1 / 51

W ! LD RICE- personae and facades in the Singapore theatrical scene

W ! LD RICE- personae and facades in the Singapore theatrical scene. Gabriel Tan & Ong Juin Khai (4H1) 2-12. Direction and scope. Direction of research. To extract greater literary value with the use of psychoanalytic theory

xanto
Download Presentation

W ! LD RICE- personae and facades in the Singapore theatrical scene

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. W!LD RICE- personae and facades in the Singapore theatrical scene Gabriel Tan & Ong JuinKhai (4H1) 2-12

  2. Direction and scope

  3. Direction of research • To extract greater literary value with the use of psychoanalytic theory • Interested in the performance of the concepts of the persona and the selfin theatre

  4. SCOPE

  5. Methodology

  6. Formation of identity • Identity is not monolithic (Winnicott, 1960) • Performance of our thoughts, ideals and experiences through our appearance, behaviour and speech. *Applies to both identity of persona and self

  7. Jung’s Persona Theory • Persona’s dynamic relationship with the self • Draw on elements of the self to retain “authenticity” • But portrays a different image of ourselves, often “contradict[ing] the original sense of self”. (Winnicott, 1960) • Function of the persona • Self will “suffer” if not for the defence of the persona (Wehr, 1988) • Compromise between one’s definition of the self and societal expectations – ideal image (Adler and Hull, 1967)

  8. Research Questions With regards to main characters- • Is there a contradiction between the identity of the persona and the self? • Does the persona fulfil its purpose of preserving the self?

  9. 1st research question Is there a contradiction between the identity of the persona and the self?

  10. La Cage aux Folles • ZaZa (the self), identifies as female, is mother of Jonathan, star of gay night club. • Albin (persona), identifies as male supposed ‘uncle’ of Jonathan • Extroverted, expressive, • Gender-confident • Self conscious, shy, • awkward

  11. Contradiction of sexuality • Identity is a performance of engagement with sexuality (Witt & Wood, 2010; Wood, Christensen, Hebl, & Rothgerber, 1997)

  12. Emily of Emerald Hill

  13. Contradictions between the personae and the self • In Emily’s case her true self can be taken as the “screaming girl-child” that she once was Personae (Matriarch) Mature Manipulative Self-esteem in being matriarch Capable Self (child) Childish Emotionally fragile Lack of self-worth Incompetent

  14. “I learned that a woman is nothing in this world that men have made, except in the role that men demand of her. Your life is meaningless, you have no value, except as you are a wife and mother: then be the very devil of a wife and mother... So that you control them and keep them in the palm of your hand. So that the whole world knows your worth- so that a screaming girl-child, long ago, may be reassured that her life has some significance, that no-one is going to throw her back into the gutter.”

  15. Contradiction in social stature • Tension between well-to do aristocrat and young, earnest child • Existence of power relations within identity (Witt & Wood, 2010; Wood, Christensen, Hebl, & Rothgerber, 1997)

  16. Contradiction between personae “Hei, Botak! What are you doing ah? What kind of fish you sent to me yesterday? All rotten ones lah! …You don’t know ah, how can you not know – all right. You give me good ones today. If not all right I bring back I throw at your head…” (Speaking to fishmonger) “Good morning Mr Chai. I would like to order one honey-baked ham for the Chinese New Year. Eleven pounds will be excellent, please deliver it to Emerald Hill.” (Speaking to Cold Storage staff)

  17. Categorizes her relationships

  18. Cross-dressing • Colour scheme: pink and purple, • Feminine beauty: Jewels, necklaces and bracelets. • Tremendous skin exposure of the arms and the legs  racy and ‘bear it all’ appearance • Feathers – flamboyance, • It’s midnight, yet he’s wearing sunglasses, a hat, a scarf, and carries an umbrella. What is he hiding from?

  19. Manipulation of colours and messages • Different colours carry different messages, inciting different emotions and reactions (Lamancusa, 2003) • Colours are a performance of identity (Lamancusa, 2003).

  20. Usage of cross-dressing in Emily • Draws out notion that Emily is never showing her true self • Gender is the most fundamental building block of a person’s identity- and in this case it is not consistent with the character’s gender • Emily played by a man - draws out the more masculine aspects of Emily’s character - role as the head of the family • “a woman is nothing in this world that men have made”

  21. Stage Direction in Emily of Emerald Hill “She turns with a little-girl pout and shake of head to amused father-in-law.” “Hiding triumph, Emily accepts the homage of the brother and sister-in-law.” “Emily ‘manjas’ like a cajoling, wilful little girl.” “She rises gracefully, steps back and watches with side-long satisfaction.” “Emily takes her place beside Kheong in the state chair, with a girlish giggle.”

  22. 2nd research question Does the persona prevent the annihilation of the self?

  23. Societal judgement

  24. Societal expectations are annihilated, not ZaZa • However, the self is still preserved. • Everyone rallies round ZaZa and calls Dr Tan out for conservatism and bigotry • Struggle between societal expectations and ZaZa, society ‘breaks down’. • Is a persona really necessary? Will the self be annihilated without a persona?

  25. Albinis obsolete • Revertsto being Jonathan’s ‘mother’ – ie the self, ZaZa • “ZaZa is here!”

  26. ‘I am what I am…’ ‘It's my world that I want to take a little pridein My world and it's not a place I have to hide in’

  27. Ironically, Emily’s personae destroys her self • Her true self is largely concealed throughout the production • Jungian persona  ‘ease of the persona’, should not overwhelm the original sense of self. (Hopcke, 1989) • However, Emily finds greater comfort in switching between her many personae, rather than dwelling in the self. In that sense, the self has given way to her many personae.

  28. Unlike ZaZa, Emily has multiple personae

  29. Stage Direction in Emily of Emerald Hill “With overwhelming graciousness” “With great cordiality” “Cordial and sedate to male acquaintance” “With real warmth” “With fake warmth, guard well up” “She flies to the door, she ‘manjas’” Showcases ability to swap between entirely different tones for different people within the same social setting

  30. Persona preventing annihilation of the self • In Emily’s case, her personae are not preventing the annihilation of the self • Instead, they are facilitating the destruction of the self • Her many personae have drowned any sense of self, ironically causing her self to fade away

  31. Necessity of the persona • It is necessary for Emily to create a persona • Her self is fragile, and a persona is necessary to protect it • However, Emily goes overboard and creates personae in excess • It is only necessary to have one persona to protect the self- Emily instead creates many, causing the annihilation of the self

  32. In conclusion…. What can we say about these personae?

  33. Contradiction between persona and the self present

  34. Persona does not defend the self

  35. Concluding statement • The nature of these personae and its relation to the self is normal • However, the function of these personae has evolved.

  36. Significance of research • Use of psychoanalytic theory • Humanize these characters, making them more relatable • Point of reference • Character-centric analysis • As compared to thematic analysis • Brings closer attention to the inner turmoil and struggles of characters

  37. Significance of research • Complements the artistic motivations behind these productions • Deliberately portray the struggle between persona and the self • ‘La Cage aux Folles’ and ‘The Importance of Being Earnest’ are plays “about facades where everybody is pretending to be something than what they truly are”. To study the idea of personae in these plays is thus “very interesting”

  38. Thank you

  39. References • Adler, G., & Hull, R. (1967). Two Essays on Analytical Psychology. The Collected Works of C. G. Jung (). United Kingdom : Routledge & Kegan Paul. • Bracphysical activities. Journal of Sport and Social Issues, 26(4), 403-420.e-Govan, J. (2002). Looking at bodywork: women and three • DemarisS. Wehr, Jung and Feminism (London 1988), page 57. • D. W. Winnicott, "Ego distortion in terms of true and false self," in The Maturational Process and the Facilitating Environment: Studies in the Theory of Emotional Development. New York: International UP Inc., 1965, pp. 140-152. • Innes, C. D. I. (1972). Erwin piscator's political theatre: The development of modern german drama. • Jung, C. G. J. (1989). R. Hopcke (Ed.), A guided tour of the collected works of C.G. Jung (p. 88). • Merton, R. K. M. (1949). Social theory and social structure.

  40. References • Shackelford, S., Wood, W., & Worchel, S. (1996). Behavioral styles and the influence of women in mixed-sex groups. Social Psychology Quarterly, 59, 284-293. • Witt, M. G., & Wood, W. (2010). Self-regulation of gendered behaviour in everyday life. Sex Roles, 62, 635-646. • Wood, W., Christensen, P. N., Hebl, M. R., & Rothgerber, H. (1997). Sex-typed norms, affect, and the self. Journal of Personality and Social Psychology, 73, 523-535. • Wood, W., & Eagly, A. H. (2002). A cross-cultural analysis of the behaviour of women and men: Implications for the origin of sex differences. Psychological Bulletin, 128, 699-727. • Lamancusa, K. (2003, January 1). Emotion Reactions to Colour. Retrieved August 21, 2014.

  41. Why these productions? ‘Localized’ ‘Relatable’ Glen Goei – Director at W!ld Rice

  42. Presence of personae and facades- • ‘play about facades where everybody is pretending to be something than what they truly are, the idea of facades and masks is very interesting.’ • Ivan Heng in an interview

  43. Use of cross-dressing • ZaZa is the true self. Albin is the persona • Jungian persona – persona was developed (based on ‘other people's expectations’). (Hopcke, 1989) • As a male, Albin is expected to act masculinely. However, ZaZaidentifies as a female. The character is forced to conceal ZaZa, which falls short of the norms of behaviour for men, and put on a front- Albin.

  44. Albin is constantly in the hiding, fearful of exposure • Dresses extremely conservatively - All black appearance (he looks like a fugitive, no?) • It’s midnight, yet he’s wearing sunglasses, a hat, a scarf, and carries an umbrella. What is he hiding from?

  45. 2nd research question What theatrical techniques and plot devices are employed to capture the personae of characters?

  46. 1. Use of cross-dressing

  47. 1. Use of cross-dressing

  48. 2. Stage directions

  49. vs

More Related