Style

1. Style

2. pride, sloth, gluttony, envy, covetousness, lust and anger

3. Traditional Structure

4. Greek Drama The three unities • Action ( plot focuses on one storyline) • Time ( stage time and real time are identical and action on stage takes place over no more than 24 hours) • Place ( only one setting is used)

5. The Chorus • Use of the chorus, a group of actors who served as narrator. They offered a summary of what had happened in the play, a commentary on characters as the play progressed and an explanation about the lessons learned.

6. A CHORIC DEVICE

7. Catharsis • A release of feelings which helps to cleanse the audience

8. Fortunes change • In Greek tragedy the protagonist experiences a significant change of fortune and a discovery or recognition of something not known.

9. Movement • From ignorance to knowledge

10. A well-made play • A form of play • Involves a highly structured plot anda climax that takes place very close to the end of the story. • Most of the story occurs before the action of the play

11. An inspector calls has been called a well made play • It has an exposition where we are introduced to characters, background and context as well as themes • Carefully timed entrances and exits which help to build suspense • A secret which is revealed • Carefully timed climactic curtains to end acts • Mistaken identity • A logical or plausible ending/denouncement

12. Entrances and Exits • Are very carefully timed. For example, in Act 1 the Inspector enters directly after Mr Birling’s reference to community • He exits to allow Sheila and Gerald to talk and then enters right at the end of Act 1, once we know about Gerald’s affair. • This pattern is repeated throughout the text

13. Genre • Tragedy • ‘Whodunnit’ mystery to be solved-crime. detective, suspects, clues and eventually a solution. In a traditional whodunnit the criminal is revealed.

14. Morality play- middle ages- sought to instruct the audience how to behave, live and treat others. They were based on opposing the seven deadly sins of pride, sloth, gluttony, envy, covetousness, lust and anger • We see how these vices are demonstrated by various characters during the play and how the inspector seeks to instruct them to learn from their mistakes and lead better lives

15. Stage Directions • Play opens with extended stage directions, about both characters and setting. • Reference to a ‘large suburban house’ and ‘solid furniture’ and a ‘general effect’ which is solid and ‘substantial and heavily comfortable’ • Clear sense that the Birlings belong to the upper classes

16. Lighting • ‘Pink and intimate’ until the inspector arrives, and then it is ‘brighter and harder’ • The cosy and close family atmosphere is disrupted by the Inspectors arrival

17. Stage Directions • Convey character and atmosphere • Sheila’s playful nature an her uneasy relationship with Gerald are evidenced through the stage directions, ‘mock aggressiveness’ and ‘half serious, half playful’. • Eric’s strained relationship with his parents is first hinted at when he ‘suddenly guffaws’ and ‘His parents look at him’ Eric’s drunkenness is intimated when he ‘speaks rather noisily’

18. Mr Birling’s misplaced self assurance when he laughs ‘complacently’. • Towards the end of the play, when Gerald calls the infirmary, Priestly indicates the use of tense atmosphere through stage directions when we are told that the ‘others show their nervous tension’

19. Language • Priestly particularly uses adjectives and adverbs to suggest how sections of the play are to be presented. • When Mr Birling is being interrogated his mood develops from nervous ( ‘moving restlessly’) to annoyed (‘somewhat impatiently’) to shocked (‘surprised’) and later disgusted and angry (‘staring at the inspector’, ‘angrily’).

20. Priestley coveys information to us at crucial moments through stage directions, and his masterful command of the situation, before his final speech is suggested through stage direction

21. Sound effects and juxtaposition • Stage directions indicate key moments. • ‘sharp ring of the doorbell’ is heard after Birling’s speech about community • The door is heard opening and closing at key moments in the play, indicating unseen action and heightening tension.

22. juxtaposition Juxtaposes • A socialist representative ( the Inspector) with someone who has just expressed right wing views (Birling). • Juxtaposes the elder and te younger Birlings • End of the play he juxtaposes Birling’s confident and sarcastic statement about the ‘famous younger generation’ who ‘can’t even take a joke’ with a telephone call that threatens once again to prove that the action of the play is anything but a joke.

23. Dramatic Irony and Proleptic Irony • Dramatic irony- when the audience is aware of something the characters on stage do not. • Most obvious in Mr Birling’s speeches early in the play • ( remember the contemporary audience is post war) • There is also dramatic irony at the end of Act one, when the inspector arrives directly after Gerald’s jokes about avoiding trouble.

24. Proleptic Irony • This is the term given to a situation which later turns out to be ironic • Mrs Birling insists that the father of the child ought to be made to confess his acts and take responsibility for his actions- we later see the irony of this when Eric confesses he is the one who made ES pregnant • What Mrs B says is dramatically ironic is we have picked up on what the inspector said earlier – ‘We do need him here. And if he's not here soon, I shall have to go and find him’.- and on Sheila’s recognition of the fact that Eric is the father of the child. • DI- When Gerald returns after his walk, as we know things about Mrs B and Eric that he does not. • PI Some of what Mrs B says about ES, her disgust at her using the Birling name, given that ES was carrying a Birling and that Eric had probably asked her to marry him.

25. Realism • Critics see this play as an example of realism • Traditionally realistic set • More modern interpretations ( Daldry 2011/12) has turned this idea on its head

26. Language and imagery • Because of the realistic (traditional ) staging on AIC, the language has also been seen as realistic • The clear and direct prose that the characters use • The language of the play reflects its Edwardian setting • Grammatically correct prose of the time seems antiquated now and does not reflect the language modern playwrights use • Expressions such as, ‘a trifle’, ‘squiffy’, and ‘ass’ are rather dated. • ‘good sport’, ‘moonshine’, ‘By jingo’, ‘google eyed’ and ‘Steady the Buffs’, place the play in its context.

27. Language does carry a metaphorical and dramatic weight • Careful balance of emotive and powerful language, the inspector, Eric and Sheila. • Euphemism- by the men when talking about taboo subjects • Irony, metaphor and imagery • Use of long and short speeches, monologues, dialogue, as well as dashes and dramatic pauses, short sentences, and carefully placed statements and questions to maintain the audience’s interest in a talk-heavy play.

28. Language carries the text forward • Birling’s long monologues at the start of the play give us a clear idea of his pompous and misinformed character • Goole’s language is direct, emotive and harsh, suggesting that his intent is to shock this family into recognition and responsibility ‘ Burn’t her inside out, of course’ • His directness and use of emotive words such as ‘agony’ and ‘misery’ help create pity for the unknown girl. • Look at how Priestly uses dashes, they clip and interrupt sentences- suggests how fragmented and disjointed the Birlings are.

29. Euphemism • Prostitution ‘on the street’, ‘women of the town’ • Eric does not elaborate on his sexual assault of Eva ‘ that’s when it happened’ • CONTRATS greatly with his later reference to ‘those fat old tarts’, this may indicate his anger but its closeness in proximity to Birling’s discussion of his respectable friends highlights the theme of public image and hypocrisy.

30. Irony • Highlights a tense atmosphere • The Inspector uses irony in his remark ‘ Very awkward’ and his comment that he doesn't play golf. His wry humour and jokes at the expense of others show that he has the upper hand. • Sheila and Gerald’s exchanges are full of irony, she sarcastically refers to ‘being engaged to the hero of the story’ and he says ‘ you’re going to be a great help’ and ‘I’m glad I amuse you’. The irony emphasises the tension between the two of them.

31. The Inspectors Language • Made up of short sentences, questions and longer speeches • He prods characters for information, leading them to their confessions. • Controlled speech • Builds on comments made by other characters • Repeats words others have used and manipulates them for his own end • ‘Impression’ is manipulated and repeated, as is ‘offence’ with its dual meanings of discourtesy and crime • In the later speeches his language is almost biblical and prophetic • ‘Fire, blood and anguish’ prophet of doom referencingthe forthcoming wars.

32. SheilaLanguage • Uses imagery when she tells her mother not to ‘build up a kind of wall’, implying the metaphorical distance Mrs Birling creates between classes. • She also warns the others that the inspector is ‘giving us rope so that we hang ourselves’, she uses this metaphor to create a visual image of the way the Inspector skilfully manipulates characters into confessing their sins.

33. QUESTIONS1. What traditional five-part structure do plays follow?2. Name some Greek conventions used in AIC3. What is a well-made play?4. How would you describe the language the inspector uses?

34. Essay • What important role does Priestley give Sheila in An Inspector Calls? • Look carefully at • What she says and does • Other characters opinions of Sheila • How Priestly describes Sheila