Saturday, May 26, 2012

The Last Ever Blog - Blog Portfolio # 8 May 2012

Coverage


Hedda Gabler - An Unexplored Angle

3 Women 1 Goal - A Literary Device Comparison

Masking the Truth

Oleanna - Reel vs. Real

Theme in Oleanna - A Dangerous Mind

It's Just an allusion...

A Mischievous Imp, a Newspaper, and Me


I came across this paper on Hedda Gabler and was extremely excited by its fresh view point and insight on a play that I thought we had already analyzed so well in class. It is interesting to hear new angles to every opinion and whether  you agree or disagree debate and discussion allows for lively interaction.

Research

Hand, Nigel; “Psychoanalysis and the Space of the paly.” Yale University, N.p, n.d. Web. 20 May 2012. <http://modernism.research.yale.edu.wi>.

Discussion


Production vs. Script Oleanna


It always nice to read a blog and then see further points of discussion and to be able to add to it. Blogging can often be a lonely process but discussion allows you to be heard and be part of the process with like minded people. And whether you agree or disagree is immaterial as what counts is what you bring to the table.

Interaction


Jorina's Mask's

Jorina's introduction on masks brought several comments of which I was happy to add my opinion to.

Xenoblogging – Comment Primo

Adrienne's Art in Heidi

I had not really explored how art impacted Heidi or the play itself, so it was interesting to read the in depth research on the paintings by Adrienne. I also felt compelled to be the first to comment on why Heidi stands up for female artists and yet often fails to stand up for herself.


As I come to the end of my tenure at High School on the cusp of college life, I felt it poignant to include a memento of my memories in Delhi. I am about to embark on a new journey and my commute back and forth from the American Embassy School serves as a metaphor for the road I have already traveled. My memories at my school, teaching the Raju’s of this world at Teach India will remain with me forever.

Happy Birthday Ms. Morgan! :)

A Mischievous Imp, a Newspaper, and Me


Are we there yet? My little eight year old mind moaned ruing the earliness of the hour. I cuddled my snuggly Hello Kitty blanket, lovingly called my booboo (my first word apparently), still soft despite the frayed edges. It’s still 7:17am. Eyes closed, I rested my head against my car’s cold window on my journey to school, blissfully shunning the dusty pot holed roads and Delhi’s grey landscape. The chaos of merchants jostling with colorfully ornamented rickshaws, was mercifully drowned by the humming of my luxury car.
“Miss! Miss! Only 2 rupees.”
I sluggishly rubbed my eyes to see a scruffy little boy straight out of a Dickens novel, persistently knocking on my window. The three feet imp had a cheeky grin, and his overgrown mop fell lazily over his big brown eyes, that glinted with the wisdom of a boy beyond his tender years. His enthusiasm outshone his bedraggled state, as he eagerly waved a newspaper with a sales pitch that would have made any business graduate proud.
“No school today?” I quizzed him, handing over the loose change in my pocket.
“Nah,” he replied, tightly grasping the coins in his blistered hands that hinted at the life he had lead. “The streets are my school. I get by on my wits, only wish I could read the papers I sell.”
As the red light turned green I watched his fading figure waving emphatically at me. Here I was about to enter the gates of my privileged school, where I moaned about the mundane in my pampered existence. And here was this little entrepreneur, risking his life as he veered through the reckless traffic, through the pounding monsoons, bitter cold and relentless heat. And yet, instead of sympathy he garnered an instant likeability.
Raju became my friend and I looked forward to our daily anecdote exchanges. Worlds apart it was our similarities that drew us together; our unbridled passion for life, our shared love for the movie star ShahRukh, and our dreams.
Years passed and one day Raju never showed up, though I looked out for him daily. I never did find out what happened to him. Raju taught me to see my daily commute with new eyes, and each journey as my first. I noticed beauty and details in the mundane and learned to dance and laugh in the rain.
On the cusp of adulthood with the optimism of youth, I believe Raju and I will fulfill our dreams. We will both make it in this mixed up crazy world. Life is like a potholed journey; I have begun to smooth them out by mentoring the Rajus of the world. There are no dress rehearsals, this is opening night and I am going to give it my all, knowing it is my journey and not the destination that counts.
Am I there yet? Not yet, but I am on my way. My journey has just begun…I hope to see you there.

Thursday, May 24, 2012

Hedda Gabler - An Unexplored Angle


After so much reading and analysis of Hedda Gabler by Ibsen it was interesting to come across this paper which while still upholding and reiterating the basic accepted ideology on this play, still managed to offer some fresh approach and insight into this complex tale.

Hedda Gabler, Psychoanalysis And The Space Of (The ) Play by Nigel Hand explores Freudian, Kleinian and Winnicott’s key concepts with the view that Ibsen is a precursor of Freud and object-relations tradition in psychoanalysis.

It is interesting to sit back from the play and try and understand the mind of this deeply disturbed young woman, Ibsen’s female protagonist Hedda Gabler,  who ordinarily had everything to live for. The burning question arises; what when on in her mind to take her own life and that of her child. Was she psychotic or simply worn out by the pressures she faced?

The paper describes Ibsen as an anti-Romantic and that no text can be a single defining and exclusive context and that none of this would be possible without Freud. While this is debatable the paper states that Ibsen’s symbolism points to Ibsen’s early experiences which left his protagonists emotionally crippled and that Ibsen is an archeologist of the psyche. In fact the paper argues that the birth and development of psychoanalysis are foreshadowed and that Ibsen writes and thinks as a Freudian in Hedda Gabler (HG), as well as Klein and Winnicott as classified by Ibsen’s heroines preoccupation with the “beautiful”.

Hedda, is the quintessential tragic heroine who seems to actually revel in her self made gloom and doom. She is comfortable in her misery which she holds onto to like a comfort blanket. But what is her tragic flaw? Is this a tale of revenge or as the paper suggests is she a existential liberal tragedy Queen ? Is her death about release and freedom or the end of her grief ?  It is known Hedda is an alienated individual in conventional society who finds herself suffocating in her claustrophobic middle class atmosphere having abandoned her aristrocratic roots. I have talked in earlier blogs about the symbolism about the guns and her father’s portrait as reminders of her past and yet again I question why her mother is never mentioned. Of course all females may be abhorred by Hedda as a reminder of her bondage in a male domain. While all readings and interpretations clearly indicate Hedda is pregnant this paper only suggests there are hints and clearly points out that Tesman naively assumes Hedda and he have much in common while Hedda inwardly refutes this. The reader the paper also suggests will find it difficult to think of the two as a parental couple. I am not so sure that Tesman does think he has much in common with this aristocrat or that the play has a deep preoccupation with constituting the parental couple. I also was surprised to hear that the paper thinks Hedda knowingly pretended that Aunt Julies’s hat was the maid to simply humiliate her. Surely a high society woman would mistakenly think a middle class hat must be the maids as it does not fit into the norm of her high society ideals. Is Hedda being portrayed as the villain, both cold and manipulative by critics unfairly ? Is she being condemned without a trial? Are we as a society too quick to label and judge a woman who had just woken up and not found her bearings to find visitors or indeed does subsequent conversations with the conniving Brack reveal Hedda’s sinister side?

The play through relationship of Hedda and Thea shows perhaps a much less complex nature of simply jealousy over an old lover now belonging to Thea. This certainly brings us back to the theme of revenge as Hedda plots to destroy both Thea, Lovborg and their metaphorical child the manuscript that they created together. Hedda shoots herself when she realizes her husband and Thea are trying to piece the burned manuscript together from her notes as if this is the final straw. It is interesting theory though that while most critics argue that the play in an over romantic view that the central theme revolves around the protagonists revolt against middle class society, this paper says that this is only partially true. It goes on to state that “ The protagonist of the play is for all of us a deeply troubling dramatic creation-outside of Shakespeare and the Greeks, none more so perhaps. Northam attempts to escape from the challenging perplexity which Hedda Gabler arouses in our minds by producing a highly romanticized appraisal of her character and her actions. When he attributes to Ibsen’s heroine ‘a residually creative sense of human potentiality’ . Northam undoubtedly points to something which is at the heart of the play, but his belief that she also displays ‘serene self-confidence ‘is simply astonishing, for what is Hedda Gabler if not a deeply troubled soul? “.

Was the play centered more on the fate of the unborn child and is Hedda not the destroyer but the carrier of life. Are the symbolism of the burning of the manuscript deeper than killing the child but “ I am burning “ could denote in ambiguity that Hedda hates herself more. The paper states that by distortion of viewpoints we miss the real theme of the play, that the book –child theme shapes the play. The play suggests a triangular angle that has not been given attention to, “ triangular relationship “ (HG p.300). As quoted in the paper, “ The book-child theme is embedded in the more overt drama of sexual liaisons and rivalries[..] the play generates so many different subject positions we come to feel that it is being staged in some figurative space in which the potentialities of human nature are being very profoundly explored”. The paper goes into depth to show sexual jealousies and describes the book-child motif as the figure in the carpet, as the play is about adult sexual relationships which provides the setting for the modulations of the theme.

In section 2 of the paper creativity, envy and destructiveness is analyzed in depth. Hedda it states despises what she is drawn to which is a human nature trait. Hedda is drawn to Tesman’s good nature and his motherly concern but in an interesting twist the hat incident is interpreted as envy of what Tesman has with his Aunts caring and not just social disparity in their stations. This envy Hedda harbors borders on the psychopathic and is dangerous. It also explores Hedda’s objects such as the phallic symbols of the pistols as a substitute for a mother’s breasts. Further, the paper links her interest in Mrs Falk’s house beyond just materialism and a reason to marry Tesman but an association of a dead woman, absence and loss and happiness gone forever.

Section deals with fate or destiny and Hedda’s preoccupation with style such as the aesthetics of suicide. In fact “ the figure of the book child is a wonderfully imagined device for exploring the theme of the use of an object.[…] both literal and metaphoric[..] Hedda Gabler is unable to fashion a life is that in her personal world objects do not survive.” Ironically Tesman has the power to initiate her suicide ( her humiliation with Brack and Lovborg suicide aside ) by Tesman and Thea who she envies uniting to piece together the object she has destroyed. In her death and of her unborn child Hedda succeeds in leaving nothing else to envy.” If nothing is left to be reduced to nothing, something may begin to be. ‘A terrible beauty is born’ and a destiny is fatefully fulfilled”

The paper bought great insights depth and new ideas to the tried and tested formula. And while much is opinion based it leaves tremendous room for debate and discussion.

Hand, Nigel; “Psychoanalysis and the Space of the paly.” Yale University, N.p, n.d. Web. 20 May 2012. <http://modernism.research.yale.edu.wi>.

Saturday, May 5, 2012

3 Women 1 Goal - A Literary Device Comparison


The plays Heidi Chronicles,( HC), by Wendy Wasserstein, A Street Car Named Desire, (SCND), By Tennessee Williams and Hedda Gabler, (HG), by Henrik Ibsen  though set in different eras all  revolve around the trials and tribulations of their female protagonists, Blanche DuBois, Hedda Gabler, and Heidi Holland respectively. The central theme of the play essays these essentially independent women trying to find their way and discovering their individual identity within the confines of a society where the male dominates. Fantasy over reality, feminism, and power struggles are all key themes played out in different scenarios.

  While Hedda,  and Blanche draw upon metaphoric masks to often hide their free will and independence from a judging society and give the illusion of fitting in due to their Victorian and Southern American restrictions, (please see my earlier blog on masks ), this is contrasted by Heidi who is much less apologetic on her ambition and free will as she is a  coming of age baby boomer in a modern world with albeit present but lesser restrictions. This contrast is highlighted by outcome where Hedda, unable to come to terms with her life, tired of the illusion commits suicide as death means freedom and release.  On the other hand  Blanche  fears death ,whose delusional escapism world  leads her tragically to the asylum  when reality wins. On the other hand, Heidi  comes to peace with her lot and starts a new chapter where single at forty, adopts a child with forward thinking hope despite the grievances of her past.

 Both HG and SCND are set in short time frames with references to the past that has shaped them and their present fragile emotional states whereas the over twenty year time line of HC sets the theme of the changing role of women. Heidi is educated and intelligent trying to make it in a society dominated by men. This is shown in the chosen title which reveals the post world war 2 coming of age of women. Heidi from her naiveté as a school girl with political radicalism in the 1960’s,  militant feminism in the 1970’s to her betrayal and disillusion in the 1980’s where she evolves to a Columbia University  professor. Wassertein almost blames the women’s movement where women are seen as trivial and men as serious as Heidi finds her bearings in a changing world. In contrast Blanche and Hedda are more obvious victims.  The title where Hedda holds onto her maiden name symbolizes her independence as does the awe she exudes to the other characters while in SCND the title symbolizes her journey as an allegoric trajectory of her life to achieve her desires but in a ironic foreshadow of her suicide she takes another streetcar named cemeteries to Eysian fields ( Greek allusion  both which allude to the death of her soul. )

In setting;  SCND is confined to a tiny apartment with the street visible showing the metaphor of Blanche being unable to leave her real world problems as she resides as an intruder in a hostile confined environment. Similarly HG is set in a few rooms in a home which ironically she pretended she wanted as the perfect wife but in reality is not her sanctuary but her incarceration as she spends her time rearranging the furniture in her frustration. In contrast HC, moves through varies settings as the story and Heidi progresses in maturity.

The past is a defining theme as shown in the guns in HG which not mere toys but represent a happier care free symbol of her former life and ironically allow her to escape in death. The guns also represent her masculinity in a phallic symbol. The portrait of her father and the piano link her to her past and are shifted as they no longer belong in her new life. The curtains act as a motif to shut out the world and live out the darkness of her heart and in her play acting close the final act and grand finale of her suicide. Flowers that she rearranges also acts as a motif for Hedda’s death and future while the reference to a Mexican woman selling flowers for the dead  and Blanche’s  reaction of horror in scene 9  of SCND foreshadows Blanche’s figurative death.  Similarly, in SCND Blanche hides the loss of her youth and beauty from Mitch  in dim light as she shuns the present and lives in her former glory until forced by Mitch to stand under the light. This symbolizes her regressive nature to hold on to better times where she lived in high society with a husband she loved, before her loved ones died and her stately home is taken away. The motif of light such as the covering of the lamp with a lantern show the metaphor that light is her innocence and youth and dark her maturity and disillusion. In contrast Heidi lives far more for the present and future though she too haunted by ghosts of the past and tries to escape her mistakes by taking a job in Minnesota until persuaded otherwise by Peter as he looks at her past as symbolized by boxes of records and books. Light and dark do not appear as metaphors in HC.

Music plays prominence as a symbol in all three plays. In HG in the piano representing the music of happier times while in HC the music chronicles her life and the era and mirrors her feelings like “Respect “ playing in the background during the feminist meeting in the church. In SCND only Blanche can hear the Varsouviana polka which haunts her guilt at her husband’s suicide and her singing of “Paper Moon” drowns out Stanley’s vocal ranting of her unsavory character and adds to her delusion that her lies are believable.

All three plays show the protagonists dependence on men as a theme,  like a damsel in distress and the characterization of the men as foils add to this. Blanche desperately wants to marry Mitch for security and deludes herself on a rich savior of Shep Huntleigh to rescue her. Hedda has lost her lover Lovborg and is forced to rely on Tesman as a husband and caretaker  after her father General Gabler’s demise. Though Heidi is the most self reliant of the trio she still relies on the crumbs given out to her by Scoop, waiting for his calls and being defined by him only to be betrayed, and leans on the gay Peter for as an emotional crutch. Peter even remarks on the allusion of Peter and Heidi in the Swiss novel as the little girl lost, but the contrast is that ultimately Heidi rescues herself where Blanche and Hedda fail. All novels show the theme of women as sexual beings to be used by men like the womanizing Scoop. In HC women are described as meat and in SCND Stanley throws a piece of meat in scene 1 and in the end rapes Blanche. Hedda too is used sexually by the men in her life such as Lovborg, Tesman and the Judge who wants an extramarital affair with her. However, while Blanche and Hedda exploit their femininity and sexuality for manipulative purposes, Heidi is much less feminine in her approach relying on her personality than body.

The baby and  love and sexuality act  as a symbol in all three plays where it is positive in HC where the adoption represents a new beginning of pure love but in SCND Stella’s pregnancy reminds her of everything Blanche never had with her husband and the ticking biological clock as she desperately searches for a husband. More dramatically the pregnant Hedda hides and hates her pregnancy as it will simply further imprison her in a loveless marriage and her suicide ends this burden. Taking this further the manuscript is the metaphor for the ‘baby’ of Lovborg and Thea and her jealousy comes to a head as she burns it to destroy their happiness. The fire in fact foreshadows Hedda’s  death and contrasts her lack of passion and warmth towards others. Heidi and her group burn lingerie to rid themselves of sexual beings. The reference to vine leaves by Hedda  for Lovborg acts as the allusion of  Dioysus the Greek god of partying and fertility as she fantasizes about in the old alcoholic days where he would rebel from society taboos to be with her. In a situational irony she ends up encouraging Lovborg’s death despite her desire for him, with her gun having killed his ‘child’ the manuscript while rejecting domestic bliss with Tesman as symbolized with her careless attitude towards the slippers bought by his aunt. On the other in SCND the allusion to the Browning poem and the lighter represent Blanche’s lost love which has increased post her husband’s death. On the other hand despite Heidi’s love for Scoop she shies away from commitment despite her jealousy at his marriage and the recurring motif of art reveals her rebellion against traditional mating rituals as she fights for women representation in the art world.

The three plays are centrally the journey of three very different women tied by their desire to be free. The path to their self discovery, liberation and outcome may be varied but all three women show their solidarity in their convictions which they hold onto till the end.

Monday, April 30, 2012

Masking the Truth


 Prompt: Masks can be used literally or metaphorically in drama. Discuss to what extent, masks have been used and for what purpose in A Streetcar Named Desire and Hedda Gabler.

Intoduction

In the world of stage, masks are often used figuratively or literally to camouflage and disguise the true intent or personality of a character, allowing them to manipulate situations and people as a means to an end to great effect. In Tennessee Williams’ A Streetcar Named Desire, and Henrik Ibsens’s Hedda Gabler, the female protagonists Blanche DuBois and Hedda Gabler use metaphorical masks to hide from the real world that they cannot accept or face to create a delusional one. Ironically during this staged play acting façade, they convince not only those around them, but sadly themselves that their illusions are not just mirages. That is until their masks become irretrievably broken down leading to tragic or disastrous consequences. Blanche an ageing beauty on the brink of insanity and a closet alcoholic, having lost her wealth, youth, position in society and her first love finds herself clinging to her past and clutching at straws to desperately find a gullible husband to free her from her misery.  Blanche’s mask hides her vulnerability, fear, and ultimately her unsavory past until she is exposed  to be a conniving drunk whose mental instability sends her to the asylum. Hedda, coming from a wealthy background, masculine and independent in outlook feels trapped in an age where women are mere pretty props.  Similarly, Hedda’s mask  disguises her isolation from society as she cannot conform to their ideals and her unhappiness in a loveless marriage until unable to hold onto the charade she kills herself with the gun that symbolizes her freedom and past. Williams and Ibsen utilize varying literary devices to illustrate their protagonists’ masks.

Topic Sentence 1: The Mask of Darkness

In  A Streetcar Named Desire a dimly lit room is used as a metaphor of a fading beauty and serves to hide not only the age of Blanche but to mask her eyes and face so they cannot betray her feelings and emotions.

In Hedda Gabler, the drawing of the curtains by Hedda is a  metaphor not only for the staged act she is playing as an actress but to shut out the world riddled by societies restraints that she abhors, and acts as her cloak of misery and darkness.

Topic Sentence 2: The Mask of Femininity.

In A Streetcar Named Desire, uses her feminine wiles backed with stage like hair, make up and clothes, to pretend to be a high society lady, with airs and social graces to trap a husband using these masks as a cover for her actual immoral activity and feisty, independent self.

In Hedda Gabler, Hedda plays up her femininity and acts as the perfect wife and hostess, as she re-arranges her flowers and furniture which acts as a metaphor for her frustration and the change in her life she craves, all the while masking her entrapment as she hides her true self symbolized by guns locked in a drawer.

Topic Sentence 3: The Mask of Illusions.

In A Streetcar Named Desire, Blanche uses fabricated story telling to create an illusion and myth that she has a life filled with admirers and high society parties to mask her downtrodden actual lonely self.

In Hedda Gabler, Hedda uses conversation to illustrate story telling to create an illusion of a well settled homely character with a caring attitude to mask her disillusioned, depressed self.

Saturday, April 28, 2012

Oleanna - Reel vs. Real


I recently saw the movie, Carnage, by Roman Polanski (a movie adaptation of the play ‘God of Carnage’ by Yasmin Reza). Like Oleanna movie, it dealt with complex human relationships and blame games of a situation and was set mostly in the confines of a living room with four characters. Interestingly both movies ended up with people playing football in the park perhaps to denote that life goes on beyond the musty cobwebs of emotional verbal entanglements. While Mamet is no Oscar winning Polanski I felt his direction was compelling and drew you in like a thriller, rather than the drama as intended by the original play. The movie though slow and pedantic, a little staged  at first ( not for the usual Friday night cinema goers), began to pick up pace  from normality to highly charged primitive insanity. The discerning movie buff needs to look underneath the complex layers to see the subtle nuances beyond the script as related to all human misunderstandings and miscommunication to make an impact.

 I was surprised to find out that the playwright was also the director and screenplay writer of the movie as most hand over that mantle to others. In that sense the movie must be a true representation of the writers vision and came across so except in the ending when John beats up Carol before picking up the chair and says “ Oh my God “. I wonder why Mamet decided to change this from the original play. Perhaps he succumbed to pressure that a movie needed more dramatic action and shock factor. However, while I think the extra three words shows John’s  remorse and self realization of what he has done out of character from his normal sense, I think just putting the chair down as the original has more effect. Further, her response to his final elipsed word “ well…”  which is  “  Yes that’s right” changes in context now from the play. In the play  there is ambiguity in her words but in the movie her rebuttal is an affirmation of his wrongdoing and makes Carol revengeful and self righteous and downright smug as she celebrates her victory which flaws the movie. In the original context it appears that no one wins and both are left disillusioned. In fact both play and movie still leave us with the question of who are the traditional protagonist and antagonist. Perhaps John is the hero and Carol his foil or maybe nemesis? Or is Carol the heroine and John the villain ?  There is room for interpretation and debate.What do you think ?

The movie has definite rhythm and pace in its dialogue delivery and both actors do a commendable job in bringing the characters to life. The movie succeeds in its auditory capacity as tone changes with shouted words revealing greater insight into mood than the script alone. The script is annoying to read with its broken elipsed sentences and in this cannot compete with the movie.

The script and dialogue show the transformation of the characters and their role reversal; Carol from meek, confused, immature student  to confident, self assured assertive woman and John from conceited, condescending  but still caring and affable stressed professor of high stature to harrowed, insecure and aggressive man. Words are used effectively to mirror this change from high end vocabulary from John that Carol does not understand such as “predicliction” showing his status of mature academic to basic and primal profanity of “ bitch” akin to hoodlum talk.  However, for a brief point there is an equilibrium that boils over to events going out of control. The movie enhanced this metamorphosis visually with the costume design. At first Carol is in a coat showing a student devoid of funds or style to a business like suit. Her clothes a form of power dressing shows she means business and will not tolerate nonsense from her former superior. On the other hand John dressed as the conservative, respectable academic turns into a disheveled drunk. Roles of student and professor are broken down, gender and status and age become irrelevant as they face each other as two sparring equals in the climax. What was interesting and not in the play was when John looked at his ripped bleeding shirt and seemed shocked at how he had got to this point, and how did it all go wrong. The pristine shirt may be a metaphor for his ruined life.

As far as film techniques I am pretty sure I noticed the shadow of the camera on the door which is a major goof up. That aside at times the camera moves into the face of John highlighting his confusion in an otherwise confident demeanor, but Carol remains an enigma and is difficult to decide if she is delusional and naive  or cruelly manipulative. Subtle camera movements move along the storyline and maintain momentum of the events and dialogue. However I felt the film was dimly lit by the lighting people and full of shadows perhaps to add to the claustrophobia of the restrictive settting, but the cinematographer mostly does not allow us to see the eyes of the character leading to ambiguity of motive and intentions and echo the dark theme. But then again this pattern of one setting of the play is broken by short periods out such as John in his hotel room which takes away Mamet’s original intent of feeling trapped. When he takes the final phone call and reacts to her comment not to call his wife “baby” reveal a very ominous and evil look on his face foreshadowing his reaction and intent.


The University office was as I imagined musty, old fashioned and masculine with woodwork and book shelves like a library revealing the elitest world of higher learning that was once just a male domain. Tearing down of the book shelves could be a metaphor for tearing down the establishment.

All in all the pros out weigh the cons and bring the written word alive with music adding to the mystique. And whether you root for the hapless yet haughty professor or the conniving and annoying Carol caught in her feministic tirade is irrelevant. What is important to note is how difficult it is even for two level headed, educated people to communicate.  Words the crux of education and academia fall by the way side and the most primal instincts take over where communication happens through violence. The movie and the play are both thought provoking, provocative and disturbing but are realistic as it is controversial. And finally we need to note the adage that there are three sides to every story: his, hers and the truth !

Thursday, April 26, 2012

Theme in Oleanna - A Dangerous Mind


Oleanna, though simplistic in approach with only two visible characters is actually deceptively complex with several themes that are related to one another. It is difficult to point out one main theme but I feel political correctness / feminism/ gender power struggles, generation gap lack of communication  and society expectations as primarily used in the theme of higher education are central themes. Mamet uses several literary devices to illustrate his themes including allusions, motifs, setting, language and diction, tone and to some extent symbolism.

I have discussed allusions of the prologues and its meaning in my last blog , “Its just an Allusion “ so I won’t elaborate further here but the extract and folk song reflect conforming to societies expectations of which higher education is one aspect. Young people buy into the notion that they need to go to college to obtain status symbols to show they have succeeded such as a good job, house, car, family life that represents normality and respectability. Carol who has undergone hardships in her family background and financial hindrances has bought into the dream that college is her ticket to improve her status. However, failing and not understanding in class she feels she is stupid and is letting down society who will condemn her. Ironically John scoffs at the benefits of the brain washing of higher education and even publishes a book about it  and still with hypocrisy of entering the teaching profession wants a promotion to have the house he wants and give his children the benefits of the right school.

Mamet uses setting of the dusty academic office of the professor through out the play. I feel this room which though not described I imagine as small musty and windowless lined with book shelves is the oppression of the education system that kills free thinking and only wants students to regurgitate facts parrot fashion. Actually both John and Carol are victims of societies expectations and the room represents their incarceration of a jail that they cannot break free from.

Following on from this is the motif of Carol’s notes. She unable to answer John’s questions and despite his pleas to stop looking at her notes she is unable to do so. She clings to her notes like a crutch and will foreshadow her intent by writing down what he says so she is sure she can remember it correctly. She does not make her own decisions but follows the rule book and her note book is her Bible that she worships as the gospel truth. She is frustrated though that despite note taking and despite reading John’s book and despite attending class she is not absolved and does not understand. The motif could also be symbolic with religious connotations of the good girl who goes to church and yet God (the college or professor) does not reward her but instead gives her penance. She begs John not to punish her with a low grade as her faith is strong and she has abided by his rules. The written word as truth appears many times in this play whether it be John’s book, Carol’s notes, the legal notice, lack of tenure committee promotion in writing and her paper which is attacked as meaningless.

There is the theme also of power struggles in the form of student teacher relationship bordering on the generation gap and also male female power struggles related to feminism and sexual harassment.

The desk I think represents a great divide which shows that initially John is in the powerful position and Carol is the subordinate. John with his decision of Carol’s grade controls her future. However, the desk becomes irrelevant when in the third act Carol takes over control and has the power to destroy John’s perfect life or forgive him. In the final act in frustration he takes his throne (chair ), or seat of power and threatens to fling it at Carol symbolizing her audacity at her figuratively taking away his position or seat of power.

Language, tone and diction are used to signify the differences in their status. At first John is condescending in his tone and treats Carol like a little lost girl who he will save. Ultimately John becomes the little lost boy that Carol can save. Carol cannot understand his academic difficult words such as “predilection” ( ironically John does not fully understand  “term of art” and may resort to hard words to prove his superiority). Word play to show power is used effectively by Mamet through out the play. John claims not to be Carol’s father but goes on to try and exert authority in a personal manner more akin to a father giving a sermon to a daughter. And here lies John’s mistake he breaks the formality of student teacher relation and tries to become personal which is interpreted by Carol as sexual harassment. The interruptions of Carol by John reveal,  his reluctance to listen to her and comes to a head with her screaming that she is “SPEAKING “. The interruptions and the choppy half sentences show John’s lack of respect towards Carol and vice versa.

Ultimately there is a huge communication gap between Carol and John as a theme and neither try to understand each other despite their futile attempts and pleas from both sides of wanting to understand. The communication gap could be social differences, gender or generational. The telephone which is the only access to the outside world serves as a powerful motif to interrupt their dialogue in mid sentence. It shows that John has an outside life and is a real grown up with real grown up problems. John constantly putting Carol on hold even rudely not waiting to hear what she has never told anyone else belittles her leaving her feeling small and marginalized.  Carol’s problems are trivialized as psychological  growing pains that she will grow out of while his telephonic conversations highlight his very real non imagined problems. The group that Carol on the other hand talks about simply serves as an imagined authority figure that controls her thoughts in a parental way showing her immaturity and clinging to approval. I feel John should have not taken the calls or either re-scheduled his meeting with Carol as his half hearted juggling of his student and personal issues do little justice to either and simply show his weaknesses to a student that undermines his authority which will be taken advantage of cunningly by Carol. Interestingly though Carol and John are alike, trying to get approval and fit into societies’ norm, they both struggle with their insecurities. John in his calls has lost control of his future in his house buying plans and in his waiting for the tenure committee decision and Carol has lost control of her future at college which determines her future life’s success. They are both on the cusp of success but are afraid will not attain it. Ultimately John offers her help by granting an A and bending the rules which does not appease her and is misunderstood in intent and Carol in turn negotiates a deal related to her retraction of her complaint that leads to the final lack of communication in his violent outburst.

In final consideration with the theme of feminism Carol acts as a living caricature symbol of the Political Correct movement. She corrects him in the final act taking the mantle of power away from John. . Ultimately  male/ female stereotypes and power struggles come into play climaxing with Carol deriding John for calling his wife “ baby” which she sees not as a term of endearment or love but his authority over his wife. John in his naiveté has been oblivious that his actions could be interpreted as predatory and though the allegations (which Carol sees not as allegations but fact) are extreme and far removed as being actual rape the fact they are taken seriously as the burden of proof is on John  shows the great divide in communication and understanding  between men and women.

Whether you agree with John or Carol is opinion based but ultimately both appear as victims caught in their own misconceptions and insecurity and both ultimately abuse their power and control over each other leading to an ugly climax show down preceded by dangerous mind games.

Sunday, April 22, 2012

It's Just an allusion...


At first glance the prologue quotations in David Mamet’s play Oleanna seem to offer no parallels or significance to the play or direct comparisons, and that is what makes it such an interesting choice for Mamet, in that it allows the reader food for thought and musings. There is ambiguity and interpretation and provocation and his prologue choice in fact reflects his character development and his style of writing. There is realism in his work as in real life real people do not always expose their true emotions or intent and we are left wondering. The same can be said of his play that relies on acting and reading between the lines and not just the dialogue which has pause, false starts, unfinished sentences and down right rude interruptions.

However, on ponderings I have come up with the following interpretations on the allusions used :

The first prologue, The way of All Flesh, by Samuel Butler,

“ The want of fresh air does not seem much to affect the happiness of children in a London alley: The greater part of them sing and play as though they were on a moor in Scotland. So the absence of a genial mental atmosphere is not commonly recognized by children who have never known it. Young people have a marvelous faculty of either dying or adapting themselves to circumstances. Even if they are unhappy – very unhappy –it is astonishing how easily they can be prevented from finding it out, or at any rate from attributing to any other cause than their own sinfulness.” (Mamet 4).

The extract could almost be a patriarchal monologue straight from the superior position of professorial power of John to his ‘ child’ or student, Carol. The passage reflects his general feelings towards not just Carol on a personal level but on a broader level to the student body in the first act.  John preaches to Carol that she is overwrought of her lack of understanding in his classes and her low grades as she has been sucked in by the common school of thought and society dictates that she must do well in this environment or fail at large. Society tells us that the  annals and corridors of the prestigious school of learning are for the privileged few and they grasp at this idea as if the gates to University are the pearly gates of heaven. However, they are stupid mindless children who know no better just like the waifs who play in London’s alleys and do not miss fresh air. In fact the ivory tower they are ensconced in are not the real world but a fake illusion which they feel by succeeding in will bring fame and riches. Carol quotes from John’s book which she does not understand or grasp but reiterates John’s assumption that University is, “ virtual warehousing of the young”. (Mamet 12). This I believe though not fully explained in the play means that higher education actually does not allow free thinking or freedom of thought or creativity. It teaches robotic learning and so the system is in fact a joke as instead of nurturing and developing young minds it stunts mental growth and is more harmful than beneficial.  It is controlling and brain washing and produces ‘ yes men’ who follow rules rather than entrepreneurs who are pioneers. ( famous college drop outs like Bill Gates or Steve Jobs may well agree).  This “ garbage “ is shown when John tells Carol to stop looking at her notes but to think for herself, to give an opinion. However, Carol at this point is unable to do so as she desperately clutches to her notes as a crutch. This derision of the institution of college is far more directly marginalized by.
“Look the tests, you see, which you encounter, in school, in college, in life were designed in the most part for idiots. By idiots There is no need to fail them. They are not a test of your worth. They are a test of your ability to retain and spout back information. Of course you fail them. They’re nonsense “ (Mamet 18). 

However, instead of making Carol feel better John makes Carol feel more desperate and confused. Similarly the prologue quotation says that children will survive and adapt and attribute any happiness to their own failure and self worth and ability rather than the environment or system. They blame themselves in the alley as does Carol in these corridors. She is trapped in a windowless professors office unable to appreciate the beautiful day as she is wrapped up her grades which do not define her but is a burden and pressure which she happily accepts. She is angry with John that he insults her entering the college and has destroyed her hopes and aspirations by mocking what she has worked to achieve and overcome in terms of her social and financial background. Again reinforcement of these ideas is brought out in the first act by John who dominates and controls the conversation with describing college as “ hazing “ which is explained as “ Does it educate? In no sense. Well then, what is higher education? It is something-other—than-useful” (Mamet 21).  “  This leads us to why does Carol have this pressure and burden and I feel this can be summed in one word ‘Society’ which leads us to the second quotation.

“ Oh to be in Oleanna,
That’s where I would rather be.
Than be bound in Norway
And drag the chains of slavery”.

The above quote is an extract ( first verse ) from a satirical folk song originally in Norwegian. This obscure allusion refers mockingly to a perfect Utopian community ( Oleanna) in New Norway in Pensylvannia, America  as created by its founder Ole Bull in the nineteenth century .The community though at first flooded with settlers due to opportunity and free land eventually failed as the land acquired with immense forests in narrow valleys  were not conducive to farming and cultivation. Mamet alludes that the valleys of Oleanna are like the corridors of the university who lure with scholarships and great promises  but ironically does not  deliver or cultivate minds and students do not reap what they sow in a farming metaphor. You could say funnily enough that their minds cannot see the woods for the trees !!!  Ironically again students think their minds are free in college where in reality they are slaves shackled to the system that bounds them stripping them of power or rights or free will.

Society sets rules and expectations  ( college, married, good job, 2.5 children ), and if we deviate from this we cannot achieve acceptance. Carol by getting a possible bad grade feels she has failed in society and cannot come to terms with this failure and with self loathing she blames herself as she quotes her paper and exclaims in self disgust;

“ That’s right. That’s right. I know I’m stupid. I know what I am. I know what I am Professor. You don’t have to tell me. Its pathetic. Isn’t it ? “ ( Mamet 14). ( note: ironically she ends the play with “ that’s right “ with far more confidence than her non confident whimpering here ).

Carol is carrying a bag full of the burden of expectation on her tender young shoulders and she is drowning under those expectations.  ( though we will find out as alluded in the first quote she will not die but adapt).  She has been conditioned and has conformed. She carries further a chip on her shoulder that she does not belong in an elitist establishment due to her social and financial impediments and hence sits at the back of the class she feels unnoticed and unwanted. She is a victim of her own illusions and dreams that she has readily bought into. If she fails she will not be able to live her dream life in a perfect society. Ironically even John who pretends to be above the rules and despises rules and authority is also bound to it. His dream home, child’s future and marriage depends on the Tenure committee decision for his promotion  ( and at the end on Carol’s forgiveness and retractment ) as does Carol’s on her grades. Further, Carol does not have the ability to act or think like an individual as she hides behind society, tenure committee, her group ( possibly a feminist movement ) and even claims she has to tell the truth of her perceived sexual harassment not for her gain but for her responsibility to the other students and college. She also believes it must be true if they have accepted it as such. Strangely Carol wants to fit in as a “ paradigm “ of society ( though she does not know what that means) and through conflict there is a power shift where the teacher becomes the student divided by a desk that represents the power struggle.

In fact there can never be a perfect society like Oleanna and it exists only as an illusion or unattainable dream. We are all just trying to fit in and chase rainbows. Who is the victim in this play is opinion based but clearly empathy lies with the hapless professor who paid for his help and advice. In actual fact, John and Carol are alike and are both victims of that dream and their own insecurity which drives them. Mamet in a clever choice of allusions defines this theme.

Dexter, Gary. “How Books Got Their Titles.” Oleanna. Web. 18 Apr. 2012. <http://garydexter.blogspot.in/2009/04/62-oleanna-by-david-mamet.html.>

Friday, March 16, 2012

Blog Portfolio # 7 March 2012

Coverage


A Streetcar Named Desire

Till Death Do Us Part

The Role of Sounds in a Streetcar Named Desire

Unspoken Words

Lights, Stage Set, Action!

Real vs, Reel

A Scoop on Scoop

Two Men, Two Differing Styles

Beauty's Tragic Flaw

Zero-ing on Size

Depth

Till Death Do Us Part

This blog concerned a poem which was written on a lighter from Mitch's dead wife and also had significance for Blanche in 'Street Car Named Desire'. It was enlightening experience to be able to research the poem by Elizabeth Barret Browning, find out about her life and then analyze and relate it to the play. It was interesting experience to see how a real poem can influence a writer to incorporate it into a fictional piece of work and how that one poem can hold such meaning and significance for the protagonists. It gave me tremendous opportunity for in depth food for thought.

Research

"Sonnets from the Portuguese - Wikipedia, the free encyclopedia."Wikipedia, the free encyclopedia. N.p., n.d. Web. 16 Mar. 2012. <http://en.wikipedia.org/wiki/Sonnets_f 

"How do I love thee? Let me count the ways. (Sonnet 43) Analysis." Shmoop: Homework Help, Teacher Resources, Test Prep. N.p., n.d. Web. 16 Mar. 2012. <http://www.shmoop.com/how-do-i-love-thee-sonnet-43/analysis.html>. 



Interaction



Blogging is not simply writing your own feelings and thoughts in isolation as in writing a novel or a poem. What is so interesting about the world of blogging is that your commentary is being shared with an audience who is able to interact actively with you and others in a lively debate and discussion. This sharing of ideas and thoughts, hearing other view points, agreeing and disagreeing brings alive this social intellectual medium. In this blog post, Jorina, Wesley and I discussed and analyzed the role of Scoop in The Heidi Chronicles as a Antagonist or foil. Our interaction involved a debate with Jorina who stated, "Scoop is Heidi’s antagonist. He thinks with his hormones and is very overpowering", while I believe Scoop "acts as a foil to Heidi determining her action."


Discussion


Two Men, Two Differing Styles


My blog on the comparison with Scoop and Stanley invited some interesting thoughts and comments from Adrienne which I felt compelled to respond to. I look forward to the continuation of this discussion.


Xenoblogging - Comment Primo


Heidi the Protagonist - Kanchan


While Kanchan's blog Heidi the Protagonist was well written and all points relevant and agreed upon, I was surprised she agreed Heidi is a Humanist (as claimed by Heidi) and not a Feminist, instigating my comment primo on her blog to put forth my view point.


"Some really good points were made but i would like to add some thoughts. Heidi’s character is interesting because she seems a little confused. She joins a feminist group and befriends many feminists and yet declares herself to be a humanist. By definition a humanist is a person who focuses on human values and concerns. Heidi never in the play demonstrates any strong human value beliefs. Instead of fighting for real women’s concerns and rights such as female circumcision, violence against women, child trafficking or equal pay she spends her time fighting for a museum to give equal importance and display of the paintings of women artists. Further, her group of friends do not show the traits of true feminism when they succumb to the traditional roles of marriage and one even allows her boyfriend to mistreat her as she cooks and cleans for him.Heidi too allows Scoop to string her along for years without a commitment. She is also upset at Scoop’s wedding to Lisa revealing her hurt and frustration at his betrayal and yet she continues to love and support him. i wonder if Scoop had proposed to her would she have said yes and thrown caution to the winds as she gave up her independence and with it perhaps her ambitions. Perhaps these women do need to realize they can have it all not just at the same time as the saying goes.
I wonder though if Heidi and her values don’t change. At the end the desire to adopt a child out of traditional wedlock i wonder if this is a last ditch attempt to conform to the norm albeit without a man she loves, or is this a stay true to yourself rebellion against society to defy convention?
At the end of the day life is a discovery of finding out who you are so surely we all change along this journey of self discovery. Age and circumstance also changes a person so surely Heidi is no longer the same as the young naive girl at the start of the novel. Scoop changes when he leaves his paper to spend time with his children and even her gay friends attitude towards her changes. He tells her effectively there is a time to stop chasing rainbows and to grow up. Heidi finally comes of age and is comfortable in her skin. She no longer needs to change the world with the same passion or prove anything to the world, just being herself is the greatest victory of all."
Wildcard
Zero-ing on Size


Based on the article Dieting to the Extreme, I discuss societies perception of the perfect body leading to emotional insucurity and pressure to conform to societies standard's of beauty and fitness. 

Thursday, March 15, 2012

Beauty's Tragic Flaw


Hedda as a “Modern woman” by Archer and “Ibsen’s Women” by Nazimova give their own view and interpretation of the characterization of Hedda Gabler, the female protagonist in Ibsen’s play of the same name. It is interesting to see the viewpoint from a male and female perspective and even more note worthy that Ibsen weaved a three dimensional female lead so intricately defined  and multi-layered reminiscent to Tennessee Williams  Blanche in “A Street Car Named Desire”. These extremely manipulative, highly strung emotional women toy with their sanity as they float in and out of reality highlighting the complexities of the female or indeed so as not to be sexist the human mind. They exploit their femininity and sexuality to the hilt and have little regard for the havoc they leave in their wake. Hedda’s hubris and self denial of situations she creates and then cannot handle represent her tragic flaw.

 Archer comments that though the play has a Norwegian feel to it with references such as the “fjords”, the play was written for an international audience and Hedda transcends her time period and becomes an “international type”. Archers’ commentary on the reference to Lovborg, “with vine leaves in his hair” which is an allusion to mystical mythology shows the mental state of Hedda. She escapes into a fantasy land where she can escape her boring socially acceptable life and run away with Lovborg despite not loving him or any other man. Hedda seems devoid of loving anyone or showing basic human compassion as seen by her marriage of convenience and how she leads Lovborg to his death without remorse and balks at Aunt Julie’s selflessness at caring for the infirm. However, Archer points out that Ibsen does not pass judgment on his heroines but simply “paints her full length with scientific impassivity”.He feels that the traits and tendencies are common in modern life and not just among women and reasons she suffers from the condition of hyperaesthesia (a pathological increase in sensitivity to stimuli) which  causes a “ morbid shrinking from all the gross and prosaic details of the sensual life”. He goes on to explain that she has no intellectual outlet and succumbs to social acceptance of a marriage she tolerates without the courage to break from conformity. It is debatable if Hedda is mentally ill or simply reacting to the shackles of her boredom and restraints as she toys with men for her amusement. She is caught in the myth of her beauty that attracts and sets her on a pedestal. She is distant and detached from those who attempt to get close to her and in turn they feel she is special and should be protected as Brack states, “you’ve never had to live through anything that really shakes you up” (244) and Miss Tesman who protects her from the funeral, “ These kinds of things aren’t for Hedda Tesman’s hands or her thoughts either”.(274). Hedda with no social conscience cannot give or receive love and has no moral code. She spends her time with her pistols as her hobby perhaps in a foreshadowing reminder that they are her only true friends who can relieve her of the suffocation of her life. She in fact pushes Lovborg to suicide as she feels this is an act of bravery and taking control and represents beauty to her warped brain. In fact she is devastated to learn he has not ended his life in a poignant way with a bullet to the head but was in the company of prostitutes with a bullet to his lower regions. Hedda burning the manuscript is symbolic of her killing her own child who she cannot raise with love. And finally on realizing that scandal may break and she has lost her husband to Thea she opts out using her treasured pistols and closing the curtains symbolically to her final act. She no longer can outwit her own manipulation which back fires on her and realizes that Brack’s  black mail control over her is the final nail in the coffin which she cannot endure. With death there is freedom and the dove in a gilded cage is finally set free.  She is the ultimate tragedy queen who takes comfort from her own misery and the misery of others. The question is, is she really a modern woman or a woman simply caught in the old fashioned attitudes of her time? Surely, Hedda in the generation of today could have lived a self sufficient independent life without the reliance of a man? Surely these pathological traits are not common place in modern life. Yes, women from time immemorial have used their beauty and sexuality to manipulate and control men and land a rich husband  but not commonly to the extent of ruining the life of others.

Nazimova also touches on this point and claims that Ibsen’s women like Hedda may not be recognized outside of the theatre but are everywhere. She feels characters like Hedda are real women not just heroines conjured in the imagination by the likes of Shakespeare and that Hedda has a little of all women in her. “She is weak and strong, capricious and determined , petty and powerful” Of course I agree to an extent all women are somewhat emotional and reactive but some manage to have self control and self worth. Hedda does not love or value herself and suicide is not bravery as she perceives it but cowardice. The real bravery would be to live her life and face her mistakes and take ownership for her decisions and choices. Yes as Nazimova points out, “the modern woman is more complex and lives in a more complex world” but she has now fought for equal rights and freedom and would not resort to killing herself or her child she would have fought to the end. While there is still female oppression, women have come a long way from the age of Hedda and their compassion is their strength not their weakness. If only Hedda could have realized this before pulling the trigger…….

Saturday, March 10, 2012

Two Men, Two Differing Styles


Scoop  and Stanley in’ The Heidi Chronicles’ and ‘A Streetcar Named Desire’, both act as foils to their female protagonists respectively, Heidi and Blanche. And whilst they both play a supporting role in the two plays, they are very central to the story line as they determine the actions of their heroines.

Stanley and Scoop are very much a man’s man, unapologetically macho as they proudly display and play up their masculinity to the hilt. However, their approach is very different as is their relationship with their heroines. Scoop is educated and sophisticated and is romantically involved, albeit casually with Heidi. On the other hand, Stanley is uneducated ill bred, devoid of manners and sophistication and is not involved with Blanche (he is married to her sister), but the undercurrents of sexual tension disguised as disgust come clearly to the surface and end with Blanches rape. The two men move the story line along determining the outcome of the lives of the women, who though essentially strong and independent, allow the men to dictate their terms, showing that they succumb to their charms against their better judgment.

Stanley
The characterization of Stanley is thrust into the mindset of the audience at the onset of his entry by Tennessee Williams. As he walks into the room he is loud, obnoxious, drunk and blunt bordering on crudeness. Aware of Blanches discomfort Stanley remarks to Blanche, “I’m afraid I’ll strike you as being the unrefined type” (Scene 1). Ironically Stanley sees through the feigned lady like act of Blanche. He recognizes that they are essentially cast of the same mould. (He makes a sarcastic remark of the depletion of whiskey hinting at Blanches indulgence which is quickly rebutted by Blanche by her dishonesty that she rarely touches it). While Stanley is honest and upfront of his un-refinement, Blanche hides behind the mask of false propriety. The attraction is instantaneous but is camouflaged by insults and churlish remarks. Blanche though unwilling to admit it, is drawn to his raw charms and cave man like behavior. Stanley treats women as commodities to satisfy his every urge and wait on him hand and foot as shown by the treatment meted out to his wife Stella. He hides any softness and romantic notions behind grunts and growls displaying  a primitive animalistic approach to women, which lacks respect of the fairer sex.  On his first encounter with Blanche Stanley is described by Williams as; (Scene 1).

“Animal joy in his being is implicit in all his movements and attitudes. Since earliest manhood the center of his life has been pleasure with women, the giving and taking of it, not with weak indulgence, dependently, but with the power and pride of a richly feathered male bird among hens. Branching out from this complete and satisfying center are all auxiliary channels of his life, such as his heartiness with men, his appreciation of rough humor, his love of good drink and food and games, his car, his radio, everything that is his, that bears his emblem of the gaudy seed-bearer. He sizes women up at a glance, with sexual classification, crude images flashing into his mind and determining the way he smiles at them.”

Though Stanley’s encounter with Blanche is brief, lasting only a few weeks it has impact and bearing on the events of her life and lead to her sanitarium visit. Though their relationship is not of a romantic nature it is undeniably not without sparks or passions and leaves an indelible impression in the mind of the reader.

Scoop:
In contrast Scoop forms a casual long lasting dalliance with Heidi that culminates in friendship post his marriage to Lisa. Though both Scoop and Stanley are macho men that toy with women disregarding their feelings, their methodology is different in approach. On his first meeting with the self professed feminist Heidi, he is able to break her resistance and sleep with her through his wit and charm.  Not as crude or upfront as Stanley he employs his intellect and sophistication to break down the barriers she puts up as a front. As Blanche did before her, Heidi is dishonest and coy and believes herself to be in control but succumbs to him unwittingly like a fly in a Spider’s web. Scoop rates women with grades or numbers revealing that he regards them as disposable commodities that he sizes up in a similar but more educated manner to Stanley.  Again Scoop insults and derides Heidi and she is placed in the defensive position of addressing him with rebuttals to match his quick mind. On their first encounter where Heidi pretends to be Susan she is unable to fool or outsmart Scoop; ( 171).

Scoop; I like you, Susan. You’re prissy, but I like you a lot.

Heidi; Well I don’t know if I like you.

Scoop; Why should you like me ? I’m arrogant and difficult. But I’m very smart. So you’ll put up with me. What?[…]

Heidi; Actually, I was wondering what mothers teach their sons that they never bother to tell their daughters. […] I mean, why the fuck are you so confident?

Scoop; ten points for Susan.

 Though different in approach both men Stanley and Scoop play the same game with different rules. They confidently and with unabashed brutal honesty admit to their negative traits willingly, which unnerves the women who find themselves at a loss as they struggle with their own insecurities and web of deceit The women are drawn to the danger and risks which they find stimulating and exciting but this fatal attraction becomes their tragic flaw in an otherwise composed carefully rehearsed exterior. Ironically both men settle for women that do not challenge them (Lisa and Stella) leaving behind their real paramours proving that ultimately it is the men who cannot rise to the challenge when they meet their match in Heidi and Stella. This represents their one weakness in their otherwise over confident exterior. They act as foils to their leading ladies and protagonists and are often antagonistic and overbearing but, they still manage to make an impression in their lives.

Friday, March 9, 2012

A Scoop on Scoop


By definition an antagonist is the person whose every action is conducted against the protagonist. In contrast a foil is a character that has contrasting or complimentary characteristics whose actions affect the protagonist. The foil in fact may at times behave as the antagonist, side kick or somewhere in between.

In Wendy Wasserstein’s The Heidi Chronicles, the character of Scoop the romantic interest and best friend of the heroine Heidi in fact demonstrates the characterization of the foil. However, ironically the character may describe him as her antagonist in her feministic two dimensional out look on life.

Heidi believes herself to be the proverbial feminist who goes through life feeling that men are the great evil whose main life is to keep women in their place. She fights against conventions of being a traditional homemaker to become successful and independent in a devil may care attitude but often blames men for her failings. Ultimately single at forty she adopts a child as if this is the piece de resistance to tell the world; she does not need a man. To add to this she befriends a homosexual man, Peter who gives her a feeling of safety and comfort. The question is: is she fooling herself or the world? And ultimately does she hold Scoop responsible for stringing her along or is she responsible for her actions alone?
Ironically, her main fight for the cause of feminism is giving a platform to forgotten female artists when surely there are other more worthwhile causes in the plight of women. Further, interestingly Heidi tries to escape her troubles by leaving New York but is scolded by Peter who acts as her true confidante aka Peter and Heidi in the Swiss tale as opposed to the foil of Scoop. Peter, keeps Heidi grounded and reminds her of their bond and is frustrated at her weakness, “But obviously I can’t help you. And You can’t help me, So…”(238). Heidi’s weakness and hurt shows she is a normal woman with feminine wants and not a true feminist. This is highlighted in the confused women who meet for feministic sessions in scene 3 and yet reveal their insecurities such as Becky who acts as a slave to her ungrateful boyfriend.  In fact Heidi too is perhaps delusional in her longstanding relationship with her paramour and friend Scoop as stated by Susan, “My friend Heidi is obsessed with an asshole” (180).
On their first meeting she is drawn to Scoop but feigns indifference, which is simply a feminine ploy to hide her attraction. Heidi even pretends to be Susan forgetting her real name is written on her name tag. Scoop as her foil sees through her games and bluntly remarks on being called irritating by her with the response, “That’s the first honest thing you’ve said all night” (171). After all her indignity at his insults and her rebuttals (he rates her looks as B- and demeans her by calling her Heidella), she still leaves with him and Scoop clenches his fist in victory, as Heidi falls for his charms. Therefore for all her pretense of feminism as she scoffs at his off the cuff remark of her future domesticity, “No, I’ll be busy burning lingerie” Heidi acts like a typical woman and not the feminist she claims to be. Scoop calls her bluff and Heidi loses, forsaking her ideals by becoming the casual interest for Scoop.
Scoop ultimately does not marry Heidi and eventually settles for a six out of ten claiming she needs a ten out of ten and could possibly never settle. The truth is that feminists it may be argued never get to have it all, never find perfection and end up being unhappy as they spend their life reaching for unattainable goals. Scoop on the other hand cuts is losses and is more realistic in love, finding comfort a better alternative to true love or passion. The real burning question arises what if Scoop had asked Heidi to marry him, would she have said yes, tossing her feminism as she had at their first meeting. We will never know but I would guess yes. (The last scene alludes to this when Heidi states if she had married Scoop the marriage would not last.) Has Scoop acted as a foil in her long term plans by not committing to Heidi? Heidi is angry and upset at Scoop’s wedding as she has been strung along and now finally betrayed by Scoop despite his love for her (201)
Scoop; I’m sorry Heidella. But I couldn’t dangle you any more. And that’s why I got married today. So,
Heidi; So. So now its all my fault.
Scoop; Sure it is. You want other things in life than I do.
Heidi; Really? Like what?
Scoop; Self-fulfilment. Self-determination. Self-exaggeration
Heidi; That’s exactly what you want.
Scoop; Right. Then you’d be competing with me.
In fact Heidi and Scoop despite playing up their differences are peas in a pod and this likeness repels each other again as Scoop ends up as the foil pushing Heidi away. Her feminism has worked against her and Scoop ends up playing the more traditional role (despite his dalliances to retain his masculinity). In fact Scoop sells his successful magazine simply to fall into another avatar of a better father leaving behind selfish ambitions thereby playing the more feminine role to Heidi’s masculinity. At the end joking that they should try again romantically despite hurting Heidi he flippantly remarks, “You’re lonely and I’m lost”. This poignantly affirms how he has affected her life and his by being her foil in her plans. Unable to find true love in his marriage he is lost and in turn Heidi unable to find another man to replace Scoop adopts a child to fill the void that success and freedom and independence all the trappings of feminism cannot fill.
Perhaps Heidi should have been a true feminist, not fallen for Scoop and stopped him from being her foil. As Susan summed it up early on in the play, “You know, as your best friend, I must tell you frankly that you’re going to get really messed up unless you learn to take men seriously” (164). Never a truer word spoken…..

Sunday, February 19, 2012

Scoop the Antagonist


p.168: Scoop is being introduced as someone who opposes Heidi. This is shown by the way he tells her what she is: ‘You’re being very difficult”. He then tells her what he thinks of her, “You really have one hell of an inferiority complex”. He puts her in a very defined spot by repeatedly using the word ‘you’ when addressing her. The first time he is introduced, he is portrayed as someone who has a fix image of her even though they have just met. It seems as though he tries to push her over the edge by insulting her and questioning her actions. The reason why he’s being so pushy might be that he is trying to get a specific reaction out of her, as it looks like he has a goal in mind when talking to her. Scoop uses words such as ‘obviously’ to define himself as someone who knows better than Heidi herself what she is like: “ I mean, you’re obviously a liberal, or you wouldn’t be here”. The way he talks to her is dominant and rude. He makes her feel inferior to him and makes himself stand out as the alpha male.  What is interesting is that whatever he does and says to her only makes her more attracted to him, which contradicts her feminist image. Scoop also commands Heidi around: “That’s bullshit. Be real. You’re neat and clean for Eugene”. After making her feel put on the spot by him, he directly insults her by saying: “I have absolutely no interest in you. You’ve been incredibly obnoxious and your looks are B-“.  Once she actually tries to make some conversation and is interested in what he says she asks him if he works for a paper and he responds: “Did they teach you at Vassar to ask so many inane questions in order to keep a conversation going?”, shutting her down one more time.

The way Scoop is introduced to the play makes him very well look like the antagonist, even though that doesn’t mean that there is certain chemistry between the two characters. Throughout the play he has the role of contradicting Heidi. They’re opposites, even if they might be in love. By making Heidi dependant of him, he ruins her image of a feminist, as she contradicts her own beliefs by being in love with him after he’s married and has kids. Scoop admires Heidi because of all the strength she puts into her beliefs but he would never marry her. He needs a woman that stays at home and takes care of the kids while he brings home the money and food.

Portrayed as the Alpha Male character who has no fears about walking up to a stranger, and bluntly questioning her is she had sexual intercourse. Scoop keeps Heidi on his hook, even long after his married life, using her as an escape goat once in a blue moon. Heidi too describes him as her “Bad habit who she is addicted too.” The interactions between these 2 characters are very limited, and they only meet by chance once in a blue moon through their friends. The contrast between the confident alpha male Scoop, and the reserved Heidi with an inferiority complex highlights the society in the post World War II era. Heidi is described to be a trivial women, while Scoop is a serious man. The scene where Heidi is unable to get a word in edge wise during the live studio interview in New York due to the intervention of Scoop and also Peter in her opinions. In this era female opinions were considered trivial and worthless, thus leading to the emergence of feminist humans led by Heidi (Humanist, as termed by her). Her lecturing of renowned female artists virtually unheard of today, mimics and mirrors her position in her life and society which she strives to change.

Wasserstein uses Scoop’s language to convey that women after World War Two had no power compared to men. The use of ‘you’ makes him look like he knows a lot about her and women in general. He pushes her so much with insults and swearwords, that she adapts her language to his’ and uses words such as ‘fuck’. The author makes Heidi and Scoop complete opposites, but by letting Scoop support the feminist beliefs in some ways he portrays and yet choose a woman who doesn’t give such demands, he put women in a light where men are more dominant than them. 

Monday, February 6, 2012

Real vs. Reel


Movie adaptations especially in flamboyant Hollywood of plays or novels are often very different as the director in question employs poetic license. He is trying to fill a cinema scope larger than life canvas and wants to entertain the audience and of course please them and in doing so make a big profit. It is a business venture and not simply a creative gesture. Playwrights and novelists especially of that era did not make as much money as movie producers and more often than not write for creative expression and satisfaction and write to express their views or opinions and not just a buck. They please themselves and are self indulgent and not audience focused (though this is a sweeping generalization).

Scripts that are written from a play or novel are often changed and the movie adaptation of A Street Car Named Desire are no exception. I wonder what Tennesse Williams thoughts on the movie would be and if he would feel is vision has been brought to life. Incidentally I felt Marlon Brando and Vivien Leigh were amazing in bringing to life these two complex, multi layered characters and the chemistry between them was electric.

One of the glaring changes from play to film were that Blanche first goes to the bowling alley instead of as in the play waiting at home for Stella to return. I am not sure why the director made this decision as I felt the original version was more apt and made more impact. After all Blanche sitting alone in the darkened shadows with close ups of her expressions as shadows fall on her face and her furtive visit to the closet for alcohol reveals her insecurity, nervousness, and instability of mind to the audience at large. Also the first meeting of Blanche with Stanley and Stella was at a public place, which simply allowed for the primitive, macho character of Stanley to be revealed which could have been done at home. However, on a cinema screen perhaps this scene without dialogue may have appeared to be slow and boring to the audience.

Another major difference in the play and film is where in the film Stella leaves Stanley with the support of Eunice. Whereas in the play the scene ends with Blanche being taken away with the guards and doctor/nurses of the sanitarium where she is committed. I felt this was a radical decision by the director to allow Stella to have the courage, fortitude and independence to make such a decision especially with a baby and no means of support. This does not match the theme of the play and seems incongruent, where both women are suppressed females simply putting up with their men despite bad treatment and desperately seek the security and support of a man despite this. In the movie Stella does not appear to be as much in love with Stanley as the play implied.

A play is written for a small set area of limited space and props whereas the film has the freedom of a larger scale canvas and plays upon this advantage to the hilt. Sound and lighting also differ and the camera takes us through the mind of the director or his eyes as he pans out wide angles, close ups and top shots. In the play by reading we are the director or in the actual play we are free to roam where our eyes choose within the confines of the set.