipulation of body and voice, space and the creation and manipulation of dramatic mood. Through these types of manipulations, it portrays the dramatic meaning towards the performance. Although, the use of space throughout Travis’s performance allows the audience to identify this dramatic meaning.
In addition to Silvey and Lawrence’s examination of racial bias, they also explore gender basis in Australian society. Lawrence questions the viewer with regards to the treatment of Susan’s body, with how would the men have reacted to the situation if it was a male. Lawrence also bring to the attention of the viewer sexist ideology in the town. A similar question is raised with the readers of ‘Jasper Jones’ as Silvey questions the treatment of Laura by Jasper and Charlie. Although, Silvey highlights the importance of the imposing question that if Charlie found Laura without Jasper; how would the town have acted towards Charlie? The comparison between the gender and racial inequality gaps present in these texts demonstrates the progression that has been made between the 1960’s and the mid 2000’s, however makes apparent that the gap is still a prominent issue in contemporary
In Tony Kushner’s Angels in America, the interconnection of people and events, that might ordinarily be viewed as disconnected or unrelated, is implicitly presented in the characters section. Dual roles are implemented by a playwright that has one actor portraying the roles of two or more characters, with or without thematic intentions. The use of “dual roles” in several scenes of this play can be viewed as a demonstration of Kushner’s effort in maintaining the interconnectedness between characters, communities (i.e. queer, heterosexual, AIDS and political communities) and events to which they are relative. This essay will argue that Kushner’s use of dual role’s effectively interconnects characters, events and their communities that may be seen as usually unrelated. Analysis of four specific characters, Antarctica, Oceania, Australia and Europa, in Act Five, Scene Five of “Perestroika”, will demonstrate the connection of each Act Five, Scene Five character, to the actors main character based on the implicit evidence presented in the actors “primary” and “secondary” roles, the scenes dialogue and the character interactions. As one will see, by implementing dual roles, Kushner is able to expand or preserve the concept of a major character while the actor portrays another character, keeping the audience from having to completely renegotiate their knowledge between what they physically see of new characters and actually use the new context to view triumphs and struggles for a major character.
Werner, Craig, Thomas J. Taylor and Robert McClenaghan. Critical Survey of Drama, Second Revised Edition: James Baldwin. April 2003. .
The figure of the ‘new lad’ has been a feature of popular culture in the United Kingdom, United States, and elsewhere since the early 1990s. In the book, The Trouble with Men: Masculinities in European and Hollywood Cinema, the author relates to Nick Hornby’s, a screenwriter and English novelist, thoughts on lads. He states that there are two versions of the modern male that have anxieties between the two main constructions of contemporary masculinity: New man and New Lad (Phil Powrie 2004, pp.84). By the start of the twentieth century, the word ‘masculinity’ was always associated with the word ‘crisis’; this is now portrayed in ‘lad flicks’. Masculinity is the central object of contemporary ‘lad flicks’; they combine different genre elements to focus specifically on difficulties that face contemporary masculinity. The male characters in these films...
Through the actions of the male hegemony and the mother figure, both plays show the different perspectives both sexes have towards homosexuality. The patriarchal figures, show an intolerant and abusive perspective whereas the mother figures show a more understanding way of coping with the identities of their sons. By seeing the reactions of both males and females, it is to say that the maternal figures of the play show a more comprehensive attitude towards the struggles that the male protagonist undergo. Both plays are related to today´s society, because there are still families in which homosexuality is not accepted. People are still
All relationships go through both good and bad times. Some last through the ages, while others quickly fall into nothing. In Terrence McNally’s “Lips Together, Teeth Apart,” the heart of this haunting play is a dramatically incisive portrait of two married couples—the Truman’s and the Haddocks. Uncomfortable with themselves and each other, they are forced to spend a Fourth of July weekend at the Fire Island house that the brother of one of the women left his sister when he died of AIDS. Though the house is beautiful, it is as empty as their lives and marriages have become, a symbol of their failed hopes, their rage, their fears, and of the capricious nature of death. The theme of love and death in relationships is quickly developed, as well as an overwhelming fear of homophobia. The two couples McNally brings to life are both going through rough patches in their marriages. While Chloe and John are fighting through John’s esophagus cancer, Sally and Sam are expecting and fearful that this time it will be another miscarriage. Showing how society has struck fear into the couples about AIDS. While everyone except John is worried about catching “AIDS,” the play begins to unveil troubled marriages as well as superficial values and prejudices.
This essay sets out to distinguish how male characters can be portrayed in the same fashion as their female counterparts, and therefore become subjected to the same erotic objectification. This will be researched under the circumstances that the production revolves around gay characters and the assumed audience is exchanged from a homogenous crowd of heterosexual spectators, to a homogenous crowd of homosexual spectators. To support this claim there will be references to a segment from the American remake of the television series Queer as Folk (USA, dev. Ron Cowen, Daniel Lipman, 2000-2005) where Brian Kinney (Gale Harold) and Justin Taylor (Randy Harris) first meet.
The play Blackrock, written by Nick Enright that was inspired by the murder of Leigh Leigh, which took place in Stockton in 1989. During this essay the following questions will be analysed, what stereotypes of women are depicted in the text, how do the male characters treat the female characters and how do the male characters talk about the female characters. These questions are all taken from the feminist perspective.
In this play, the men and women characters are separated even from their first entrance onto the stage. To the intuitive reader (or playgoer), the gender differences are immediately apparent when the men walk confidently into the room and over to the heater while the women timidly creep only through the door and stand huddled together. This separation between genders becomes more apparent when the characters proceed in investigating the murder. The men focus on means while the women focus on motive: action vs. emotion. While the men...
The play entitled “Trifles,” by Susan Glaspell, begins as a murder mystery that turns into a drama as the story unfolds. The story is focused on the investigation of a murder that took place in a farm house. The investigators, who are all men, are in the farm house looking for forensic evidence to help them solve the murder. The wives of two of the investigators are there to retrieve personal items for the wife of the victim. Mrs. Wright, who is the wife of the victim, is in jail as the primary suspect of her husband’s murder. When the story begins, all the characters are in the kitchen engaging in small talk. One of the investigators is criticizing the state of the kitchen by complaining that it is dirty and unorganized. The women, who are also house wives, empathize with Mrs. Wright and defend her kitchen by reminding the investigator that house work on a farm is not easy. Throughout the story, the men consistently make stereotypical statements against the women and Mrs. Wright. This paper will analyze male dominance and the effect it had on the female characters. More specifically it will examine how the female characters were forced to develop an intimate bond and how they formed an unspoken form of communication to combat the patriarchy displayed by the male characters.
In 1979, Caryl Churchill wrote a feminist play entitled Cloud Nine. It was the result of a workshop for the Joint Stock Theatre Group and was intended to be about sexual politics. Within the writing she included a myriad of different themes ranging from homosexuality and homophobia to female objectification and oppression. “Churchill clearly intended to raise questions of gender, sexual orientation, and race as ideological issues; she accomplished this largely by cross-dressing and role-doubling the actors, thereby alienating them from the characters they play.” (Worthen, 807) The play takes part in two acts; in the first we see Clive, his family, friends, and servants in a Victorian British Colony in Africa; the second act takes place in 1979 London, but only twenty-five years have passed for the family. The choice to contrast the Victorian and Modern era becomes vitally important when analyzing this text from a materialist feminist view; materialist feminism relies heavily on history. Cloud Nine is a materialist feminist play; within it one can find examples that support all the tenets of materialist feminism as outlined in the Feminism handout (Bryant-Bertail, 1).
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
“The conflict between virtuous mediocrity and feckless genius took hold of my imagination” (“Shaffer, Peter 1926”). The quote by Shaffer himself, helps to explain the reasoning for his plays; both the good and the bad. Throughout the past few decades, Sir Peter Shaffer has brought numerous plays to the stage, with each challenging society to be open minded to change. Sir Peter Shaffer has forever impacted the theatre world by bringing topics such as sexual choices, religion, and family values to the stage that challenged the ideals set by society through his use of plays as a means to help him answer many of his own questions about life.
Black comedy discusses and integrates controversial and often taboo topics such as pain, loss, and grief providing a confronting and cathartic experience for the audience. Martin McDonagh’s ‘The Lieutenant of Inishmore’ is a play that humorously deals with the serious nature of the Irish struggle for independence. It juxtaposes the mundane with the extreme political violence, which is a common aspect of black comedy, presenting an issue in a new perspective. The act of pointless violence presented through characterisation, sharp dialogue and the symbol of the cat, is a strong mechanism for laughter. Similarly Neil Labute’s ‘The Shape of Things’ presents manipulation, superficiality and the nature of art in a humorous way. ‘The Shape of Things’