Professional Documents
Culture Documents
Cultural contexts:
1970’s: popularity of psychiatry as new science and value system,
attempts to address social and psychological malaise; culture of
conformity deemed normality; repression of instinct and passion by
scientific rationalism, liberal humanism; etc.
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Ideas informing Shaffer’s play
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Shaffer’s hybrid dramatic method
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Crime fiction genre
Critics have noted Shaffer’s invoking of the crime fiction genre: instead
of a “who done it?” the play traces the reasons for Alan’s action [why
done it]; Dysart is a kind of psychic ‘detective’; audience knows the
crime but needs to work out motivations for it
Theatre of Cruelty
Theatre of Cruelty involves audience identification with and
participation in highly emotional, often painful experiences, often
confronting deepest passions and instincts
Ritual Theatre
Audience is involved in the dramatic ritual experienced by the
characters, encouraging audience self - confrontation and self -
revelation
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Brechtian alienation effect
Audience address by Dysart taking the audience into confidence and
explaining his and the play’s philosophy, shifts the play into a didactic
mode: Shaffer disrupts naturalism and realism
Characterisation;
inner state, psychological make up, motivation, representative status,
thematic site,
Structure;
linear, circular or episodic; climaxes, anti climaxes, denoument,
resolution, foreshadowing, dramatic irony, time management, time
frames, flashbacks,
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Non verbal aspects to theatre performance
lighting staging
lighting sound
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Themes: brief summary of some themes [below]
How are they explored through the characterisations and other methods?
Inner Journey and rites of passage: Alan and Dysart undergo a rites
of passage as they re initiated into sexuality, other modes of
worship respectively; such rites involve a journey of self -
knowledge and self - understanding
How are these themes explored? What does the play say about each? What does
the play endorse, value and what does it critique? Ambiguity?
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Characterisation
Explore
Psychological make up: motivations, moral nature, values, beliefs, dominant
feelings and moods, inner conflicts, etc
Roles in play’s thematic interests: see the list of themes
Class and class attributes represented through them
Values they represent through them
Parallels and contrasts between characters and its significance
Authorial positioning: what we admire, endorse, sympathise with, view
critically or ambiguously
Dramatic methods conveying the above such as colour, gestures, dialogue
monologue, quality of language, costumes, etc
Major characters
Alan Strang
Dysart
Hester
Dora Strang
Frank Strang
Minor characters
Jill - stable girl; represents easy sexuality
Dalton - stable keeper, conventional working class man
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Alan Strang – A teenage boy who maims the horses. He is the site or
exploration of key ideas about primitive passion, religious ritual,
individualistic self definition, transgressive departures from
conventional self expression. He also represents lost and repressed
aspects of the psyche, lost in modern atheism, repressive attitudes to
sexual passion. Alan’s character can also be viewed as triumph of the
apollonian over the Dionysian aspects of the self, reason over passion,
sanity over madness, conventional and normality over individuality, etc
A disturbed teenage boy, his maiming of horses brings him to legal and
psychiatric attention. Alan represents a human yearning for passionate
individualistic worship, repressed by a modern emphasis on rationalism
and conformity
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What view of society doe we have?
To what extent is society responsible for his need to worship?
How does society repress or not provide an opportunity for the boy’s need for
passionate worship?
In what sense is the need to worship an essential need, as the play sees it?
Explore the symbolism of horses as objects of worship
What are the key ingredients of his worship?
Connect the horse to Christ. Alan himself. Instinctual humanity. Sexuality. Suffering.
Authority. God.
Contrast his horse worship to his mother’s religious practices and religious
feelings?
How does his regard for the horses differ from his mother’s love of horses?
How does the boy regard sexual love? How does he feel when is making love to
Jill? Why can he not make love to her?
How does his father’s no – nonsense, non - religious scepticism contribute to the
boy’s violent outburst?
How far does Alan’s violence endorse and reflect Dysart’s view of Alan’s passion?
Who does Shaffer finally blame for Alan’s violence?
Themes: the play explores the its themes through the character [see above]
How are these themes explored?
What does the play say about each?
What does the play endorse, value and what does it critique?
Ambiguity?
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Dysart
A psychiatrist treating Alan. He represents yearning for passionate
worship, repressed by modern civilisation’s privileging reason and
normality. Dysart suffers a crisis of purpose and meaning as a result of
his encounter with his patient and Alan’s individualistic religious rituals
Contrast Dysart’s view with views of others such as Hester and Alan’s parents?
What inner conflict does he experience?
How does it contribute to his taking on Alan?
To what extent does Dysart see society as responsible for Alan’s violence?
How does he view such violence?
Themes: how does the play explore any of the themes through the
character?
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What does the play say about each?
What does the play endorse, value and what does it critique? Ambiguity?
Dora Strand
The mother of Alan, represents conventional Christianity and a juxtaposition to the
conventional rationalist atheist, father of Alan
Explore the elements in the encounter between Trojan, the rider, Alan and the
Strands.
What impact did it have on Dora’s life?
What is her marriage and home life like?
How does she see religion? Sex? Love?
How does she see Alan’s form or worship and his blinding of horses?
How does she see her husband’s views on religion? Sex? Love?
What inner conflict does she have in relation to Alan’s worship?
How does she contribute to Alan’s blinding of the horses?
How does she repress or not provide an opportunity for the boy’s need for
passionate worship?
Contrast Alan’s horse worship to his mother’s religious practices and religious
feelings.
How does Alan’s regard for the horses differ from his mother’s love of horses?
What values or aspects of society does the mother represent?
How do the values she represents contribute to boy’s violent outburst?
How does she explain Alan’s violent outburst?
Themes: How does the play explore any of the themes through the character?
How are these themes explored? What does the play say about each? What does
the play endorse, value and what does it critique? Ambiguity?
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Frank Strand
The conventional rationalist atheist and father of Alan
Explore the elements in the encounter between Trojan, the rider, Alan and the
Strands.
What impact did it have on his life?
What is his marriage and home life like?
How does he see religion? Sex? Love?
How does he see Alan’s form or worship?
How does he see his wife’s views on religion? Sex? Love?
What inner conflict does he have in relation to Alan’s worship?
How does he contribute to Alan’s blinding of the horses?
How does he repress or not provide an opportunity for the boy’s need for
passionate worship?
How does he see horses?
Contrast Alan’s horse worship to his father’s non - religious life
What values aspects of society does the father represent?
How do the values he represents contribute to boy’s violent outburst?
How does he explain Alan’s violent outburst?
Themes: how does the play explore any of the themes through the
character?
How are these themes explored?
What does the play say about each?
What does the play endorse, value and what does it critique?
Ambiguity?
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Hesther Soloman
Magistrate and Dysart’s friend, represents compassionate humanity, reason
tempered by sympathy
Themes: how does the play explore any of the themes through the
character?
How are these themes explored?
What does the play say about each?
What does the play endorse, value and what does it critique?
Ambiguity?
Minor characters:
What function do they play?
How does Shaffer explore central themes through them?
How does he critique Western and British values through them?
Explore parallels and contrasts with other characters.
How does Dalton contribute to class representatives?
What values are represented through them?
How do they contribute to gender constructions?
What mode of characterisation employed? Realism? Typology? Stereotype?
Jill - As above
Harry Dalton - As above
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Social and cultural analysis through characterisation
What aspects of British and generally Western culture and society does Shaffer
represent through them?
How does each character represent, in different ways, civilised Western society’s
repression of a passionate, inner life, the denial of the Dionysian self?
What values and institutions does Shaffer critique most harshly? Rationality?
Psychiatry? Family? Conventional religion? Materialistic Pragmatism?
Consumerism? Other?
Whom does Shaffer endorse and treat less harshly? Why?
What values does the play view ambiguously? How? Why?
Point of view
Whose point of view? With whom we identify? How does Shaffer make audience
participate in the emotional mood of the character and action? Why?
DRAMATIC DEVICES
Dramatic structure
different and fragmented time frames
fragmented sequence
flash backs
circular and linear
Two or three time frames – flash backs, cyclical, linear – purpose and
effect?
Linear disclosure of Alan’s condition leading up to the brutal maiming of
horses followed by a promise of partial normalisation and subsequent loss of
worship – central irony and lingering dilemma
Linear development of Dysart’s self understanding, through the agency of
Alan, disclosure of Dysart’s secret identification, longing, envy, dilemma and
decision
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Key scenes: consider the following key scenes
How do they expose key characterisations? How do they explore key themes and
values? How do they deploy a range of dramatic devices?
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Shaffer’s Vision of human life represented in the play
Note: Vision of life emerges form characterisations, action, language,
structure, themes and valuations.
Secondary sources
You will find some of the critical material reinforces some of the ways in which you
have been thinking about text, others will extend and challenge your interpretation
of the play. Be open to the ideas in the critical articles without accepting them
unconditionally. Quote if you wish. Acknowledge your source using the appropriate
conventions of notation. It is better, at this stage, to rely on your own language to
express your ideas.
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