Feedback on Tragedy Distancing mini-essays 28/9/10
See Mini-Essay Learning Objective and Success Criteria sheet for general skills and knowledge.
Specific question this time:
“Although Classical Tragedy causes catharsis in the audience, it nevertheless keeps us at a distance from the protagonist’s real suffering.” Discuss this statement with reference to King Lear, in the light of your reading of Oedipus.
1. Start by noticing the key command word: DISCUSS. So you are asked to present a balanced argument, considering different sides of this topic. NOT a straight “yes CT does this” or “no it doesn’t”. The examiner is presenting you with an idea and asking you to what extent you think it’s true in the case of the plays you have studied. Secret words behind DISCUSS questions =
o To what extent…
o On the one hand… on the other hand…
o Whilst… nevertheless…
2. So in your head, rephrase the question to identify or develop alternatives you are really being asked to address: “to what extent, on the one hand, do Shakespeare and Sophocles use the model and conventions of Classical Tragedy to cause catharsis in the audiences of King Lear and Oedipus Rex and to what extent, on the other hand, do they use these conventions in fact to keep us at a distance to the real suffering of their protagonists, Lear and Oedipus?” plus maybe “if this is indeed how Classical Tragedy does work, pulling us in but standing apart from us, as perhaps we can see in Oedipus, to what extent is Shakespeare’s Lear typical of this?”
3. Then make sure you can define the relevant concepts and decide whether/how to do so in your introduction as you outline your hypothesis. Here, because tragedy is not a stable concept over time, and in fact has always been a contested term (argued over) you do need some applicable definitions of tragedy relevant to Shakespeare and Sophocles here (C grade and downwards = general) making the relevant distinctions between Ancient Greek and Rennaisance ideas about this concept (for B grade upwards).
o Good if you mentioned a philosopher you chose to rely on e.g. Aristotle as set out in his Poetics, but you need to show awareness that these were not wholly fixed rules and Sophocles adapted them differently in different plays.
o Plus although Aristotle was known and followed in Elizabethan drama, tragedy had evolved under the influence of Medieval Christian values and the changing Rennaisance world view with the importance of the individual.
o Plus sub-genres of Revenge tragedies growing up, so that Jacobean drama was effectively developing it’s own new conception of this type of theatre.
o Stuck? Read pack materials and presentations in more detail and work on this until you can come up with a set of bullet points to describe the type of tragedy Shakespeare could perhaps be said to be developing in Lear and how this relates to Sophocles’ style.
o NB A.C. Bradley is someone else you might want to cite, but be aware that he is early 19th C so search your pack for later interpretations of Shakespeare to contrast with this e.g. Jan Knott? Also search Critical Interpretations on the wiki. Ultimately get an idea how these ideas have changed over time and pick the ones you like best to apply now.
4. Sub-definition of catharsis and it’s purpose for the audience’s theatrical experience (at least this for C grade and down, including reference to the necessary elements of fear and pity – you should be clear that catharsis is what Aristotle says happens at the very end of the play and is provoked by our realisation of the hamartia/+hubris and gradual anagnorisis of the protagonist towards the climax at the end of the play – catharsis is only supposed to occur just before the moment of resolution of the play – do not use catharsis to refer to general emotional reaction as you go along = D and down mistake) and the ideological/philosophical purpose of tragedy (for B-grade and up), through provoking audience reaction through the protagonist’s experiences which will involve reference to how/to what extent Shakespeare does/doesn’t draw the audience into Lear’s suffering as the protagonist and how this compares to Sophocles’ presentation of Oedipus.
5. At this point, return to and check the exam question topic = DISCUSSING the author’s use of classical tragedy (define), specifically catharsis (define it and mechanism for getting it), and on top of that, to involve the audience in their protagonists’ suffering (work out who suffers, how it’s presented and how we feel about it – to what extent do the authors use the conventions of tragedy to achieve this). So now you must…
6. Add in any other major concepts you want to consider to show how these dramatists involve their audiences with their protagonists’ “real suffering” e.g. theatrical elements or dramatic convensions used in these texts that you know could contribute to the creation or limitation of catharsis. Easiest to go in through contrasts? You could have included some below (Just one? D and below. Three well understood? C and above.) Extra well informed complex ideas and genuine engagement for B and above. NB ALL OF THIS NECESSARILY SHOWS CONTEXT KNOWLEDGE
o Convention of mask wearing in Ancient Greece + none in Jacobean drama – portrays emotion yet also limits it? Use of costume instead in Jacobean drama? In productions over time? **
o Convention of royal or noble protagonist – both Lear and Oedipus. But don’t just leave it there (D and below), ask how does the fact of their royalty or status distances us? (C and above) And try to consider specifically how Shakespeare plays with this concept e.g. To what extent does Shakespeare explore the nature of royalty, status and power in Lear and how you lose it, so we do in fact empathise more with Lear? How is this usefully paralleled in Oedipus as it turns out that the protagonist’s royalty and high status is questionable or undermined?
o Convention of the chorus in Ancient Greek theatre who lead audience’s reflection on and reaction to protagonists’ experience and represent “the people” of Thebes in Oedipus, also suffer themselves, but no chorus as such in Lear. Convention instead of minor characters in Shakespeare who follow the noble protagonist to aid and comfort? Chs who do this in Lear?
o Convention of 5 Acts building up to appalling climax in Ancient Greek tragedy and how problem and protagonist’s change of circumstances brought about plus audience’s reaction, including dramatic irony creating suffering in advance on the part of the audience? Convention of “rising action” similarly in Jacobean drama, but how closely stuck to in Lear?
o Convention of focus on Fate and the Gods over whom we mortals have no control – hotly debated issue in both Lear and Oedipus – to what extent do the protagonists suffer and the audience sympathise because the characters are at the mercy of Gods? “As flies to wanton boys are we to th' gods, They kill us for their sport.” King Lear Act 4, scene 1, 32–37.
o Convention of messengers reporting horrific events/physical violence v being shown them onstage more in Jacobean theatre – to what extent is this the case in Lear? Heath madness storm scene, Gloucester torture scene, Gloucester’s suicide attempt on stage (PATHOS?) Edgar and Edmond’s duel, the ugly sisters ( ; ) ) dying onstage, but hanging of Cordelia off stage, what happens to the fool (note hanging is Trevor Nunn’s interpretation in the RSC’s version starring Ian Mckellan – the one you watched online) and Lear’s last speech where he is desperate for a sign of life from Cordelia. How would these things have happened if written by Sophocles, on the evidence of your reading of Oedipus? Parallels/differences? Oedipus’ birth and intended death recalled by Shepherd; Chorus, then Jocasta, then Oedipus tell the story of Laius whch happened a while ago off stage; Jocasta’s suicide and Oedipus’ blinding off stage but his subsequent appearance in what must have been a blood-stained mask and appearance of his daughters with him in that represented horrific state.
o Shakespearean introduction of parallel sub-plot and main character we could describe as the “sub-protagonist” – Gloucester to whom we can perhaps relate more? Impact of having two deceived fathers not just one King experiencing a downfall from power? Who is really the protagonist in this sub-plot? If it is a matter of suffering to cause us catharsis then perhaps Edgar, although he succeeds in the end, so this is not a “true” tragic plot. Shakespeare is presenting us with multiple tragic characters? What does this say about his presentation of life?
o **Extra for B and above, extension of actual mask wearing to the theme of disguise or appearance and reality which so preoccupied Shakespeare in so many of his plays and especially King Lear – use of dramatic identity changes, costume disguise, even accent changes (Kent and Edgar) by which characters in Lear escape from the causes of their suffering or Shakespeare uses to make the audience feel their suffering e.g. Lear tearing his clothes off on the Heath and the audience pitying this defenceless old man? The hatefulness of Edgar having to disguise himself as a mad beggar to escape his brother’s murderous plot yet using disguise to have his revenge at the end in the duel with Edmond? To what extent are these disguises distancing us from suffering or in fact drawing us in as an audience, since our own ability to protect and represent our identities through clothing is something Jacobeans would have been strongly aware of and as regards fashion we are still as human beings fixated on!
7. Consider different production interpretations you’ve seen/read about – any relevant ideas?
o Research the picture of suffering presented in different performance versions of Lear – e.g. how suffering is presented in the Ian Mckellan version you watched. How would you describe it? Look up the performance section of your Pack and see what different pictures of suffering they represent. Borrow the Peter Brook black and white version and contrast the picture of Lear suffering there.
o Comment on National Theatre’s productions we saw: 2008 Oedipus starring Ralph Fiennes presenting Oedipus as almost physically suffering from the very start yet modern dress keeping middle class suit-wearing modern day audiences connected to the possibility they might suffer themselves. Conrast with 1996 National Theatre Oedipus Plays directed by Peter Hall which begins with a group of mothers holding dying babies surrounding the Priest begging Oedipus for help and followed by a chorus who continually writhe in pain and fear. Comment further on the Japanese Opera version with the chorus portrayed as plague-ridden zombies.
o Question the idea of “real” suffering and how it has been portrayed in productions of Lear over time. Note that for 150 years it was only performed with a changed ending intoroduced by Nahum Tate – Cordelia and Edgar getting married and ruling at the end! Not performed at all during the reign of Mad George in England. CHECK PACK.
Class hypotheses:
1. Certain aspects of the protagonists’ personality make it difficult to relate to them.
Ø Valid idea, allows for both personal and technical response (creative and critical).
Ø Worries examiner immediately if candidate thinks of characters as people instead of dramatic constructs, or characters built by the playwright - sense of theatre?
Ø Definition of key terms from question?
Ø Sense of how this has been dealt with by critics in the past?
Ø Sense of how to what extent these ideas could apply to Jacobean drama?
Ø Sense that this candidate will “DISCUSS” this question covering alternative ideas?
Ø Reference to both plays and who are the protagonists? Too many assumptions.
Ø Areas of the plays you will cover? Goes on to show in points that is status, birth and behaviour, so rewrite as:
Certain aspects of the protagonists’ personality characterisation make it difficult to relate to them, namely their high status, unrealistic background or birth and certain aspects of their behaviour.
2. Sophocles doesn’t do a good enough job of creating a connection between the audience and the characters on the stage.
Ø Valid idea if you are considering only Oedipus – of course we will aim to look at mainly Lear in reality – and you think of him as a modern dramatist.
Ø Some sense that the question is an idea which can be disputed, so some sense of “DISCUSS”.
Ø But… sense that this candidate will “DISCUSS” this question covering alternative ideas? He seems to have nailed his colours to only one here.
Ø Awareness of conventions of Ancient Greek drama which to a large extent are behind Sophocles’ dramatic choices? You can still argue this point if you show what he did do, yet nevertheless still you think there is too little connection. This means you must define the theories you are dealing with, so we need…
o Definition of key terms from question?
o Sense of how this has been dealt with by critics in the past?
o Sense of how to what extent these ideas could apply to Jacobean drama?
Both of these candidates were trying out making one clear big idea from the start and have certainly managed that.