Form and Structure Essay

`A Taste of Honey’ is in two acts, both containing two scenes, and set in two flats. The play could be described as episodic, due to the fact that within the same situation by using a blackout, the play has moved on months from the previous scene (i.e. Jo’s pregnancy in Act II). Delaney has used a Brechtian device with using episodes to show different aspects of the characters lives, and how they fit together in the plot. The structure of the play is fairly basic as it follows the Brechtian influence of a Linear plot(beginning, middle, end) i.e. the play is easy to follow which symbolises the characters lives – monotonous and basically the same situations arising from one day to the next. However, a element of Stanislavski is used as the technique of naturalistic/realistic drama (soap opera effect) is apparent. `A Taste of Honey’ follows the life of a young girl call Jo over the period of approximately 12 – 18 months. It is realistic in the sense th at it portrays how working class people live and the struggles they have to endure, which would therefore allow the audience to relate to this and affect them emotionally. This relates to Stanislavski’s aim of wanting to depict the working class and show the rich and privileged how they live (realities of society). This idea is also indicated throughout the outcome of the play – the initial characters in the play Helen and Jo end up as they begun, rejected and the relationships they developed throughout the play have failed( Peter has gone off with another woman, Jimmie left Jo pregnant and does not come back to see her, and Geof leaves Jo). There is only Jo and Helen left, and Helen portrays selfishness and illustrates dislike towards her daughter, as shown on the final page( 86), which was the case in the opening of the play. This situation of the characters not progressing in their lives symbolises the genre of the play as they have no hope for the future because of the lives they lead. Due to their lack of education, morals and the general way they conduct their lives, (e.g. Jo dating a coloured man) they are outcasts of society. However, due to their working class status in the 1950s, they wouldn’t be given the chance. Therefore, I feel the that Brechtian idea of current political factors playing a part in this play when written, is illustrated by the characters lives due to their working class status, the feminist issue of two of the male characters(Jimmie and Peter) only after Helen and Jo for sex, and the racism and discrimination towards coloured people. Stanislavski uses methods of traditional, realistic drama such as method acting, where the actor becomes emotionally involved with their character to gain a deeper understanding. Delaney intended on using this idea, as in the early rehearsals for the play, improvisation lessons were used. Avis Bunnage, who played Helen in a `Taste of Honey’ described this experience as an actor: â€Å"When we came to bits that didn’t seem to work, we ad-libbed around the ideas, made it up as we went along. We used things that were around like an aspidistra that someone had left on the stage which became incorporated in the production. I said some of my lines to it. Jean gave us hell during the rehearsals. She had us running from the stage to the paint bay and back over and even again, to give us feeling of real tiredness† Example of method acting used in rehearsals for the play I would describe the genre of this play as â€Å"kitchen sink’ as it has certain characteristics such as being set in a working class environment (Salford, Manchester – in a flat). It deals with domestic issues such as conflicts between people who live in these poor conditions (e.g. Jo and Helen). The language even insinuates this genre of theatre, as it is simplistic and could be described as ordinary, everyday language, which is sometimes crude. An example of this is in Act II, scene I, where Helen and Peter have come to see Jo: Helen: â€Å"Take your bloody money and get out† Peter: â€Å"Thank you† Helen: â€Å"You dirty bastard† (Act II, scene 1, page 66 ) Another example of the language reflecting the genre of the play is Helen’s description of the flat: â€Å"There’s a lovely view of the gas works. We share a bathroom with the community† (Act 1, scene 1, page 7) Another element of this drama is the conflicts which arise due to the conditions in which the characters live (Jo and Helen). Helen kicks Geof out/makes him leave without Jo knowing about this, and she knows Jo wants him there. Another example is Helen arguing with Peter for touching her. Peter ( touching her) †Now you know I like this mother and son relationship† Helen: â€Å"Stop it† Peter: â€Å"Aren’t you wearing your girdle?† (Act 1, scene1, page 18) Helen argues with Peter about this because really she likes him touching her. This relates to Jo ‘s situation as she doesn’t want `boy’ (Jimmie) to touch her, due to the fact that she enjoys it too. This dismissal of affection is due to both the female characters not being really used to affection, as their relationship as mother and daughter certainly doesn’t entail this behavior. Therefore, the characters don’t know how to conduct themselves in a loving relationship, and are unaware of how to respond to affection, care and attention. The hostile relationship between Jo and Helen is established due to the many arguments they have, for example, when Jo tells Helen she’s getting married, Helen is angry. Jo: â€Å"My boyfriend, he asked me to marry him† Helen: â€Å"Well, you silly bitch. I could choke you† (Act 1, scene II) The domestic relationship is between Helen and Peter (mother and boyfriend). For example, when Peter finds out that Helen has a daughter he states: â€Å"That puts another 10 years on her† (Act 1, scene 1) This portrays Peter’s attitude towards Helen, as he talks about her here in a rather disparaging tone as he knows Helen always tries to act and look younger than she actually is. This idea of making fun of characters is displayed again in Act II, scene 1, when Peter finds out Jo is pregnant: Peter (singing): â€Å"Who’s got a bun in the oven? Who’s got a cake in the stove?† Within the play the Brechtian device of including music is used, as there is many musical interludes which represent the beginning or mark the ending of a scene. For example, in Act 1, scene II the boy (Jimmie) exits whilst singing to the audience. This music within the play seems to be a contrast to the harshness and reality of it – i.e. the characters are portraying happiness or humour when singing. However, even at times with the singing there is comic – sarcasm intended. For example; when Peter finds out Jo is pregnant, he sings: â€Å"Who’s got a bun in the oven? Who’s got a cake in the stove?† This idea of music being an important factor in the play is indicated in Act 1, scene 1, when Helen is reminiscing about her experience of working in a pub, and she starts to sing a song she use to apparently perform, at which she asks the orchestra to join in and play the piece. The fact that the script indicates that there is an orchestra in the play gives us the impression that Delaney intended to make music a definite aspect of the play. Singing is also a element frequently used in the play, as Helen performs a old song she used to sing in the pub, Peter portrays his sarcasm by singing many statements, i.e. ‘Walter, Walter, take me to the alter!’. We also see boy (Jimmie) in Act 1, scene 2 (page 26) singing to the audience as he exits. This Brechtian device portrays the characters mood and temperament at the time, which also adds to the overall atmosphere. Another example of this is when Jo is reminicing about Jimmie in Act two, scene one(page 53) which indicates to the audience that she still thinks about him and how she regards him as a liar. Another Stanislavski device used is sub-text. For example; is Act 1, scene 1, when Jo has gone to make coffee, Helen talks about her daughter to the audience: † I suppose I’d better clear some of this stuff away. She wouldn’t think. Well they don’t at their age, do they. Oh! it gets me right here when I try and do anything when I bend you know. Have you ever had it? This device allows us (the audience) to witness Helen’s personality and how self-obsessed she is, moaning about her cold and generally ordering Jo around. There is no real silences in the play, due to the fact that this portrays the monotony of their lives, always doing something, moving from one place to another, arguing, fighting, different relationships etc. The relationships throughout the play are fuelled by anger, where every couple seem to have disputes which lead to rash decision making, with no real thought of the consequences, i.e, boy asking Jo to marry him, Geof kissing Jo due to confusion etc. Therefore, the suspense is built up by the language, how the tempo of the dialogue speeds up as arguments take place, and the questions raised by the characters. For example, Jo inquires about her father and Helen divulges to her that he wasn’t exactly normal. This leads the audience into thinking what actually was wrong with him and how will it effect Jo in later life? This device links to Stanislavski’s idea of realism and how, for example, Helen is ashamed to admit firstly being adulterous and how this changed her life,(turned into a whore) and that she slept with the apparent village idiot, which in the 1950s would have been the gossip of everybody (fits in with the era). An element within the play which has had the influence of Brecht is the idea of Forum theatre. Brecht liked the audience to be involved in the play and in ‘A Taste of Honey’, Delaney has tried to incorporate an aspect of this by having the some of the characters speaking and interacting with the audience. For example, Helen addressed the audience frequently in Act one, scene One: †She can’t do anything for herself, that girl.† (page 10) Another example is Jo on page 7: †You packed ’em. She’d lose her head if it was loose.† This device allows the audience to actually get feel a of what the atmosphere is actually like for the characters, and therefore this incorporates Stanislavinski’s idea of wanting the audience to be able to react emotionally to the play.