Buried Child

I don’t feel that The Buried Child is in black and white or clear cut, as far as what is being conveyed. In this play, nothing is what it seems. For example, the play starts off with two spouses that appear to be relatively, sane. However, we, the readers, become aware that there is a secret. In this instance, The Buried Child starts off just as a well-made play is supposed to, but there are mass amounts of irony as the story goes on. For instance, Vince came across as sane as his grandparents, at first, but drank himself into a crazed state. He later appeared as a psychotic family member searching for power and a reason to be remembered. I say this because he was heavily disheartened when he realized his family did not recognize him. So, it is plausible that he, now, wants to gain recognition from them by stooping to their crazy level. Another instance that played a part in this compilation of irony was when it appeared that Vince may had been the “buried child” that was spoken about in spurts of the play. However, things take a drastic turn when Tilden comes into the house literally carrying the decayed body of an infant.

Some possible elements that counter the conventions of illusionistic realism could be the fact that Shepard’s created illusions were, more so, unrealistic. I say unrealistic because the madness that was created within the world of the play as not normal, even in the world of the play. For instance, within the family, everything that goes on seems relatively normal. Dodge, his wife, his children, and his grandchild make everything appear usual. However, Shepard has Pastor Dewis in that one scene to draw attention to the fact that the behavior in which the family exhibits, is not actually normal. He shows this by expressing his discomfort when things become tenser as the seconds go by.

Noises Off

A motif found in Noises off could be income tax. Throughout the play within the play, Phillip and his wife are terrified about Inland Revenue taking some of their money for not being in Spain, as they said they were. Any hint of tax or income tax gives Phillip a bad taste in his mouth, and cause him to run for cover. For instance, there’s this scene where Phillip, Vicki, and Roger are running frantically around the house, afraid that one of the others are either a criminal or a member of Inland Revenue. Phillip screams,” Tax inspector’s everywhere!” This shows the concept of income tax repeating. Another example of this is the fact that Vicki’s sole purpose in being there revolved around taking files on tax evasion. Thus, it constitutes as a motif. The unifying principle could be  HAVING A CHAIN REACTION. I say this because all of the characters’ actions were either the cause or effect for another person’s actions. For instance, Flavia sees Philip downstairs, with his trousers down, and drops the biscuit tin in shock ad pain. Meanwhile, “Vicki flees before him and takes refuge in the linen cupboard” (53).  This is how the chain reaction is created. One person sees another, and instantly reacts. One of the level one moments in the script could be the beginning. Specifically, the scene where Roger and Vicki were just talking and walking around the house. It was a slow scene where not much action occurs.

The Glass of Water

I feel the protagonists are multiple people. In The Glass of Water , Bolingbroke, Abigail, and Masham are protagonists. I almost considered Queen Anne to also be a protagonist, but I don’t feel the script was sculpted to create sympathy for her circumstances. The script, however, supports Bolingbroke, Abigail, and Masham’s story. They are tied together. Bolingbroke manipulates other characters in the play to achieve his super goal, therefore, making Abigail and Masham’s dreams come true. Overall, the play is about playing the game to get what one wants. All of the three that I have mentioned, conflicts and triumphs are equally receiving stage time. However, I feel Bolingbroke and Abigail may get a little more stage time because they interact with the Queen and the Duchess more, who are also central characters but do not request one to root for them, judging from the script. I think that Scribe wants the reader to root for Abigail and Masham’s love. I say this because throughout the play, Queen Anne and Duchess are manipulated to turn against one another so that Bolingbroke can get what he wants, and Abigail and Masham’s love can become legal and feasible. I , often, questioned Bolingbroke’s true motives. It seems as though he was on his own side the entire time, but didn’t mind helping his friends in the preocess, if he could. He creates plans and plays mind games effectively to get what he wants. The play would not have turned out with the conclusion that it did without Bolingbroke’s efforts. Therefore, Bolingbroke definitely deserves to be considered a protagonist, also.