Stage Conventions v. Subject Matter

Siobhan A. Leandro

Literature

12^th/04/12

The dramatic appeal of the play depends primarily on the playwright’s use of the stage conventions. The subject matter hardly matters. Using ‘An Echo in the Bone’ and ‘The Winter’s Tale’ discuss the extent to which you agree with the statement.

Stage conventions are “the grammar of the theatre. They are the rules that govern a play's composition. There are conventions of language and movement; conventional character types, conventions of theme; conventions of form; conventions of staging, design, and costumes even conventions regarding the relationship of the audience to the stage.” W. Corrigan (1992). The CAPE Literature syllabus highlights “costume, lighting, sound effects, movement, (stage motion, entrance, exit), stage position (centre-stage, up stage, down stage) backdrops and props” as examples of stage conventions.

Through the application of this definition in the dramas “An Echo in the Bone” and “The Winter’s Tale”, the readers can assume, prima facie, that stage conventions do indeed play a fundamental role in the dramatic appeal in the play. However, where such conventions are depended upon primarily to the extent in which the content or subject matter ‘hardly matters’ could not ever be the case. Examining this statement through the texts will be essential in drawing illustrations as to the importance of content over convention.

In Shakespeare’s “The Winter’s Tale”, as a matter of fact, in most any drama, sound effect is paramount in the delivery of the performance; “cheap sounds pull an audience out of the realism of the experience”. The believability factor must be present in order to evoke any sort of response from the viewer or reader.

Accordingly, throughout “The Winter’s Tale”, as described in several reviews of both the play and the motion picture and as witnessed by reading the book, song and orchestral themes as sound effects has been instrumental in the appeal of the drama. In the book itself, the reader becomes indulged by Autylocus’ songs such as “When Daffodils begin to peer” and “Lawn as White as Driven Snow” (IV.iii.79 and 103). The songs establish a connection with the audience/ readers which would ultimately have the effect of lightening the mood and setting a responsive atmosphere.

Moreover, Time, the chorus in “The Winter’s Tale” assumes the position of a stage convention as he awkwardly bridges the gap between the past and present in which sixteen years have elapsed. Although it has disregarded the theatrical convention of the dramatic unities of time, place and action, he states that it is not a ‘crime’ but rather, a tribute to the process of regeneration. This demands the attention of the audience/readers through the thirty-two rhymed couplets.

 Similarly, in “An Echo in the Bone”, Dennis Scott utilizes props and lighting as his vantage point. In the very beginning of the play, the reader notices the words [blackness], [turns the lamp down], [the moonlight silhouettes her], the dimness and brightness of the scene portrays one of two things to the audience:

1.      It is day or night, dark or bright or

2.      That the lighting design is of bad quality

Obviously, the former is what the directors and playwrights aim for when the production of the play is put forward and viewed. The audience also wants to understand the setting, that is, whether the setting in time is in the day or night or whether the setting in place is in a place without electricity. This has its dramatic appeal in that it would set the mood for the entire play since sight is the first sense used in this situation.

            Furthermore, the props such as hurricane lantern, cheese, bottle of white rum and a drum serve the greater purpose of contributing to the realism of the play. Without this factor, many persons would lose interest because ‘it is too staged’.

            However, plot has been more substantial than mere stage conventions. In “The Winter’s Tale” characters portray a heart-wrenching story of a jealous man accusing his wife of cuckoldry resulting in the death of several characters, only to find out that she was innocent. Then providing a happy ending, in which, Leontes’ wife is revived, his daughter is found, his friends return and everyone is off to be wed. Whilst, in “An Echo In the Bone” the plot takes us through history to the murder and death of Mr. Charles and the eventual suicide of Crew during a wake ceremony. The plot engages the reader on an emotional journey in which they meet new characters and face new trials and tribulations, a journey in which stage conventions could not possibly lead.

            Therefore, although convention does have some degree of importance, it is by far outweighed by the plot. Think of it this way, in the Shakespearean Era, a time when theatre was huge, there was hardly any stage conventions other than the miniscule costumes and props. The playwright relied on the plot rather than the performance to convey an emotional impact of the character and appraisal from the audience. This ideal has continued to modern day, as even now audiences and readers look for climax, conflict, foreshadowing, diction and other elements to spark their interest.

'Sons and Lovers': Techniques, Motifs and Themes

Compare how the writer uses narrative techniques in “Sons and Lovers” to express various themes and motifs in the novel.

Within the “Sons and Lovers” novel, D.H Lawrence eloquently utilizes a wide range of narrative techniques as a means of presenting the major themes and motifs omnipresent. He advances the central topics of his Bildungsroman through the intentional usage of narrative techniques such as point of view, symbolism, foreshadowing, characterization and flashback to structure his work and provide some form of intrigue to his readers.

D.H Lawrence’s style is known to be one in which he must develop the protagonist to be of an astute disposition in which he searches for some sort of meaningful connection in life. This is based entirely on the aspect of Romanticism as the individual, namely, in this case, Paul does not want simply a superficial social world but seeks for an identity, personal fulfillment if you must. The quest for identity and personal fulfillment is one of the many themes explored within Sons and Lovers. This particular theme, however, is developed through point of view.

Point of view in Sons and Lovers entails mainly a third-person omniscient point of view, as the readers gain a means of accessing the characters inner-most thoughts and gaining insight as to their perspective on certain issues as witnessed when Paul feels threatened to go to his job interview because he feels he will be tied to the restraints of capitalism and industrialization.

Furthermore, Lawrence brings across the themes of bondage. He devises his plot in such a way as to emphasize both a social and romantic bondage betwixt the characters and society. Foreshadowing is a major element of the thematic discussion on romantic bondage as the readers suspect that due to William’s failed relationship and death that Paul will have a similar outcome. William felt like he had an obligation to wed Louisa although he kept on having second-thoughts on her character. Similarly, Paul went through this phase with Miriam. He felt as if she wanted the whole of him, to put him in her pocket and suck his soul dry.

An integral theme of Sons and Lovers was the natural environment. His description and language often played a huge role in signaling sexual energy and derelict. Complementing this theme was the literary technique of pathetic fallacy. These flowers and scenery were give human-like emotions which reflected exactly what the character was feeling at the moment.

The Oedipus complex which was one of the crucial themes prevalent throughout the novel was particularly evident through the form of dialogue. As Paul talks more to his mother and the readers witness his stream of consciousness one begins to notice the unual lustful and romantic feelings he has for his mother. This fact is compounded by his resentment and hatred of his father.

Therefore, D.H Lawrence strategizes his plot and character development in such a way as to advance the thematic elements he wishes to presume within the novel. He cleverly engages the reader through the use of these literary techniques to recognize the motifs and themes being portrayed and an element of imagery is created in the same token.

'Sons and Lovers': Paul's relationships.

Critically analyze Paul’s relationship with women, pointing out why one or the other succeeds whereas the other one fails. Justify your answer.

            Within D.H. Lawrence’s ‘Sons and Lovers’, Paul has been quite an unusual character. In the beginning of the novel, the reader witnesses William’s and Annie’s relationships with their mother and although William and Mrs. Morel’s bond was odd, it could not compare to Paul’s relationship with his mother. Throughout the first few chapters of the novel, the reader notices, through Mrs. Morel’s narratives in chapters one and two that she did not want to give birth to Paul because of the financial burden he would ultimately have on the poor family and the failing relationship between Mr. Morel and her.

However, after her sudden revelation in the field, she and Paul’s relationship has been the strongest within the household after William’s departure, particularly because of the nature of their relationship; one which was based entirely on Eros love. This relationship was coined by Sigmund Freud as ‘Oedipus Complex’; this meant that the child had a sexual attraction towards his mother and indefinitely wanted to kill his father. Whilst, the want to kill his father may not have exactly been true, he did have a strong resentment and hatred towards his father. The Oedipus complex is also predicted to mould Paul’s relationships with other women in the future.

In later chapters, the reader meets Miriam Leiver, one of Paul’s love interests. Sparks fly instantly but both are too shy to admit their feelings to each other and themselves. Miriam and Paul share many intimate moments and become promising partners but his mother disapproves of their relationship claiming that she is ruining his “ease and naturalness”. Paul admits to his mother that he does not want to marry Miriam and later breaks it to Miriam as well saying that their relationship is merely ‘spiritual’.

The reader interprets Paul’s growing hatred towards Miriam and his break-up afterwards as solely his mother’s doing. Since Paul lives to make his mother proud, as suggested when he gets a job and goes to the interview, her disapproval of the relationship hindered his affection to Miriam and actually acted as a catalyst towards the relationship’s end. Also, in chapter 11, as his urges increase rapidly he deems that the failed relationship with Miriam is solely due to the air that surrounds her; one which he describes as an “eternal maidenhood”.

            Clara Dawes reveals herself soon after, a woman who has separated from her husband. She and Paul begin a purely physical relationship. However, this relationship fails as well, as Clara still has feelings towards her husband and acknowledges Paul as only a friend. Essentially Paul’s relationship with the girls is a back and forth struggle.

            The only relationship that seems to be successful is the relationship Paul has with his mother. Although Paul’s indecisiveness with the ladies and his sexual struggles distances his relationship with his mother, he still remains the closest with her. With her, he condemns his relationships with the two girls. Even in her death, Paul stays by her side and looks at her corpse with longing.

            Thus, the relationship with both Miriam and Clara was bound to fail due to Paul’s complex to his mother. He and his mother’s bond set the tone for all other relationships as he always looked to his mother as the sole ‘voice of reason’ and her approval was a must. Without him knowing it, he had raised his mother to a level of perfection which no one else could attain.

Sons & Lovers: Chapter 1 Summary

The first chapter connotes of an expository piece of ‘The Bottoms’; the miners’ dwellings. The scene begins a month after the Morels have moved. The reader meets a very enthused William who is anxious to attend ‘The Wakes’; a village festival. William goes to the wakes and Mrs. Morel and Annie follow minutes afterwards. Mrs. Morel thence meets up with William who shows his mother around to the different exhibits. She leaves and to William’s dismay he returns home displeased with the turn of events as a result of his mother’s leave. Mrs. Morel, after the children have gone to bed, waits for her husband’s return. She laments on her situation; that is according to the text, one in which “she despised her husband but was tied to him and did not want the last child”. Whilst cleaning the house, however, her husband arrives and she confronts him about his drunken state.

The action moves to that past where the young Mrs. Morel, Gertrude Coppard is seen with John Field, a childhood friend who gave her The Bible she now holds dear to her.

            The scene continues to a young Gertrude meeting Walter at a Christmas party and there is an instant connection ending with a marriage the following Christmas day.

            Several months into the marriage, however, Gertrude finds unpaid furniture bills and to her despair, after visiting her mother-in-law in hopes that she would be able to account for the reason the bills were unpaid, discovers that the household is not theirs, rather it is their mother-in-law’s and they are merely tenants. As a result, Mrs. Morel begins to develop a cold indifference towards Mr. Morel and a quarrel erupts.

            Again, the novel moves to a flashback where Mr. Morel cuts William’s hair. After seeing the golden locks splayed across the table, Mrs. Morel is resentful towards her husband. Mr. Morel senses the contempt although Gertrude made several comments accepting the haircut.

            The narrative returns to the present once more, which is coincidentally another Wakes holiday. Morel and Jerry Purdy walk to Nottingham. Morel starts feeling ill and goes back home and as a result locks Mrs. Morel out of the house after a fight. Mrs. Morel, after an hour of wandering in the yard, knocks on the door and awakens Mr. Morel who opens the door regretfully.