How does Priestley create tension and suspense in the opening of the play?

Crystal Wong 11S

Numerous references to the historical and cultural background in aspects of Britain's history are predominant in the infamous play "An Inspector Calls", written by J.B. Priestley. Due to the heavy influence from his father, he grew up with socialist ideals, which became a key theme in many of his plays. He understood the power crisis between Capitalists and Socialists and correspondingly set the play two years before World War I of 1914, rendered by frictions between the social systems of the period. It was an era of extremities where an individual was either rich or poor. This morality tale exploits the faults of the age, as the purpose of the play is to teach the audience the mistakes of capitalism in order to avoid future reoccurrences. Dramatic techniques are used alongside the many time phases consisted within the play emphasize the moral objective that Priestley attempts to pursue. Embodied within the dramatic irony are historical events, divided and exploited as symbolic techniques that intend on conveying the ignorance on the characters' behalf. The audience beg to differ when Arthur Birling states, There isnt a chance at war. The statement portrays the Capitalists insensitivity towards the issues disregarding profits. Such comprehension of Priestley's intentions provoke the audience to ponder upon a different outcome had the Capitalists not been so ignorant. This creates dramatic tension as it undermines the credibility of Birlings statement; the audience, who would have been watch the play after both World Wars, would understand the dramatic irony of Birlings statement. Additionally, the statement Birling makes about the Titanic, "unsinkable, absolutely unsinkable", to aid his earlier statement, symbolizes the way that the capitalists perceive themselves. They prided themselves on being better than the socialists, whom he calls cranks, because they had wealth and status; thus, they believe their reputation and their power to be untouchable. He speaks of the impossibility, emphasized in the word absolutely of the reign of the capitalists to sink, unaware, that when the war finished, they would be begin to collapse in terms of power and the fall of their empire. Exhibiting dramatic irony as symbolism through historical events in the plot creates dramatic tension as it sets up the atmosphere of doom, whilst simultaneously ensuring the sense of humour remains to allow the viewer to feel that the characters' attitudes and ignorance are laughable. Priestley uses a very efficient method of Arthur Birling versus Britain's history several times within the play in order to reinforce the concept of ignorance. By creating personal connections with the audience, he is able to introduce the two inevitable things that they would be aware of in terms of British history: the war and the Titanic. Similarly, symbolism and motifs are used throughout the play to demonstrate the power withheld upper social classes. Primarily, we see that the central symbolism of the character of Eva Smith requesting a raise represents the reality of the workplace in 1912. Arthur Birling, who we see as the dominant representing character of capitalism, refuses to grant Evas raise, which on the larger scale, represents the fear that granting the socialists anything would unbalance the power scale that was, at the time, tipping the scale in favor of the capitalists. The use of symbolism through various methods aid to demonstrate the constant battle of the social

groups. Secondly, Priestley uses different characters to represent the different social classes, a comparison which allows him to build tension in the play. Eva Smith and Inspector Goole represent socialism whilst Arthur and Sybil Birling represent the capitalism. Moreover, the younger generation (Sheila, Gerald and Eric) can be viewed as the underdog, unaware of their own power and ability to change social circumstances. The juxtaposition of the opposing themes continue through the play, which allows Priestley to use the tension created to emphasize the idea of collective responsibility, a concept which he aims to teach the idea through the plays dialogue. He also intends to create the dramatic tension using the characters as a medium in a precise technique to convey the actuality of the social classes of 1912. The audience is allowed to empathize with the characters in the play, especially with the unseen character of Eva Smith, because of their comprehension of certain discrimination laws, which prohibited the act of discrimination in the present community. In all fairness, Priestley desired to create an unbiased play, whilst concurrently providing a voice to the Socialists of who were unable to speak up. In contrast to the literary techniques, the play uses sound effects and stage directions which work separately beneath the linguistic devices that aid in containing and emphasising the dramatic tension amongst the atmosphere altogether. Both inclusions of the techniques provide a deeper meaning which can be interpreted within its precise use which the author indirectly exploits the characters innermost thoughts and feelings. For example, Arthur Birling is abruptly cut off in mid-sentence when we hear the 'sharp ring of a front door bell.' The doorbell is specifically used in the purpose of representing the arrival of the inspector, who symbolises a moral conscience in this play. In an attempt to create the dramatic tension for the audience, Priestley adds the ring of the doorbell to act as an alarm clock to awaken the Birlings from the Capitalist haze, and also to face-to-face to reality. The audience is able to interpret that the reverie of their ignorance was the dream from which they awakened by the alarm clock. The light of reality then forces them to see their actions for what they really are and causes them to desire to return to their previous mindset of ignorance. The stage direction of when "Birling stops to listen when the doorbell rang" is a significant insinuation towards the deeper context Priestley intends to use it to portray. The doorbell prevents Birling from elaborating his thoughts of the responsibilities of Capitalists to make him aware and alert of reality. As previously explained, the arrival of the Inspector provided them with the opportunity to see the situations of the many Eva Smiths as a whole. Additionally, it is utilised in implying a later event of when the Inspector speaks of the many John and Eva Smiths; Birling understands his wrongs but is unable to swallow his pride to admit so. This specific stage direction interrupts the serenity of the Birlings dinner to make the audience aware of the upcoming turmoil in the Birling household. Emphatically, the use of this technique works especially effectively in causing the dramatic tension in the play to intensify. It is difficult in reality to ascertain the instant where change begins, therefore Priestley employs many stage directions to alert the audience when the atmosphere of the play begins to change. Again, he constantly advocates the idea of The Ripple Effect, that is, the idea that we are one community, and our actions affect others in ways we may not imagine.

Similarly, the entrances and exits of characters are also apt in aiding to foreshadow and encourage the dramatic tension already present. The arrival of the Inspector interrupts the Birlings celebration, which indicates the moment of contrast between the comfortable, capitalist lifestyle of the Birlings and the truth of the injustice and inequality in the working class. Priestley is manipulating the audience into feeling curious and eager to know why Inspector Goole has disrupted Arthur Birling, who was previously the Lord Mayor and therefore an important figure of societys, dinner. The viewers' own anxiety builds onto the dramatic tension because they are able to empathize and feel raw emotions. On the other hand, Eric's exit is intended to distinguish several hidden meanings within: foreshadowing his later involvement and direct links to the inspectors second round of questioning. His early disappearance allows the audience to place in the back their minds and focus on the play until Priestley forces them to acknowledge the way in which he has set up the plot, where in that every character has some involvement with Eva Smith. The re-entrance of Eric, looking extremely pale and distressed, immediately increases the tension and suspense as it slowly dawns upon the audience as he was the father to Eva Smiths child, due to the doubt Priestley plants within the audience in the ending of Act One. Moreover, the entrance of Inspector Goole and the exit of Eric Birling are effective in being directly connected to promote the dramatic tension; when one enters, the other leaves. Eric seems to be avoiding the Inspector, giving the audience hints from the beginning that he is to be suspected. This is how the dramatic tension is built. Priestley affixes the dramatic anxiety through the use of this method and tests the patience of the viewers by elongating the waiting time for Eric's reappearance. The playwright intends on making Eric's situation with the Inspector obvious but mysterious. The play progresses to exploit the horrible situations Eva Smith faced, but use Eric's action as last in a sense of 'saving the best for last.' He makes us wait for the moment of Erics re-entrance and during this period, the anxiety and fear builds to reach its peak. Thus, J.B. Priestley has deviously manipulated the audience into emphasizing with the characters; they are so caught up in the plot of the story that it is only when he walks back into the story and reveals he is the father that the audience is able to breathe a sigh of relief. Alternatively, it can be argued that the stage craft alone is the most significant method used by the director in portraying the dramatic tension J.B. Priestley created in the play. The curtains draw back to signify the commencement of the play, revealing the elevated house of the Birlings to the audience. The house at such a height represents the social class of the family. As the play progresses, the setting of the house opens up, revealing two different time periods; the inside of the house is where most of the action occurs between the Inspector and the Birling family in 1912. The outside is familiar scenery for the 1945 audience. This allows the theme of time to be conveyed through not only the ironic dialogue but also through the set itself. Towards the end of the play, the house shatters simultaneously to when the Birlings realise their family has been shattered by the truth. The stage craft is efficient in further demonstrating further the dramatic tension J.B. Priestley has created with the language and dramatic methods. However, instead the house shattering, a bolder stage craft would be that as the Birlings realise the way their family has been affected by the inspector and the story of Eva Smith, the house would crack in half and as one part falls and crashes against the stage floor, the other should be slowly lowered down to the level of the stage. This allows the

audience to understand the directors intention to portray what the Birlings have become; Arthur and Sybil Birling represent the part of the house that has crashed, unable to deal with the truth of their circumstances, but Eric and Sheila remain albeit lowered from their pedestals to understand the socialists. Overall, 'An Inspector Calls' departs with an immense impact upon the viewers, effective due to the wave of strong emotions provoked throughout the play. Priestley dynamically utilises the dramatic techniques to promote the feelings of curiosity, shock, disgust, anger and confusion from the audience. The playwright and director manipulate the viewers to feel what they want them to feel during the performance. The plot abruptly ends with a cliff hanger; the audience no longer knows how to react or feel as they were unaware of how the playwright and director were manipulating them. Priestley uses dramatic techniques efficiently in his writing to create the atmosphere for the audience to be able to grasp the central idea of the play and to understand the depth of the hidden messages. The moral implications conveyed by these techniques are to spread the awareness of the possible consequences that our actions may lead us to. The social implications portrayed by these methods are to treat all individuals equally regardless of the social class differences, race, gender or disability. The political implication is bold in promoting the idea of socialism in a society where not all share equal responsibilities. Thus the language used in the play is significant in helping the audience understand the setting of the play, which is important as such historical and cultural backgrounds, is what helps in grasping the plays morals. In addition, the language Priestley uses portrays the similarity of how Inspector Goole acts as a conscience to the characters, paralleling how the play acts as the audiences conscience, consequently persuading and provoking them to question their own actions. The language of the play should not be altered as if precisely fulfils the aim and intentions of both the play and the author; however, the stage craft can be modified by the director to make the scene more symbolic. Unlike other plays, An Inspector Calls is still studied to this day due to the exceptional plot, language, techniques and hidden messages conveyed by J.B. Priestley. As it is a morality play, it conveys strong, bold messages which are timeless and which people needed to be reminded of from time to time.