T.C
SELÇUK ÜNIVERSITESI
SOSYAL BİLİMLER ENSTİTÜSÜ
İNGİLİZ DİLİ VE EDEBİYATI
TEACHING ONE ACT PLAYS WITH THEIR FILM
PRODUCTIONS TO UNIVERSITY STUDENTS
SAFA N SALMAN
YÜKSEK LİSANS TEZİ
DANIŞMAN
Yrd. Doç. Dr. AYŞE GÜLBÜN ONUR
Konya-2013
I
TABLE OF CONTENT
ÖZET ......................................................................................................................................... V
SUMMARY ............................................................................................................................. VI
PREFACE ...............................................................................................................................VII
Introduction ................................................................................................................................ 1
CHAPTER 1 ............................................................................................................................... 5
1.1.The one act plays .............................................................................................................. 5
CHAPTER II ............................................................................................................................ 13
TEACHING THE ONE ACT PLAYS ..................................................................................... 13
2.1 Teaching drama (one act plays) ...................................................................................... 14
2.1.1 Methods used in teaching: ....................................................................................... 17
2.1.2 What factors are considered in selecting a play? ..................................................... 18
2.1.3 Analyzing a one act play: ......................................................................................... 19
Read with a Pencil ............................................................................................................ 21
Visualize the Characters ................................................................................................... 21
Contemplate the Setting .................................................................................................... 22
Research the Historical Context........................................................................................ 22
Sit in the Director‟s Chair ................................................................................................. 22
2.2 ―Trifles‖ by Susan Glaspell ........................................................................................... 23
2.2.1 Type of Work and Year of Publication .................................................................... 24
2.2.2 The Title's Meanings ................................................................................................ 24
2.2.4 Character List ........................................................................................................... 26
2.2.5 Theme of the play .................................................................................................... 28
2.2.6 Symbolism ............................................................................................................... 31
2.3 How to teach Trifles.................................................................................................... 32
2.3.2 Glossary of Terms .................................................................................................... 34
2.3.3 Quotes ...................................................................................................................... 36
2.4 How to Stage Trifles ....................................................................................................... 41
Trifles) Instructions
42
2.3 Riders to the Sea by John Millington Synge .................................................................. 43
II
Riders to the Sea ................................................................................................................... 43
2.3.1 Plot summary ........................................................................................................... 43
2.3.2 Setting ...................................................................................................................... 44
2.3.3 Language of the play ................................................................................................ 45
2.3.4 Character list ............................................................................................................ 45
2.3.5 Theme of the play .................................................................................................... 46
2.3.6 Symbols.................................................................................................................... 46
2.3.7 Cinema and Opera.................................................................................................... 48
2.3.8Glossary of terms ...................................................................................................... 48
2.3.9 Quotations ................................................................................................................ 49
CHAPTER III ........................................................................................................................... 51
Teaching “Trifles” and “Riders to the Sea” to the third and fourth class students of English
literature department in Selcuk University............................................................................... 51
3.1.Working with the fourth class students on the play Trifles ............................................ 51
3.1.1.Setting ...................................................................................................................... 51
3.1.2.characters ................................................................................................................. 55
3.1.3.images and symbols ................................................................................................. 61
3.2.Watching the film and using the Venn diagram ............................................................. 68
3.3 Teaching Trifles and Riders to the Sea with the film productions ................................. 70
3.3.1 Trifles, its film version and the Venn diagram ........................................................ 70
3.3.2 Riders to the sea, its film version and the Venn diagram ........................................ 71
CHAPTER IV .......................................................................................................................... 73
CONCLUSION ........................................................................................................................ 73
REFERENCES ......................................................................................................................... 75
III
IV
V
VI
SUMMARY
VII
PREFACE
The present study aimed to teach one act plays with the film productions to university
students, and get the results of using this method in teaching this form of drama. A test was
conducted for students of the fourth and third years at Selcuk University in order to know the
effect of the methods used in teaching the plays.
I am extremely grateful to my supervisor Asst. prof. Dr. AYŞE GÜLBÜN ONUR for
her support to my study and for lots of her great inspiration, ideas and comments. I would like
to thank prof. Dr. Faisal al Muqdadi for his time and the information he provided me with
about the one act plays and theater.
Moreover, I would like to show my gratitude to my family especially my dear parents
for their love, encouragement and moral support.
Finally I would like to thank the third and fourth year students of Selcuk University
English department for their cooperation.
1
Introduction
The research is a brief study on the role of one act plays while learning how to approach
drama at a university level. The study will also include one act plays importance and
characteristics at the present time and at the beginning of its appearance. The first chapter of
the research is a general introduction on the one act plays. In this chapter the main
characteristics of drama is introduced briefly. Also some famous play writers are mentioned.
The techniques they used for writing one act plays, the aim and the purpose of writing such
plays are underlined in this part of the research. One act play is a kind of drama which
consists of only a single act with a few scenes with no more than three or four characters. One
act plays is a kind of drama which is used to pass or kill time generally and strike the reader
and to give a message in an impact form to influence its reader in an effective way because
these plays are short and interesting. The events and the actions are usually taken from real
life and from life‟s events. Writing a one act play is not easy. The writers are limited by time
and diction and they are responsible of making their audience like and understand their work.
Another important point I‟ve mentioned in the chapter is the differences between the one act
plays and the full length drama. In short, the one act plays are not complicated as the full
length drama. They differ in their climax and conclusion, in the one act plays the climax is
usually close to the conclusion, and it is performed without a break. Most of the time, they
even differ in actors, the one act plays are sometimes enacted by non professional actors.
In the second chapter of the research a short discussion is given on teaching drama and its
ways with the methods the teachers use in classes. It will also point out which factors are
considered in choosing a play to teach. There are some tips which help and show students
how to read a play, this really helps the student to understand the play in an easy way. Then I
chose the two plays (Trifles by Susan Glaspell, and Riders to the sea by J. M. Synge) to
analyze them in turns. After analyzing them in details I tried to show some different ways in
teaching these plays, how to read, understand and discuss the plays with the students. Plot
summary, characters list, type of work, setting, major themes, and glossary of terms are given
in teaching these plays. The last part of this chapter concentrates on the teaching of the two
plays, which includes some important quotes from the characters and also teaching
vocabulary. The reason why these two plays are chosen is because they are modern and
timeless plays. This chapter will help the students to read and understand the plays
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easilywhile at the same time it will also help the teacher in discussing the plays with the
students without facing difficulties. The film productions of the plays are used as well in
teaching the plays. It is a new concept to teach such kind of plays with their film productions.
That will be useful for the students to facilitate understanding the play and discussing it in the
class. I wanted to show the importance of the visual art here in teaching one act plays. And to
know how much it will serve for the creativity of the student ideas and imaginations before
and after watching the films. My aim in choosing this subject and this kind of drama is that,
the one act play as I mentioned earlier are short, different and enjoyable which attracts the
attention of readers for its being different from other literary works in its shape,
characteristics, components and its goals. And it is not a routinework for the students.
Especially watching the film production of the play will attract the attention of the students
and enable them to be more active and cooperative in a very short time.This will also give the
chance for discussion. Such an approach in teaching drama in classes will showthe
importance of the stage productions in our day as well.
I think this approach is productive in the class because it includes two art forms. After
reading and discussing the plays and watching the film version of the two plays with the third
class students from Selcuk University English department, I applied a different method for
getting the result of this project, which includes the Venn diagram. It is a diagram of two
circles to represent sets, with the position and overlapping of the circles it indicates the
relationships between the sets. For example, drawing one circle within another indicates that
the set represented by the first circle is a subset of the second set. What I have done is
drawing two circles within another and in each circle the film version and the text of the play
is discussed by the students. In the joint point of the two circles the similarities and the
differences of both the film and the text are given by the students again. Different points of
view are given by the students concerning the film and the text of the play. There are those
who preferred reading the play without watching the film version of it, and their reason is that
it makes the student imagine the events and the details better than seeing it visually. They
claimed that itbroadens their imaginative world. Thosestudents who preferred watching the
film version after reading the text explain the reason of their preferring the film. Visualizing
the events, setting, and the characters make the play easy to understand, that it gives them
more information about each detail in the play. After applying this method, as a result, the
percentages of a successful comprehension by the students were calculated. Those who
preferred the film and at the same time that preferred readig the text at first were
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evaluated.The examples are constituted by students‟ answers and diagrams which are shown
in the appendix chapter. Applying this method of teaching one act plays with their film
productions leads the students to be more imaginative and creative, using the Venn diagram
for proving the result contributesto the aim of the study. Teaching the one act play with its
film version adds a lot to the knowledge of the students and displays how effective this
method is.
There are some similar researches. Not exactly the same but their subjects deal with one
act plays. A book by B. Ronald LEWIS, professor and head of the department of English in
the University of Utah, has carried out a study with the title“Contemporary One Act Plays”
1922; it gives the outline study of one act plays and bibliography. The plays have been
selected and the introduction prepared to meet the need of the student or teacher who desires
to acquaint the students with the one act play as a specific dramatic form. The outline analysis
and the plays in this volume are sufficient material, if carefully studied, for an understanding
and appreciation of the one act plays. They are explained as a specific dramatic type. Then the
proper approach to the study is given. After a dramatic analysis and construction of plays are
given in details, inthe last part of the book it includes different examples from one act plays.
Another example for this work is a graduation project prepared by college students in
University of Salahaddin College of Education for human sciences English department, the
project title is “Testing one act plays‖ 2009. The first chapter of the research is about the
historical background of the one act plays and its emergence. Importance and techniques were
explained briefly. A play is chosen and taught in the second part of the project. Then a test of
two questions is designed and students are asked to answer the questions. The last part
consisting ofthe result and discussion and this ends with the conclusion of the test, and the
project.
The third example is an article about “A Creative Genre-Study on One Act Plays” 2004
by Danielle Angie. There are definitions of drama and one act plays, what distinguishes a full
length drama from a one act play, what components define a one act play is explained with
examples.
Another example is “Teaching Film Drama as Film Drama‖ 1956, by Gerald WEALES, the
quarterly of film radio and television. Published by University of California press article.The
study tries to point out that watching the film after reading the text is important. This is why
4
drama teachers insist that no play can be really understood until it is given flesh and form by
actors, sets on stage.
Another research on using films is; “Is film an affective teaching tool for high school
literature?‖ 2009, by Geoffrey Thomas Smith. A master research project presented to the
faculty of the college of education, Ohio University.This study presents the effectiveness of
film as a tool for teaching the students how to react and discuss on certain topics. A simple
test is given in order to test its theories and the result shows a positive relationship between
using the film in the classroom and the student achievement.
Although the steps which are followed are almostthe same in this work, but the aim in this
study is different, this will be clearly understood after considering the content of the research.
A new method is followed in teaching the plays by using film productions and a comparison
with the read text is completed with using diagrams in teaching and getting the results.
5
CHAPTER 1
1.1.The one act plays:
The one act plays take place in one act or scene; they are often presented in series. One act
plays are not like other plays which are published one play per book, one act plays are usually
published in collection. The one act play is a form of drama which proved itself obviously and
became appropriate to the modern behavior, and the way of looking at reality. One act play
was a kind of dramatic entertainment. The one act play successfully pared its own way among
full length playsinthe beginning of the modern age. The one act play successfully started to
improve among full length plays and developed gradually as a different and independent form
of drama.
Before 1890 one act plays were used especially in “vaudeville” programs or sometimes as a
short play performed before the main play at the evening shows. They were being used as
curtain raisers in London theatre for the purpose of killing time. However, with the little
theater movement, interest to the one act play increased and it was adopted by such play
writers as J.M. Barrie. A.W. Pinero, Chekhov and G.B. Shaw. The beginning of the one act
plays started with “Pashkin‟s” play “Motsart and Salary”; also “Gogole‟s ” “The Gamblers”
and “Chekhov” when he tried to talk about specific fields about human in his “vaudeville”
and “Makseem Gorky” in his play “Children”. We may be surprised to know that one-act
plays have been around since Ancient Greece. One of the oldest still surviving in its totality
is “Cyclops‖ by Euripedes who lived between 480 BC - 406 BC. The first presentation of the
play is not known exactly, but it is estimated that it was at the end of his life around 408 BC.
Programs which are composed for presenting a one act play were very few. Sir James
Mathew Barrie is usually credited with being the first in England to write one act plays
intended to be grouped in a single production. A program of this character has been
uncommon in the commercial theatre in America. (B. Roland Lewis, 1922, p:
3,Contemporary One act plays)
An “act” is a unit of time within a drama during which a part of the story exposes. The length
of time for an act ranges from 30 to 60 minutes it also can be shorter or longer. One act plays
can range from one minute to one hour long. A one act play is usually between 10-40 pages
6
long. There is a limitation of characters numbers in a one act play. There may be one or more
main characters, and that depends on the story. In some short plays the roles of the characters
are balanced equally in others some roles may only have just a few lines. The space of the
playwright is limited at the arrangement of the events and if he introduces too many
characters, it would result in overcrowding and reducing the effect of the drama. Of course,
there is no hard and fixed rule to the number of the characters in a play. But generally there
are not more than two or three principal characters. The dramatist has no time to present the
characters through the different stages. Not all the different aspects of a character are
presented. The attention is focused on only one or two notable aspects of character and they
are brought out by putting the characters in different situations, roles and circumstances.
When the writing competitions became popular , 10 minutes one act plays have become very
popular of late (also called flash drama) in which the writer is given a limited time period
incorporated specified elements, such as 2-3 characters, a certain prop, a line of dialogue, or
some form of set. The shortest play which lasts just 35 seconds is written by Samuel Beckett
called “Breath‖. (An article on one act play scripts, 2008,http://www.1actplays.com/articles/)
The one act play is not an easy work, the play writer is limited by time and diction and he
tries to make his work easily understood by the audience. His dialogue must obvious, and the
language must be short and clear and explain what needs to be said without using unnecessary
words.Dialogue is very important in the One Act Play. As the drama is short, the unimportant
things should be avoided. Every word must be chosen carefully and sentences must be brief
and compact. Whatever is to be said, it should be said in the least possible words. Long
speeches and arguments and long sentences should not be used because that would lessen the
charm and interest of the play. The writer should not use unnecessary details, mysterious
events, long and difficult words and speech, one mustavoid using complicated plots because
all of these do not exist in this kind of drama.
One act plays can contain more than one scene while they have only one act. A scene is like a
division of an act, in which a certain part of the play unfolds. Scenes are usually separated by
time (in the morning, then the following evening…), or location (in the bedroom, at the dinner
table…). The numbers of the scenes are depending on how the writer has structured the play.
7
The differences between the full length drama and the one act play are that the full length
drama is usually consisting of 2 and 5 acts, and that depends on how the writer has structured
the play. Before the 18th century plays were mostly written in 5 acts. Each act reveals a
portion of the story. In plays act 1 is introductory, introducing the characters, location and
settingof the story. Act 2 shows the conflict or obstacles that the characters face. Act 3 is the
climax of the story and finally its resolution.
What makes good one act plays deceptively to write is that all “introduction, obstacle and
resolution” is achieved in a very short time frame, and must be managed in a believable way.
The differences between a one act and the full length drama are not only the differences
ofsize and length. The one act play is intended to be called as such; it cannot be called a full
length play and cannot be extended to multi act play. The one act play deals with more
probable situations and trusted people and its themes and ideas are taken from the real life.
The subjects of one act plays are about the daily life and events, contemporary modern life
and culture, the subjects of one act plays are common. One act plays represent or show the
characters as if they are in their natural behaviormost of the time with no exaggerated or super
human act about them. The climax and conclusion in the play should not be complicated. The
conclusion follows the climax usually closer than the full length plays. The one act plays
focus on the explanation of the ideas not like the full length play which does not give much
important. One act plays are usually performed in a short time without break, while the full
length plays are performed in a longer time with one or more breaks.
The players in the one act plays are generally amateur and non professionals in
universities and schools or experimental theatre. The audiences mostly are friends, colleagues
and acquaintances of the players. The amateurs have done a great deal to popularise this kind
of drama. It is short, does not require detailedsetting and costumes, which makes it easy to be
staged in amateur dramatic societies and clubs. The detailed stage directionsare fixedly
introduced by the dramatist in the One Act Play. The writer cannot supply us with detailed
information through a lengthy exposition or during the actions of the play itself and that is
because the space at the actions of the playwright is limited. This purpose is served by the
stage directions. Moreover these stage directions, describing the minute details of the scene,
give an air of realism to the drama.
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Besides, the play is not intended only for acting but for reading as well. The reader of
some plays can know of the entire scene through the stage direction and can appreciate the
real spirit of the drama. These stage directions make the play perfectly clear to the reader.
The one-act play is with us because there are many events taken from our real life, and is
asking for consideration.In both Europe and America it is one of the conspicuous factors in
present day dramatic activity. Theatre managers, stage designers, actors, playwrights, and
professors in universities recognize its presence as a vital force. Professional theatre folk and
amateurs especially are devoting zestful energy both to the writing and to the producing of
this shorter forms of drama. (B. Roland Lewis, 1923, p: 7, contemporary one act plays, a
study in dramatic construction)
The one-act play is claiming recognition as a specific drama type. It may be said that, as
an art form it has achieved that distinction. The short story, as everyone knows, was once an
embryo and an experiment; but few nowadays would care to hold that it has not developed
into a specific and worthy literary form. This shorter form of prose fiction was once
apologetic. And that not 80 many years ago; but it has come into its own and now is
recognized as a distinct type of prose narrative. The one-act play like the short story also has
come into its own. No longer is it wholly an experiment. Indeed, it is succeeding in high
places. The one-act play is taking its place among the significant types of dramatic and
literary expression. Artistically and technically considered, the one act play is quite as much a
distinctive dramatic problem as the longer play. In writing either, the playwright aims so to
handle his material that he will get his central intent to his audience and will provoke their
interest and emotional response thereto. The one act play must be presented at a “single
setting": it must start quickly at the beginning with certain definite dramatic elements and pass
rapidly and effectively to a crucial movement without halt or digression. Naturally, the
material of the one-act play is a bit episodical. It deals with but a single situation. No whole
life's story can be treated adequately in the short play, and that no complexity of plot can be
employed. Various problems connected with the life of the individual could be discussed.
Thus various sorts of things love, marriage, divorce, justice, crime, punishment, law,
superstitions, customs and manners are all suitable themes for a One Act Play. According to
its theme the One Act Play can be divided into different types as realistic plays, problem
plays, phantasies, costume plays, satire, romance, etc. In short, the playwright has a large and
varied choice of subjects which can be discussed equally well in the One-Act Play. The One
9
Act Play, like the longer drama, should have a beginning, middle and an end. It may be
divided into four stages: The Exposition. The Conflict, the Climax and the Denouement. All
these stages may be distinctly marked as in the larger play, but more often than not they tend
to over-lap in a One Act Play.(B. Roland Lewis, 1918,p: 9, The technique of one act play; a
study in dramatic construction.)
The Exposition gives as an introduction to the play. The important characters are
introduced and also the situation and the themes of the play are explained to the audience. The
part of the story that has already happened is also told to the audience, which it is necessary to
know for an understanding of the play. But as the One Act Play is very short, the dramatist
cannot give much time to this introduction and explanation. So the exposition of a One Act
Play is usually brief.
The exposition is followed by the conflict. The action of the drama develops through the
conflict. The conflict means a struggle between two opposing forces. It may take different
forms. There may be a struggle between two opposite interests, ideas, persons, group of
persons, or the hero and his fate or circumstances. There may also be an inner conflict in the
mind of the hero between two opposite ideas or urges, who may not be able to decide what to
do and so may suffer great distress of spirit as a consequence. The conflict is the back-bone of
the One Act Play. Complications arise and the readers are in constant anxiety about the result
of the conflict.After the conflict reaches the climax. It is the turning point of the play. One of
the two forces now gains domination over the others. It is now clear which of the two would
win in the end. The climax is an important part of the One Act Play and creates its moment of
maximum interest.The final stage of the One Act Play is the Denouement. The play now
reaches its end. One of the two forces now definitely gets victory over the other and the action
of the drama concludes. As the space at the actions in a play is limited, the denouement is
very brief and often overlaps with climax. The plays come to an end just after the climax.
There are three dramatic unities which are observed in the One Act Play as far as
possible.The unity of time, unity of placeand unity ofaction. If these three unities are observed
in a drama so it becomes probable and natural.
Unlike the longer play, the shorter form of drama does not show the whole man except by
passing hint but a significant moment or experience, a significant character trait. However,
10
vividly this chosen moment may be interpreted and the one act play must be vivid much will
still be left to the imagination. It is the aim of the one-act form to trace the causal relations of
but one circumstance so that the circumstance may be intensified. The writer of the one-act
play deliberately isolates so that he may throw the strong flashlight more searchingly on some
one significant event, on some fundamental element of character, on some moving emotion.
He presents in a vigorous, compressed, and suggestive way a simplification and idealization
of a particular part or aspect of life. Often he opens but a momentary little vista of life, but it
is so clear-cut and so significant that a whole life is often revealed thereby. The one act play is
a vital literary product. To segregate a bit of significant experience and to present a finished
picture of its aspects and effects; to dissect a motive so searchingly and skillfully that its very
roots are laid bare; to detach a single figure from a dramatic sequence and portray the essence
of its character; to bring a series of actions into the clear light of day in a sudden and brief
human crisis; to tell a significant story briefly and with suggestion; to portray the humor of a
person or an incident, or in a trice to reveal the touch of tragedy resting like the finger of fate
on an experience or on a character these are some of the possibilities of the one-act play when
handled by a master dramatists.(B. Roland Lewis, 1918, p: 23, 24, 25, The technique of one
act play; a study in dramatic construction)
Like all drama, one act plays are made up of the same elements that are necessary for short
stories: Theme, Plot, Character, and dialogue.
Theme:
The one act needs to have a theme just as a full length does. Whatever your choice, it needs
to be clear in your mind what your theme is. Characters, plots, and subplots need to point to
and support the theme in a full length play. The one act is not different, except the subplots
will likely be missing. What has the author prepared that the reader or hearer shall understand,
think, or feel? What is the play about? What is its object and purpose? Is it a precept or an
observation found in life, or is it a bit of fancy? Is it artificially didactic and moralizing? What
are the fundamental elements in human nature does it have to do with: Love? Sacrifice?
Faithfulness?Patriotism?Fear?Egotism and self-centeredness?
Plot:
This is much different in the one act than in the full length. In the full length play, the plot is
made of series and sequence of events that lead the protagonist (and the audience) on the
11
journey. In a one act play there is only one significant event. This is the determining place for
the hero, where all is won or lost. Events that lead up to this must be inserted into the script
and the audience will not be able to see them. And any events that follow must be inferred or
understood by the audience.
Character:
There is really only enough time in this to get to know one character well the hero. In a short
time the one act play takes place, it is the hero's event that the audience is experiencing; again,
there isn't time for more than explaining other characters. Some characteristics of the
supporting characters will need to be portrayed for the story to move forward, including the
antagonist, but it is the character of the protagonist that is necessary in the story.
Dialogue:
Economy is important here. Each line must be used carefully to focus on the theme, the
incident, and the character of the protagonist. The dialogue need not be short or brief, but
must be full of meaning. Any lines that do not focus on the events of the play should be
carefully considered whether they are needed or not.
The one act plays had been pushed forcefully by the dramatic life of the stage show and
what‟s more is that the dramatic action can‟t live the progress without it.
Whereas this type comic, tragic proved its priority and its clear activity to different stage parts
in fine arts institute and colleges and schools considering it as one of the modern dramas. It
was said; (they are tiny fantastic pictures never decreasing in front of the huge emotions and
struggles through wide boundaries and it is picking up the complex psychological problems
and it is talking about the biggest different human destinies, historical and modern, revolution
and human, uprising and individuality). The one act plays show the way to the authors to
focus on events which satisfy the readers and authors in their works, they deal with human
problems. What attracts writer‟s attention to this kind of art is the freedom a “democracy” in
the one act plays. The hard or difficult situations of the problems make the readers and
audience in the end to utter their own ideas and opinions about the plays.(Personal
communication with Dr. Prof Faisal ALMUQDADI, 2009, Arbil, Iraq.)
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The one act play is in reality a new phenomenon, is spite of the use that has been made of the
form by playwrights like Pinero, Hauptmann, Chekhov, Shaw and others of the first rank, that
it is still generally ignored in books on dramatic workmanship. None the less, the status of the
one act play is established and a study of the plays of this length, which are rapidly increasing
in number, discloses certain tendencies and laws which are exemplified in the form itself.
Clayton Hamilton in “(1881–1946) an “American Drama Critic” sums up the matter well
when he says: “the one act play is admirable in itself, as a medium of art. It shows the same
relation to the full length play as the short story shows to the novel. It makes a virtue of
economy of means. It aims to produce a single dramatic effect with the greatest economy of
means that is consistent with the utmost emphasis… the author must suggest the entire history
of a soul by seizing it at some crisis of its career and forcing the spectator to look upon it from
an unexpected and suggestive point of view. A one act play in exhibiting the present should
imply the past and intimate the future… the form is complete, concise and self sustaining; it
requires an extraordinary force of imagination.” (Helen Lewis Cohen, PhD, 2010, one act
plays by modern authors, the workmanship of the one act play)
The most important devise that the classicals left for our writers is that the author of the one
act plays should be a psychological learner and studier and comical portrayer and tragic writer
more than the authors of the drama of several acts especially if the one act play is of the
monodrama kind, which has only one character that talks about hidden things and secrets in
one situation with life and psychological struggles with exact, accurate and sincere
expression. There is no strangeness when authors show their abilities in their works and
dedicate their aims in this kind of plays to attempt educational expression for their audience
because this can be a motivation for them to push the life forward with the privacy of one act
plays in their mental and psychological features which is based on:
1. Choosing the theme and idea with one organic vitality.
2.
Unity of time, place and character.
3. Serious, clear and brief conflict between the incompatible aims and content.
4. To let events rise towards the climax to end the struggle at the changing point.
5. The conflict should produce an exciting event.
6. A brief, meaningful and understandable language.
7. A useful, successful and convincing treatment of the directors in choosing the act and the fan
to watch the professional art.
13
8. A reasonable adjustment with the material and artistic capabilities of the performance group.
(Personal communication with Dr. Prof Faisal ALMUQDADI, 2009, Arbil, Iraq)
There are only a very few generalizations that can be made to the structure or the
classification of the one act play. The laws of the structure of the one act play are in the nature
of dramatic art no less flexible. It can be said that in order to secure that singleness of
impression that is as essential to the one act play as to short story, a single well sustained
theme is necessary, a theme announced in some fashion early in the play. A one act play has
many structural features. Its plot must from beginning to end be dominated by a single theme;
its crises may be the crises of character as well as conflicts of will or physical conflicts; it
must by a method of foreshadowing sustain the interest of the audience unflaggingly, but
ultimately relieve their tension. It must achieve swift characterization by means of pantomime
and dialogue; and its dialogue must achieve its effects by the same methods as the dialogue of
longer plays. But when all is said and done, the success of a one act play is judged not by its
conformity to any set of hard and fast rules, but by its power you interest, enlighten, and hold
an audience. (Helen Lewis Cohen, PhD, 2010, p: 13, one act plays by modern authors, the
workmanship of the one act play)
CHAPTER II
TEACHING THE ONE ACT PLAYS
14
2.1 Teaching drama (one act plays):
Teaching drama is a paradigm for active learning and reflective teaching of literature,
because teaching itself is a dramatic art and takes place in a dramatic setting. For a teacher of
dramatic literature the theatrical metaphor is reflected in the structure of learning experience
and we waste much of our abilities if we do not take advantage of these parallels. But many
teachers ignore them. Some teachers say that when they teach high school students, before
they give any assignments they ask students to do a bibliography about the play. They must
find ten critical essays about the play, read them and summarize them, just to be sure that they
have indeed read the essays. That is to teach them the play and show them ways and means of
critical speech of that play. So their intention is to make the students to find a single key to the
play. Many teachers of drama prefer to focus on the reading of plays which gives value to
every detail of the text, because reading offers more imaginative freedom. Other focus on the
dramatic performance studies came to dominate the field of methods and activities of
teaching. They define the performance teaching as: theatrical production, reading scenes in
classroom workshop, using films and videos, attending live productions, studying the stage
history of the plays and also involving the teachers and students together in dramatic
explanation of character structure and action. Acting approach in teaching plays gets students
involved, gets them speaking, talking, so it is an effective way to bring drama to life in the
classroom. Performance teaching provides a model of active engagement for the student of
literature that we can use as a base for thinking about teaching other genre and topics. (Ali
R.&Salman S., 2009, a graduation project ontesting one act plays)
There is a general agreement that drama education is centrally concerned with encouraging
students to reach new understanding by shaping and developing ideas in the process of
making and performing drama, and gaining insights into diverse dramatic, theatrical and
performative practice, histories and traditions. In the drama practice, the role of the teacher is
not one of didactic instruction, but of guided intervention. Guidance is almost invariably
embedded in the practical activity of the classroom where teachers monitor and evaluate
student progress, and introduce appropriate resources, information and materials to
consolidate and challenge their learning as the work develops. In drama, as a physical and
ephemeral art form, one of the ways to introduce new ideas and ways of working is through
modeling practice and providing clearly identified frames for their work. Both processes of
“modeling and framing” are forms of „scaffolding‟; they enable students to recognize and
15
understand the structures and conventions of the dramatic form within which they are
working. By responding to and, interacting with, the work of others, the students learn how to
use a particular aspect of drama for themselves. (Nicholson Helen, 2000, teaching drama 1118)
Jennifer Simons in chapter 1 (Teaching Drama 11-18 edited by Helen Nicholson), gives a
careful analysis of the place of modeling in role play, and particular ways in which the device
of teacher in role can encourage younger students to engage in dramatic story telling. Also in
chapter 3 of the book, Denise Margetts, which her class of 14 year olds, frames their dramatic
writing by asking them to enact physically, deconstruct and interpret a playscript, while
Sharon Grady in chapter 11 offers her group of 17 year old students a structure to help them
„read‟ and interpret the language of kathakali dance in drama with which they were
unfamiliar. In all cases, the students‟ learning is purposefully mediated by structured teaching,
and is also embedded in the practice of drama as physical, active and reflective process.
Finding a balance between structure and flexibility in drama education ought not to be a
matter of squeezing pedagogic aims into a rigidly audited curriculum. On the contrary, drama
practitioners have adopted processes of learning which are appropriate to the form itself.
Neither the creative practice of making and performing drama, nor the educational practice of
„scaffolding‟ is a linear process; concepts, ideas and feelings are revised, contested,
reinterpreted and renegotiated. As such, learning to make, perform and respond to drama is a
cyclical process, where a well structured curriculum will allow for reflection and
experimentation. Part of the magic of teaching drama lies not only in introducing students to a
diversity of dramatic languages, but also in giving them space and time to find the gaps and
silences where meaning is made. (Nicholson Helen, 2000, teaching drama 11-18)
Some ideas to use when you starttheprocess of teaching are toinform the class about your
background. Tell them how you began acting because you lost your parents at a young age
and grew up in the foster care system. Tell them that acting was the means by which you
escaped from the reality of your life. It was your way of hiding from the pain. You might even
make a few of your students cry. Give your students the opportunity to tell the class why they
got into acting. At the end of the class, let your students in on a secret. Tell them the story you
told was a lie. You were acting. Live demonstration is one of the best drama teaching methods
available.
16
Ask your students to create a character. Have them right a one or two page profile on their
character that includes a back story, personality quirks, and physical characteristics. Have
your students swap their character profiles with other students, give them one night to learn
the character, and have the students portray their characters in class for one day.
Teach method acting. This is a style of acting in which your students use external situations to
create the emotion needed to convey similar emotion in the characters they portray. This
should come early in your drama classes. Reinforce the discussion with examples. Have
students act out scenes in which they need to apply the method acting approach.
Consider taking students on an outing to see a live stage play. Follow the play up with a
discussion of the acting seen during the play. Have students choose one of the characters in
the play and write a critique of the actor's work. Ask them to give their opinions on the
effectiveness of the actor's performance and to be specific about any flaws.
Engage your drama students. Instruct them to write, direct, and act in a short play as a final
project. The students should work together and each have a role in the play. (Hose Carl, 1999,
how to teach drama to adults)
To read a one act play merely to get its story is not in itself an exercise of any extraordinary
value. This sort of approach to any form of literature does not require much appreciation of
literary art nor much intelligence. Almost any normal minded person can read a play for its
story with a little expenditure of mental effort. Proper appreciation of a one act play requires
more than a casual reading whose chief aim is no more than getting the plot. (by various
authors, the proper approach to the study of the one act plays)
If the shorter form of drama is to be appreciated properly as a real literary form, it must be
approached from the point of view of its artistry and technique. This means that the student
should understand its organic construction and technique, just as he should understand the
organic construction and technique of a short story, a ballad, or a perfect sonnet, if he is to
appreciate them properly. (By various authors, the proper approach to the study of the one act
plays, http://blevins-michael.angelfire.com/OneActPlays/study.html)
The student should know what the dramatist intends to get across the footlights to his
audience, and should be able to detect how he accomplishes the desired result.
17
It must not be thought that the author urges a study of construction at the expense of the
human values in a play. On the contrary, such a study is but the means whereby the human
values are made the more manifest. Surely no one would argue that the less one knows about
the technique of music the better able is one to appreciate music. Indeed, it is not too much to
say that, within reasonable limits, no one can really appreciate a one-act play if one does not
know at least the fundamentals of its dramatic organization. (By various authors, the proper
approach
to
the
study
of
the
one
act
plays,
http://blevins-
michael.angelfire.com/OneActPlays/study.html)
In fact, students of the one-act play recognize in its constructive regularity not a hindrance to
its beauty but a genuine power. This but lends to it the charm of perfection. The sonnet and
the cameo are admirable, if for no other reason than their superior workmanship. The one-act
play does not lose by any reason of its technical requirements; indeed, this is one of its
greatest assets. And the student who will take the pains to familiarize himself with the organic
construction of a typical one-act play will have gone a long way in arriving at a proper
appreciation of this shorter form of drama. (By various authors, the proper approach to the
study of the one act plays, http://blevins-michael.angelfire.com/OneActPlays/study.html)
2.1.1 Methods used in teaching:
Teaching drama in schools is a tricky thing to do. Although it is important for the
students to get a feel for all types of drama and have their horizons broadened, it is also true
that if students are not having at least a little bit of fun, they are unlikely to listen to anything
that is being said or taught. A teacher who can find this balance is a teacher who is able to
effectively teach the importance of drama in the courses. (Buleen Chad, how to teach drama
in schools)
Few students will learn to appreciate drama by simply reading words on a page. Drama texts
which are just performed cannot be considered complete. Therefore, we have to make the
students visualize while reading the text. In addition, turning the class into a drama workshop
"gets students involved, gets them speaking, talking and on their feet" states Elaine Showalter,
author of "Teaching Literature." Scheduling active learning activities aids in keeping students
interested in the course. Teaching drama can be used in interactive group activities. Playing
18
can be good for adults, and it helps to free the mind and the body to react naturally.
Impromptu games are and can help actors to create realistic characters.The teachers must stay
abreast of the latest trends in theater and movies, and this will give them new and different
ways to prepare their students for theater and for life. Discuss interesting topics. You don't
necessarily have to delve into the human psyche in the course in detail, but discuss different
options for a person‟s actions as a class can help shed light on the scene created and
monologues this can lead to find out what you individual students enjoy outside of class and
pick scenes and study works that will cater to those interests. Especially in a school setting
where drama may be a requirement for a certain degree, try to draw your students in the act.
Teach from experience and from texts. Require your students to read and watch and discuss
in a group different plays from different writers. A well rounded drama student will be more
successful in dealing with different scripts. (By an eHow contributor, how to teach drama,
http://www.ehow.com/how_2083328_teach-drama.html)
Teach drama with passion, and it will carry over into the lives of your students.
Begin each class with a warm-up session: this should relate to the topic that will be discussed
in the class. For example, if you will read from "Romeo and Juliet," it may be better to talk
about teenage dating in current times and compare it to the dating in Shakespeare's time.
Set rules and define them well: There are cases when some students have difficulty taking
subjects seriously. For example, if the story deals with mature themes, students sometimes
have a tendency to laugh. Discuss with your class how they should react be when mature
topics are mentioned. Try to control the class. If the teacher shows respect for the play,
students also willdo that and show respect as well.
Be well prepared in the class. Although drama is about creativity and expressing oneself,
there are certain topics that must be taught so that the items that need to be taught are covered
during the lesson in that day.
2.1.2 What factors are considered in selecting a play?
19
Teacher leads a discussion on “What factors should be considered when selecting a
play”. The teacher will list the factors on the board and students will copy down their final list
after discussion and debate. As this list develops, the interest to a certain time sense should
arise naturally in the discussion. When it does, the teacher should use that to naturally go into
what items should be included in preparing a play and share information about the time it
includes. At this point, allow students to view play production catalogues so that they can
have a brief idea on the budget. Continue discussion to enliven the play in their imagination.
The teacher then presents three one-act plays for the class to choose one to discuss in detail.
The students can be divided into three groups and given a character to read as the play is read
aloud in the three groups. Teacher will rotate between the three groups to answer questions
and to monitor participation. After each group is finished, they are to discuss the play and
prepare a summary to the class, including their opinion of the play, and answers to the list
they created earlier. At the end of all of the presentations, students should vote on the play
they wish to study in detail. (Dunn Coy, 2003, contextual teaching unit Drama)
2.1.3 Analyzing a one act play:
Here are some tips which help a student or a teacher to analyze a play. This is a useful
way before teaching a play. The teacher will be prepared for teaching the play in class.
1. Plot and Character
A. First Impression, the strongest impressions upon reading the play the first time. Include
impressions of character, theme, language, visual aspect, etc.
B. Given Circumstances, the components of the "playwright's setting" which are revealed in
the play as follows:
1. Environmental factors: what effect the factors have upon the action of the play.
a. Geographical location: the place in which the play occurs, including climate and weather
factors.
b. Date, year, season, time of day.
20
c. Economic environment, factors of wealth or poverty that impact upon the play.
d. Social environment, social institutions that impact upon the play.
e. Religious environment
In each of the above cases, explain what effect the factors have upon the action of the play.
2. Previous action
a. Discuss the background events which have led to the play's present action
C. Protagonist, antagonist, central conflict, dramatic action.
1. Identify the protagonist, key antagonist(s)
2. Identify the central conflict of the play.
3. Identify the dramatic action.
In some cases you may be able to combine all above elements into a single statement.
4. Character Attributes and Opposing Attitudes, the characteristics of personality, and the
attitudes and/or points of view held by the play's principal characters which affect
relationships with other characters and profoundly affect courses of action.
D. Point of Attack, exact point at which the play's equilibrium is broken and dramatic action
begins.
E. Moment of Climax, the point at which the outcome of the play hangs in the balance, its
action incomplete and its conclusion imminent, but still in question.
F. Resolution, what happens as the play's dramatic action is concluded and resolved. What has
changed? How has the world of the play (and of its characters) been affected? Include a
statement describing what you wish for the audience to take from your production in the way
of a message or theme.
II. Thought
A. Ideas: the most important ideas at work in the play, other than the theme.
B. Theme: the underlying theme of the play, what is the central lesson that the playwright and
you, as director, want the audience to learn from it?
III. Language (poetry, dialects, specific vocal quality) is a major factor? (Hint: Language is
always important, except in the case of a silent pantomime.)
IV. Music/Sound
Specify the factors of music and/or sound and how they contribute to the action.
V. Visual Elements
A. Production Concept
21
Describe the visual elements in terms of emotional impact, mood and/or visual impressions.
Elucidate your vision in a way which will inspire designers of scenery, lights and costumes.
(Analysis
model
for
directing
one
act
play,
http://www.ecu.edu/cs-
cfac/theatredance/facultystaff/upload/thea)
2.1.3 How to read a play
What are the ways to go about reading a play? At first, the student might feel as if he
is reading something credible. Most plays contain dialogues along with cold, calculating stage
directions. Yet, a play can be a moving literary experience. Dramatic literature presents
several challenges to students and makes the reading experience different than poetry or
fiction. Here are some tips for students to make the most out of reading a play. (Bradford
Wade, reading a play, about.com plays/drama)
Read with a Pencil
Mortimer Adler wrote a terrific essay titled “How to Mark a Book?” To truly embrace the
text, Adler believes the reader should jot down notes, reactions and questions directly onto the
page or on the text. Students who record their reactions as they read are more likely to
remember the characters and various subplots. Best of all, they are more likely to actively
participate in class discussion and ultimately recieve a better grade.
Visualize the Characters
Unlike fiction, a play does not usually offer a lot of vivid detail. Typically, a playwright
will briefly describe a character as he or she enters the stage. After that point, the characters
might never be described again. Therefore, it is up to the reader to create a lasting mental
image. What does this person look like? How do they sound? How do they deliver each line?
Many students prefer movies more than literature. In this case, it might be fun to mentally cast
contemporary actors into the roles. What current movie star would be best to play Macbeth?
For an entertaining class activity, instructors should have the students work in groups to write
a movie trailer for the play.
22
Contemplate the Setting
High school and college teachers select plays that have stood the test of time. Because
many classic dramas are set in a wide range of different eras, it will behoove students to have
a clear understanding of the story‟s time and place.
For one, readers should try to imagine the sets and costumes as they read. They should
consider whether or not the historical context is important to the story.
Sometimes the setting of a play seems like a flexible backdrop. For example, A Midsummer
Night's Dream takes place in the mythological age of Athens, Greece. Yet most productions
ignore this, choosing to set the play in a different era, usually Elizabethan England. In other
cases, the setting of the play is vitally important.
Research the Historical Context
If the time and place is an essential component, students should learn more about the
historic details. Some plays can only be understood when the context is evaluated. Without
knowledge of the historical context, much of the story‟s significance could be lost. With a
little bit of research into the past, students can generate a new level of appreciation for the
play they are studying. (And the internet makes this easier than ever before)
Sit in the Director’s Chair
Here comes the truly fun part. To visualize the play, the student should think like a
director.
Some playwrights provide a great deal of specific movement. However, most writers leave
that business to the cast and crew.
It begs the question: What are those characters doing? Students should imagine the different
possibilities. Does the protagonist rant and rave? Or does she remain eerily calm, delivering
the lines with an icy gaze? The reader makes those interpretive choices.
23
So, get comfortable in that director‟s chair. Remember, to appreciate the dramatic literature, a
student must imagine the cast, the set, and the movements. That is what makes reading
dramatic literature a challenging yet invigorating experience.
24
2.2 “Trifles” by Susan Glaspell
2.2.1 Type of Work and Year of Publication:
Trifles is a one-act play centering on two women who discover murder clues that county
officials regard as trivial. But the play is not a murder mystery. Rather, it is a cultural and
psychological study that probes the status of women in society and their intuitive grasp of
reality. Glaspell wrote the play in 1916 for the Provincetown Players, a Massachusetts acting
group that she and her husband, George Cram Cook, founded in Massachusetts in 1915. (j.
comings Michael, 2008, trifles study guide)
2.2.2 The Title's Meanings:
The title refers to more than the items in the Wright home that Peters, Henderson, and Hale
regard as irrelevant and Mrs. Peters and Mrs. Hale regard as significant. It also refers to the
men's view of the women as trifles and their observations as unimportant. It is likely also that
the murder victim regarded the bird as an annoying trifle. To Mrs. Wright, it was apparently
one of her few sources of joy. (j. comings Michael, 2008, trifles study guide)
2.2.3 Plot summary:
The opening scene of the play, “Trifles” by Susan Glaspell is very carefully described and
takes place in the untidy and empty farmhouse of John Wright, The setting for Susan Glaspell
Trifles, a bleak, untidy kitchen in an abandoned rural farmhouse, quickly establishes the
claustrophobic mood of the play. While a cold winter wind blows outside, the characters file
in one at a time to investigate a violent murder: the farm‟s owner, John Wright, was
apparently strangled to death while he slept, and his wife, Minnie, has been taken into custody
as a suspect in the crime. (Triflessummary, may 24, 2013, www.enotes.com) The main
characters in the play by Susan Glaspell, the Sheriff, his wife, the County Attorney and a man
named Hale and his wife all enter and gather near the fire that has been laid to keep the house
warm overnight. The sheriff, Henry Peters, is the first to enter the farmhouse, followed by
George Henderson, the attorney prosecuting the case. Lewis Hale, a neighbor, is next to enter.
The men cluster around a stove to get warm while they prepare for their investigation. Mrs.
Peters and Mrs. Hale follow the men into the kitchen; yet, they hesitate just inside the door.
25
They are obviously quite disturbed by what has happened in the house and proceed with more
care than their husbands.( Triflessummary, may 24, 2013,www.enotes.com)
As they settle in, the Sheriff questions Mr. Hale about what happened the day before the
action of the play. Mr. Hale begins by telling the Sheriff that he planned on stopping by the
Wright farmhouse to see if John was interested in going in on a party telephone, but he knew
that if he asked him in front of his wife his chances were better. When he got there he
knocked at the door and thought he heard someone say “come in” and entered and saw Mrs.
Wright sitting in her rocker near the door look kind of “queer” and done up and as if “She
didn‟t know what to do next” while she was pleating her apron and rocking back and forth.
She wasn‟t polite or impolite and seemed indifferent about her guest. Mr. Hale asks to see
John Wright, her husband and she laughs and says he is dead, pointing upstairs. When he asks
her what he died of, she says, “A rope around his neck” and continued with her strange distant
behavior. Harry and Mr. Hale go upstairs and confirm that Mr. Wright was, indeed, dead.
They came back downstairs and asked Mrs. Wright how the rope got around his neck and she
claims she does not know, despite the fact that it happened while she was sleeping in bed next
to him. She simply said she was a sound sleeper and moves to another chair and laughed
when Mr. Hale brought up the idea of a telephone again, stopping short suddenly like she was
afraid, or so Mr. Hale thought. At this point in Mr. Hale‟s story, he makes reference to the
other men who came after they were notified of Mr. Wright‟s death. The county attorney goes
over to a shelf in a kitchen and announces there is a mess where her fruit had frozen, breaking
the jars and says in one of the important quotes “well, can you beat the women! Held for
murder and worryin‟ about her preserves” to which Hale replies, “women are used to
worrying over trifles” at which point the two women in the room move closer to one another
as the county attorney goes around the kitchen, making comments that belittle the women in
terms of how they are only concerned with tiny things that relate to their kitchen. The women
do stand for her, not necessarily because they were good friends of Mrs. Wright but because
they understand the nature of farm life. The county attorney continues about Mrs. Wright‟s
apparent lack of housekeeping skills. As this summary suggests about the play “Trifles” by
Susan Glaspell, it becomes clear at this point that the women notice things that the men don‟t,
for all their criticisms. They see that Mrs. Wright had bread set, for instance, an important
detail that marks what she was doing before the event. They remember when she Minnie
Foster and see how sad her life was, presumably because her husband was an unpleasant man.
The women wonder if she did it, but Mrs. Hale says no because she was worried about
26
“trifles” such as her preserves and apron and they don‟t seem to think that the ordinary things
she was doing beforehand show any signs of anger or sudden extreme emotion. The two
women are also bothered by the fact that it seems the men are “sneaking” around her house
while she‟s locked up in town and do not know the way they criticize her housekeeping skills,
especially since she didn‟t have time to clean up. (Smith Nicole, November 26, 2011, Plot
summary of Trifles by Susan Glaspell, http://www.articlemyriad.com/plot-summary-triflessusan-glaspell/)
The sheriff Henry Peters and the county attorney George Henderson arrive with the
witness Lewis Hale, Mrs. Peters, and Mrs. Hale at John Wright‟s farmhouse, where the police
are investigating Wright's murder. Lewis Hale recounts how he discovered Mrs. Wright acting
bizarrely, as she told him that her husband was murdered while she was sleeping. Although a
gun had been in the house, Wright was gruesomely strangled with a rope. The men
continually disparage the women for worrying about trifles instead of about the case, but
Henderson allows the women to collect some items for Mrs. Wright, who is in custody, as
long as he agrees that the objects are irrelevant to the case. While the men are investigating
upstairs, Mrs. Hale reminisces about how happy Mrs. Wright had been before her marriage,
and she regrets that she had not come to visit Mrs. Wright despite suspecting the unhappiness
she had suffered as John Wright's wife. After looking around the room, the women discover a
quilt and decide to bring it with them, although the men tease them for pondering about the
quilt as they briefly enter the room before going to inspect the barn. Meanwhile, the women
discover an empty birdcage and eventually find the dead bird in a box in Mrs. Wright's
sewing basket while they are searching for materials for the quilt. The bird has been strangled
in the same manner as John Wright. Although Mrs. Peters is hesitant to flout the men, who are
only following the law, she and Mrs. Hale decide to hide the evidence, and the men are unable
to find any clinching evidence that will prevent her from being acquitted by a future jury
which will, the play implies, most likely prove sympathetic to women. (Trifles summary by
Suzan Glaspell, June, 2013, http://www.gradesaver.com/trifles/study-guide/short-summary/)
2.2.4 Character List
27
George Henderson
The county attorney, he has been called to investigate the murder of John Wright and will
probably serve as the attorney for the prosecution in the event of a trial. He is young and
professional in manner, but he often dismisses the female interest in minor details of
domesticity, and he disparages Mrs. Wright for what he perceives as her lack of homemaking
abilities. (Wang Bella, 2009, Grade saver classic notes Trifles study guide)
Henry Peters
The middle-aged local sheriff and husband of Mrs. Peters, he is at John Wright's house to
examine the scene of the crime. Like Henderson, he gently teases the women about their
interest in Mrs. Wright's quilt. (Wang Bella, 2009, Grade saver classic notes Trifles study
guide)
Lewis Hale
A neighboring farmer, he had entered the Wright farmhouse to ask John about acquiring a
telephone, only to find a strangled man and a wife acting very bizarrely. He says, "Women are
used to worrying about trifles." (Wang Bella, 2009, Grade saver classic notes Trifles study
guide)
Mrs. Peters
A relative newcomer to the town who never knew Mrs. Wright before John Wright married
her, Mrs. Peters is "a slight, wiry woman" with a "thin, nervous face." She is married to the
sheriff and prefers to follow the law, often apologizing for the behavior of the men because
they are only doing their duty. Mrs. Peters understands loneliness and the world of the female
domestic. . (Wang Bella, 2009, Grade saver classic notes Trifles study guide)
Mrs. Hale
The wife of the farmer Lewis Hale, she is of a heavier build than Mrs. Peters and resents the
condescension shown to her by the men in general and Henderson in particular because of her
gender and domestic occupation. She remembers Mrs. Wright as the young Minnie Foster,
and she feels sorry for Mrs. Wright. Mrs. Hale regrets not having come to visit Mrs. Wright to
alleviate her cheerless life. (Wang Bella, 2009, Grade saver classic notes Trifles study guide)
28
John Wright
A local farmer, he was commonly considered a good, dutiful man, but he was also a hard man
and neglected his wife's happiness. He paid little attention to his wife's opinions and
prevented her from singing. The play centers on the motive for his murder. (Wang Bella,
2009, Grade saver classic notes Trifles study guide)
Mrs. Wright
Born Minnie Foster, she used to be a happy, lively girl who sang in the local choir, but after
she married John Wright, her life became unhappy and forlorn. Although she does not appear
in the play, she is the main suspect in her husband's murder and sends Mrs. Peters and Mrs.
Hale to collect a few minor items for her from the farmhouse. (Wang Bella, 2009, Grade saver
classic notes Trifles study guide)
2.2.5
Theme of the play
Female identity
When speaking to the female characters in Trifles, Henderson and the other men make
a key mistake in their assumption that the women derive their identity solely from their
relationship to men, the dominant gender. For example, Henderson tells Mrs. Peters that
because she is married to the sheriff, she is married to the law and therefore is a reliable
follower of the law. Mrs. Peters' response is "Not--just that way," suggesting that over the
course of the play, she has rediscovered a different aspect of her identity that ties more closely
to her experience as a woman than to her marriage to Henry Peters. As Mrs. Hale concludes,
women "all go through the same things--it's all just a different kind of the same thing." For
Mrs. Hale, Minnie Wright's murder of her husband is the ultimate rejection of her husband's
imposed identity in favor of the memory of the person Minnie Foster used to be.
29
Law, duty, and justice
Because Trifles is a murder mystery in which the sleuths decide to hide the evidence of the
crime and thus end by aiding the murderer, the play leaves open the question of the meaning
of duty and justice. For men such as George Henderson and Henry Peters, the concept of law
and order is intricately linked with duty and justice, and at first, Mrs. Peters ascribes to the
same interpretation. Consequently, whenever Mrs. Hale criticizes the men for their heavyhanded methods of investigation, Mrs. Peters, who is also the sheriff's wife, apologizes for the
men because she sees them as performing their duty. However, Mrs. Hale convinces her that
true justice would involve punishing everyone who had neglected and isolated Minnie
Wright, and that Mrs. Wright was perhaps justified in her retaliation against her husband.
Appropriately, the name of the short story adapted from Trifles is "A Jury of Her Peers,"
indicating that Mrs. Hale and Mrs. Peters have served as an impromptu jury and have chosen
to dismiss the charges in the name of justice and their duty as women.
Patriarchal dominance
In Trifles, the men believe that they grant female identity by virtue of the women's relation
to men rather than through their inherent qualities as females. Except for the absent Minnie
Wright, the women have no first name and take their husband's last names, despite being the
protagonists of the story instead of the named male characters. This institutionalized male
superiority is so pervasive that the men feel comfortable in disparaging Mrs. Peters and Mrs.
Hale's interest in "trifles," with the clear implication that the women are too flighty and smallminded to worry about important issues such as the investigation at hand. In addition, when
the men observe the troublesome state of the kitchen, they immediately conclude that the
woman must be at fault in her homemaking abilities because they all know John Wright as a
good, dutiful man and in consequence form a unified front protecting John Wright's
reputation. Because of this male solidarity, Mrs. Peters and Mrs. Hale can only aid Mrs.
Wright if they ally with their own gender.
30
Revenge
After Mrs. Peters and Mrs. Hale discover the dead canary in Mrs. Wright's sewing basket,
they realize that her murder of her husband did not result solely from her unhappiness in her
marriage but from an enforced return to solitude by the killing of her pet bird. Mrs. Wright
killed her spouse because she could think of no more fitting revenge than to inflict damage in
kind to the perpetrator. This realization catalyzes Mrs. Peters' sense of empathy, as she recalls
having had similar feelings many years ago when a boy killed her kitten. For these women,
the pain that results from the death of a loved one is so great that it deserves any punishment
necessary. Nevertheless, the play leaves open the question of whether Mrs. Wright will still be
convicted without the evidence, and similarly we must decide for ourselves if revenge is a
sufficient motive for murder.
Domesticity
When Henderson observes the Wright kitchen, he concludes that Mrs. Wright must not
have "the homemaking instinct," which Mrs. Hale interprets as an attack on Mrs. Wright's
worth. Her countering of his statement with the suggestion that Mr. Wright did not have the
homemaking instinct establishes two alternate interpretations of the meaning of domesticity.
According to one definition, domesticity is the ability to keep a home in the purely physical
sense, with a clean kitchen and well-sewn quilts. In her final moments prior to the murder of
her husband, Minnie Wright rebels against these standards of domestic prowess because in
her eyes, her husband has failed to meet the second definition of domesticity, which depends
upon one's ability to make a home warm and comforting emotionally. Henderson fails to
comprehend that the latter form of domesticity is as important as the first type, as shown by
his disregard for signs of a troubled marital life in the Wright household.
Loneliness
While the need for revenge is the immediate impetus for Minnie Wright's strangling of her
husband John, her isolation is the ultimate causes of her unhappiness in their marriage. As
Mrs. Peters and Mrs. Hale note, John Wright was a hard man and did not provide the
companionship needed, while Mrs. Hale blames herself for never having visited to offer Mrs.
Wright a respite from her loneliness. Both women suspect that the canary had been a
31
substitute for Mrs. Wright's lack of children and other friends, and Mrs. Peters' account of her
solitude while homesteading in Dakota suggests that loneliness is an important element of the
female and human condition. Mrs. Hale realizes that woman have all experienced loneliness
in part because they do not realize their commonality and thus have not learned to unify and
support each other. In the end, loneliness connects the women and brings them closer to each
other.
Empathy and protection
At the beginning of Trifles, Mrs. Wright is an unknown quantity whose behavior in Lewis
Hale's account is puzzling and bizarre. By the conclusion of the play, however, the substance
of her personality and life has been revealed through Mrs. Hale's memories and through a few
small details contained on the first floor of her house, and her character becomes the subject
of sympathy and finally of empathy. Because Mrs. Peters and Mrs. Hale come to realize the
similarities between the murderer and themselves, they decide that Minnie Wright is worthy
of their protection, which has several meanings for the women. Most obviously, they unify
with her against the law, as represented by the men of the play, but they also protect her by
not telling her the truth about her ruined preserves. In addition, Mrs. Hale regrets not having
protected Minnie from isolation and solitude, and she resolves to atone for her inability to
protect Minnie earlier by helping her now.
(Wang
Bella,
2009,
Trifles
themes
by
Susan
Glaspell,
http://www.gradesaver.com/trifles/study-guide/major-themes/)
2.2.6 Symbolism
Symbolism is the art of using an object or a word to represent an abstract idea. An object,
action, place, word, or person all can have symbolic meanings. When the author wants to talk
about a certain mood or emotion, he can use symbolism to hint at it. Symbolism can give
more richness and color to a literary work and it can make the meaning of the work deeper.
In Susan Glaspell's, "Trifles," symbolism is used to emphasize the meaning of the
play. Glaspell writes of a woman who murdered her husband because he was to blame for her
cold and lonely life. The women character's in the play, Mrs. Hale and Mrs. Peters, solve the
murder, while the men, the county attorney and sheriff, wonder about trying to figure it out.
32
Glaspell used symbolism as clues to the murderer's motive that only the women were able to
figure out, and in turn kept the motive of the murderer a secret due to the bond of
women.(Howard Ashley, Professor Norman David, December 10, 2013, symbolism of Trifles
essay)
2.3 How to teach Trifles:
Susan Glaspell‟s one-act play, Trifles, is based on actual events that occurred in Iowa
at the turn of the century. From 1899-1901 Glaspell worked as a reporter for the Des Moines
News, where she covered the murder trial of a farmer‟s wife, Margaret Hossack, in Indianola,
Iowa. Hossack was accused of killing her husband, John, by striking him twice in the head
with an ax while he slept. Over the course of sixteen months, Glaspell wrote twenty six
articles covering the case, from the announcement of the murder until Hossack‟s conviction.
The author found herself feeling more and more sympathy for the accused, in spite of the
grisly nature of the crime. Years later, Glaspell and her husband, George Cook, along with
some friends, founded the Provincetown Players, an amateur theatrical company on Cape
Cod, Massachusetts. In 1916 the group presented a summertime series of plays that included
Eugene O‟Neill‟sBound East for Cardiff. In need of a new play to end the season, Cook
suggested Glaspell should write a one-act for the company. Her memory of the Hossack trial
inspired Trifles. Trifles is a murder mystery that explores gender relationships, power between
the sexes, and the nature of truth. In the play, the farmer and his wife never actually appear;
instead, the story focuses on the prosecutor, George Henderson, who has been called in to
investigate the murder; Henry Peters, the local sheriff; Lewis Hale, a neighboring farmer who
discovered Wright‟s body; and Mrs. Peters and Mrs. Hale, wives to the two local men.
(Kollits
Janice,
January
7,
2012,
Susan
Glaspell‟s
one
act
play
trifles,
http://www.jankollitz.com#sthash.J68IHPtr.dpuf)
While the men bluster and tramp around the farmhouse searching for clues, the women
discover some evidences in the „„Trifles‟‟ of a farmer‟s wife her baking, cleaning and sewing.
Because the men virtually ignore the women‟s world, they remain blind to the truth. (Kollits
Janice,
January
7,
2012,
Susan
Glaspell‟s
one
act
play
trifles,
http://www.jankollitz.com#sthash.J68IHPtr.dpuf)
What we need for teaching the play is background information and a series of articles that
Susan Glaspell wrote about the murder of John Hossack and the judgment of his
33
wifeMargaret Hossack. Students will have some ideas about the play which will help them to
understand the play while reading and studying it.
Also we will need a list of resources for teaching the play, including vocabulary and reading
segments.
Vocabularies to teach:
There are certain nouns in the play which we cannot ignore. If the student doesn‟t understand
the text because of his/her lack of vocabulary and difficult words that occur in the text, it
would be impossible to approach the text in the right manner. As always, the standard of
English if students play an important role in choosing the vocabulary that must be taught. The
list will include the basics. Teaching the vocabulary also allows the students to use the same
vocabularies in different situations which will enable them to be more creative.
1.
Pneumonia “noun” A disease of the lungs characterized especially by inflammation
and consolidation of lung tissue followed by resolution and by fever, chills, cough, and
difficulty in breathing and that is caused especially by infection.
2.
Rocker “ noun” One of the two curved pieces of wood under a rocking chair that
allow it to move backwards and forwards “a rocking chair”
3.
Apron “noun” (clothing) a piece of clothing that you wear over the front of other
clothes to keep the clothes clean while you are doing something dirty, such as cooking or
cleaning in the house
4.
Twitch “verb” (MOVE SLIGHTLY) (to cause) to make a sudden small movement
with a part of the body, usually without intending to.
5.
Unbend “verb” to relax and become less formal and serious in your manner
6.
Pour “verb” (CAUSE TO FLOW) to make a substance flow from a container,
especially into another container, by raising just one side of the container that the substance is
in
7.
basin “noun” (CONTAINER) an open round container shaped like a bowl with
sloping sides, used for holding food or liquid
8.
snoop “verb”to look around a place secretly, in order to discover things or find out
information about someone or something
9.
shove “verb” to push someone or something forcefully
34
10.
shabby “adjective” (BAD CONDITION) looking old and in bad condition because of
being used for a long time or not being cared for
11.
crafty “adjective” clever, especially in a dishonest or secret way
12.
sneaking “adjective” If you have a sneaking feeling about someone or something, you
have that feeling, although you are not certain it is correct
13.
quilt “noun” a decorative cover for a bed
14.
knot “noun” (FASTENING) a join made by tying together the ends of a piece or
pieces of string, rope, cloth, etc
15.
fidgety “adjective” to make continuous small movements which annoy other people
16. string “noun” (ROPE) (a piece of) strong thin rope which is made by twisting very thin
threads together and which is used for fastening and tying things
17. Wring “verb” to twist a cloth or piece of clothing with your hands to remove water from it.
Wring something‘s neck to kill a bird or other animal by twisting and breaking its neck
2.3.2 Glossary of Terms
Abashed: Synonym for embarrassed
Conciliation: Willingness to appease or soothe
Coroner:An official in charge of examining non-natural deaths
Covert: Hidden from obvious view
Disturb: To move or dislocate
Fluttery: Restless, irregular and flighty
Hollow: Geographically, a minor valley
Homestead: To settle land and establish a claim of property, particularly in the case of the
pioneers of the American West
Knotting: A method of making a quilt, by tying fabric squares together along the edges
Petticoat: A skirt worn as undergarment for women
Preserves: Food that has been prepared through canning so that it will remain edible after
storage
Queer: bizarre or out of the ordinary
Quilting: One method of making a quilt, by stitching layers of cloth together
Reproach: To criticize for wrongdoing
Sheriff: The local head of law enforcement
Superstitious: Believing in the irrational and the supernatural
35
Tippet: An article of clothing for the shoulders that drapes down the front of the body
Trifle: Something of little importance
Wiry: Lean but strong, like a wire
Wring: To twist with force
Understanding dramahelp students understand visual elements of a play, analyze its structure,
define appropriate terms and identify the theme. What we need here is the analysis of the play
and identifying its theme. Also talking about every detail concerning the symbols and images
used in the play, of course we do not forget the characters too to talk about each one in detail
to know each one‟s role in the play. Also we do not forget focusing on the characters of MR.
and Mrs. Wright who never appears in the play.
To understand the play more we also must talk about the setting in Trifles, which can be
after reading the play and then ask the students about the time and place setting of trifles. Or it
can be before reading it and this will make them understand the play much easier. The details
of the setting of Susan Glaspell‟s one act play Trifles provide clues for solving the murder.
Glaspell uses simple but effective elements in the setting to create suspense as an attempt is
made to solve the mysterious murder that has occurred on the John and Minnie Wright farm.
Glaspell conveys the setting in three realms: time (era), regional (geographical), and domain
(kitchen). Collectively the three setting elements portray the values, ideals, and attitudes of
the characters giving deeper meaning to the play‟s outcome. The time period in which a piece
of literature is cast greatly affects the meaning of the writing. Values, ideals, and attitudes of
people change with time and circumstances. Trifles was published in 1916 and is set during
the latter half of the 19th century (Waterman). During this time, women in the United States
had not been granted the right to vote and also could not have a seat in juries. Males
dominated all aspects of life at this time, except caring for home and children. Women were
“decorative, useful in the home, but that‟s all”. It is also during this time period that the
woman‟s domain is limited to the home and primarily the kitchen. It is here where she spends
most of her time cooking, boiling water to do laundry, heating her iron to do ironing, sitting to
do her sewing, and talking with family members as they come and go. In Trifles it is in the
kitchen where the evidence of the motive for the murder is found. It is the only place the men
never investigate and it is the women who find the evidence (the broken birdcage and dead
canary). Thus, the setting element of time period “sets the stage” for the action of all
characters. Glaspell works the actions of the play in strong contrast to the gender value and
attitudes of the day. Another aspect of time in Trifles is the time of year. The play takes
36
place during winter. The sheriff comments that “it dropped below zero last night”. It was
freezing cold! The cold penetrated into the unheated house to the point that Mrs. Wright‟s
“fruit; it did freeze” and burst from their containers. The author very skillfully uses this
setting element to characterize attitudes of the people involved. Similarly, Mr. Wright is
described as “cold” and “a raw wind that gets to the bone”. The broken bottles of preserves
characterize Mrs. Wright‟s previous state of mind. The “cold” of her husband‟s presence
infiltrated the house. The loneliness that this caused created extreme pressure on Minnie
Wright.
The mental anguish results in her mentally “cracking up”, symbolized by the
cracked jars. The fruit preserves themselves symbolize Minnie. Just as they escape from the
broken jars, when placed under pressure from the cold, ultimately Minnie Wright broke out of
her “shell” of isolation upon the death of the one who caused it – John Wright. One lone
bottleremained unbroken – symbolizing Minnie Wright herself and the one more chance
Minnie had at life (after the death of John Wright). The seasonal setting of winter strongly
influences the meaning of character attitudes and events in the play. As the play progresses,
Glaspell reveals more specific elements of setting that convey more specific attitudes of the
characters. Collectively, all of these provide deeper meaning to the piece of literature. The
time period affects the values of the characters; the seasonal and lonely farm setting gives
“atmosphere” to the setting and stages the characters‟ attitudes; and the stage setting of the
kitchen sets the stage for the unraveling of the mystery of the murder. All of these elements
of setting directly contribute to the meaning and outcome of the play. (Search Rebecca, April
9, 2013, Analysis of the setting in Trifles)
2.3.3 Quotes
A quote is a passage from a book, play, poem, etc., spoken and remembered to support a point
or an argument and provide information about the work. Although quotations are used for a
variety of reasons in this study it will be used to enliven the memory of the students about the
text.
Teaching some important quotes and analyzing them in the classroom with students will
create different ideas about the characters in Trifles and also about the play and the events,
each will have a different opinion and idea, discussing these ideas. Here are some of the
quotes from the characters:
37
1. I guess you know about how much he talked himself, but I thought maybe if I went to
the house and talked about it before his wife, though I said to Harry that I didn't know
as what his wife wanted made much difference to John—
Mr. Hale
Henderson interrupts this statement by Hale because he is more interested in the facts of
what Hale witnessed the day before in the Wright farmhouse, but this statement is important
in terms of the play because it provides the first hint that the Wright household had problems
with the marital balance of power. From this offhand observation, we learn that the authority
of the husband is the only authority in the farmhouse, which in turn suggests the beginning of
a motive for Minnie Wright's crime. Hale finds it worthy of mention but does not regard it so
highly that he presses the point, while Henderson waves the sentence, but Mrs. Hale and Mrs.
Peters find a deeper significance. They elaborate upon this basic issue throughout the
remainder of the play as they discover clues to Mrs. Wright's psychology while they are in her
kitchen, but the early foreshadowing of these troubles unifies the play thematically while
showing the male disregard for such details in their investigation of the crime.
2. Well, women are used to worrying over trifles.
Mr. Hale
Hale casually makes this statement from which the play takes its title when Mrs. Peters
calls attention to what she regards as the significance of the exploded jars of fruit preserves. In
doing so, he gently chides the women for lacking the common sense and mental focus to pay
attention to the important things, but he suggests that the men should forgive them for their
foibles because they are only women and thus deal every day in small, unimportant details.
Furthermore, his words imply that because women deal in trifles, women must also be trifles.
However, his patronizing tone is undermined throughout the play as the women ultimately
outwit the men and prove their worth, and not coincidentally does Glaspell have the women
draw together after he utters this sentence. Meanwhile, the men spend all their time looking
for evidence because they have forgotten that evidence often consists of the little things especially when no eyewitnesses are involved.
3. COUNTY ATTORNEY: No--it's not cheerful. I shouldn't say she had the homemaking
instinct.
MRS. HALE: Well, I don't know as Wright had, either.
38
The county attorney and Mrs. Hale represent opposing sides in the matter of understanding
domestic felicity. On the one hand, Henderson assumes that females are solely responsible for
the domestic realm and consequently concludes that any lack of cheer in the Wright
farmhouse must result from Mrs. Wright's incompetence. Mrs. Hale resents Henderson's ideas
because she recognizes that although domesticity has a physical aspect, the greater part comes
from the emotional and mental state of the people in the household. In her mind, because John
Wright lacked the ability to empathize with his wife and because he made her feel so lonely,
he is the one truly responsible person for the unhappiness in their household. Henderson
keeps promising to return to the subject of the state of the Wrights' marriage, but he never
does and thus never comes to understand her viewpoint.
4. Well, I don't think she did. Asking for an apron and her little shawl. Worrying about
her fruit.
Mrs. Hale
Prior to their discovery of the quilt, the birdcage, and eventually the canary, Mrs. Peters
claims that she has no idea if Mrs. Wright actually committed the crime, but Mrs. Hale states
her definite opinion that Mrs. Wright is innocent, with the implication that no one so focused
on trifles such as her fruit preserves and her apron could be guilty. However, Mrs. Hale later
proves to be incorrect, which leaves the question of how and why she made her error in
thinking. Most likely, her assertion of Minnie Wright's innocence is based partly on loyalty to
a friend and partly on her assumption that a concern with trifles is incompatible with a
concern with larger problems. However, as Mrs. Hale herself shows when she and Mrs. Peters
decide to hide the evidence by pretending to be interested in unimportant matters, taking an
interest in smaller details can be a convenient way to hide one's true thoughts. Meanwhile, the
faith that Mrs. Hale shows in proclaiming Minnie's innocence is later transferred into a
determination to protect her from the law.
5. But, Mrs. Hale, the law is the law.
Mrs.Peters
Mrs. Hale shows anger at the men and particularly at Henderson for what she regards as
the sneakiness of using Mrs. Wright's own home as evidence against her, but Mrs. Peters
39
defends the men in her assertion that "the law is the law." With these words, Mrs. Peters
reveals her sense of obligation and duty that, as Henderson later notes, derives from her
marriage to Henry Peters, the sheriff. She displays nervousness at the thought of Mrs. Wright
being the murderer, precisely because that causes a dissonance between her desire to help
Mrs. Wright and her desire to follow the law. Ultimately, however, she rejects the assumption
that her moral compass must derive solely from her husband's chosen vocation, and she
decides that protecting Mrs. Wright at the expense of the law is the option that most fully
preserves her personal integrity.
6. I could've come. I stayed away because it weren't cheerful--and that's why I ought to
have come.
Mrs. Hale
As Mrs. Hale contemplates Minnie Wright's birdcage and speculates about the
whereabouts of the bird, she develops a clearer picture of the Wrights' home life, and she
begins to blame herself for negligence, for apathy. As she says, she never visited Minnie
Wright because the house lacked a feeling of comfort and welcoming, but she now realizes
that she had used the excuse of its cheerlessness to skimp on her duty to other women in
general and to Mrs. Wright in particular. The hidden location of the Wright farmhouse made it
simpler for Mrs. Hale to ignore the presence of such an unhappy place, but she sees now that
her neglect may have contributed to the isolation that drove Mrs. Wright first to solace in a
canary and eventually to her murder of her husband. Mrs. Peters tells her not to blame herself,
but Mrs. Hale nonetheless sees that she must shoulder the burden of her own wrongdoing as
well as that of Mrs. Wright's husband.
7. Yes--good; he didn't drink, and kept his word as well as most, I guess, and paid his
debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him.
(Shivers.) Like a raw wind that gets to the bone.
Mrs. Hale
40
In this quote, Mrs. Hale at first appears to agree with the sentiment of the local people that
John Wright was a good man, and she initially substantiates this judgment by noting his good
qualities. However, she subsequently undermines the assertion by speaking specifically of his
main negative trait, his hard nature. Mrs. Hale's main sphere of experience is domestic, and as
a result, she sees that Minnie Wright must have suffered terribly because of John Wright's
cold nature. Her reference to a raw wind in turn connects to the cold of the weather outside
the farmhouse, which broke Minnie's jars of preserves and which represents Minnie's mental
and emotional environment. If Mrs. Hale has criticized herself for not having provided
companionship to Minnie, then she doubly condemns John Wright for his abuse of his wife's
emotions.
8. When I was a girl--my kitten--there was a boy took a hatchet, and before my eyes--and
before I could get there--(Covers her face an instant.) If they hadn't held me back, I
would have-- (Catches herself, looks upstairs, where steps are heard, falters weakly.)-hurt him.
Mrs. Peters
In Trifles, Glaspell often uses an innovative dramatic technique that employs mutual
monologues, in which both Mrs. Peters and Mrs. Hale speak aloud but in conversation with
herself rather than with the other woman. In this passage, Mrs. Peters whispers a revelation
about her darkest thoughts as though she can barely stand to admit that they exist. In this
moment, she comprehends the horror of the death of Mrs. Wright's canary, and realizes that,
although she had previously tried to uphold the law, the law alone cannot deliver true justice especially in this case, when it comes to John Wright's emotional abuse of his wife. She
knows that she cannot let her husband hear her thoughts because he is the sheriff and hence
bound to the law, but she acknowledges that she has experienced the desire for revenge. The
quote is part of a mutual monologue; Mrs. Hale does not respond directly to her powerful
admission but instead wonders to herself about the isolation of a life without children.
9. I tell you, it's queer, Mrs. Peters. We live close together and we live far apart. We all go
through the same things--it's all just a different kind of the same thing.
Mrs. Hale
Whereas Mrs. Peters struggles between her duty to the law and her duty to a fellow
woman, Mrs. Hale's inner conflict is less a matter of choice and more a matter of gaining a
41
new understanding of her own identity as a woman. This passage is the most explicit
statement of her new gender consciousness, as she concludes that she should have known to
help Minnie Wright earlier because of the commonality of the female experience. With these
words, she explains to Mrs. Peters that although Minnie's life might have been more dire than
their own comfortable existence, they still need to empathize with her and support her because
they could have been in her place. She juxtaposes "close together" and "same things" with
"far apart" and "a different kind" to show that, although they can believe that their lives are
different, they must recognize that some aspects remain analogous.
10. COUNTY ATTORNEY (facetiously): Well, Henry, at least we found out that she was
not going to quilt it. She was going to--what is it you call it, ladies!
MRS. HALE (her hand against her pocket): We call it--knot it, Mr. Henderson.
The final lines of the play are a dialogue between Mrs. Hale and Henderson, the county
attorney. His query unifies the play as it echoes similar questions from earlier sections. Mrs.
Hale's line is not only a straightforward reply to a question that shows an ignorance of
domestic issues, but also wordplay that can be interpreted in multiple manners. In one sense,
when she says, "Knot it," she is referring to a technique for making quilts, but she may also be
saying that she has knotted away Mrs. Wright's secret, that the women are now knotted
together in a unified front to protect Mrs. Wright, or that the women are "not it" in a denial
that any of them have broken the law. Furthermore, George Henderson's facetiousness and
obvious disregard for the female intellect allows the women to hide away their knowledge
without facing suspicion.
(Wang Bella, September 3, 2009, Grade Saver Classic notes: Trifles study guide)
2.4 How to Stage Trifles:
For this part of the work I want to give some information about performing the play,
which would help the students who are interested in acting and performing plays in the future
or in the current time.
42
Susan Glaspell's 1916 play "Trifles" is an economical, yet artistically fulfilling, choice for
small theater groups. It's in the public domain, so the play is free to stage. It's short, yet
punchy, featuring feminist themes rare in early American drama. Also, there are only five
characters to cast. How a director stages "Trifles" depends on how realistic or expressionistic
he or she wants to be. The play is old, but it can still resonate with modern audiences. (Barry
Eitel, 2013, how to stage Trifles)
Instructions
1. Know the play inside and out. Do not skimp on reading the play; read it at least five or six
times before auditions. Because it is so short, you could easily read the play ten or fifteen
times. By doing this, you get a very specific idea of the plot and how the play moves, as well
specific prop and costume requirements. You will also grow an insight into each of the
characters.
2. Write up a production concept which states your vision for the play. This is a guide for the
design and direction. "Trifles" could be staged in a backyard with minimal props or on an
elaborately-designed set. The script calls for a realistically furnished house. However, the text
is wide open for artistic interpretation. A realistic staging transports the audience to the
specific time and place of the play. A stripped-down concept focuses more on the text or
teases out specific themes.
3. Gather the required props. Glaspell's story revolves around certain items that can't really be
ignored, such as a bird cage. You don't need to shell out the money for a real birdcage,
though, if realism isn't your concept. Construct a minimalist bird cage out of wire or write
"cage" on a piece of paper. Let the text and your concept guide you.
4. Rehearse with the actors to figure out specific staging. Since "Trifles" is realistic, the actors'
organic instincts will provide a great skeleton for staging. As the director, your job is to
ensure the stage pictures are striking and everyone in the audience can see everything that
happens on stage.
(Barry Eitel, 2013, how to stage Trifles, http://www.ehow.com/how_8489066_stagetrifles.html)
43
2.3 Riders to the Sea by John Millington Synge
Riders to the Sea
2.3.1 Plot summary:
Riders to the Sea is a play written by Irish playwright J. M. Synge. A one-act tragedy,
the play is set in the Aran Islands, and like all of Synge's plays it is noted for capturing the
poetic dialogue of rural Ireland. Only four characters are named, Maurya, an elderly
Irishwoman, her daughters Cathleen and Nora, and her son Bartley.The play begins with
Maurya, who has fallen into a fitful sleep. Maurya, their mother, is certain that her son,
Michael, has drowned, even though she has no proof, and has been constantly grieving for
nine days. Cathleen, her daughter, is doing household chores when Nora, another daughter
arrives. She quietly slips into the kitchen with a bundle that had been given to her by a young
priest. (Buckley Dustin, July 12, 2010, Summary of the play riders to the sea).
Thetwo
sisters are conspiring to hide a bundle from their mother. The small bundle, wrapped in a
shawl, consists of a shirt and a stocking removed from a drowned man at Donegal. They fear
that the clothes may belong to Michael, their brother, whose body has not been recovered
from the sea. He has been missing for a week.(The play master plots: drama, may 2, 2013
http://www.enotes.com/topics/riders-sea/in-depth).Maurya awakes, and her fear for losing her
only remaining son Bartley intensifies her grieving for Michael. She has already lost five sons
and a husband at the sea. After the sea had claimed the lives of her husband and four eldest
sons, Maurya tries to discourage Bartley, her last living son, from going to Connemara to sell
a horse, which was the trip Michael took when he died. But Bartley insists that he will cross
the mainland in spite of winds and high seas. (Buckley Dustin, July 12, 2010, Summary of the
play riders to the sea).
The sisters tell Maurya, that she should go out and search for Bartley in order to give him
the lunch that they he had forgotten to bring, and while at it, give him her blessing. While she
is gone the girls open the package. Nora recognizes her own stitching in one of the socks, and
immediately knows that the owner of the clothes was indeed her brother, Michael. But at least
they have the comfort of knowing he got a respectable Christian burial where he washed up in
the north. Maurya returns horrified with a vision she has seen of Michael riding on the horse
behind Bartley. She claims that the vision proves that her fear of Bartley‟s death is being
44
realized. When her daughters show Maurya the clothes her only response is that the boards
she bought for Michael‟s coffin will serve for Bartley instead. As Maurya speaks the
neighboring women enter keening. Men follow the women, who bring in the body of Bartley.
He has been knocked off a cliff into the surf below by the horse he was leading.
The play is remarkable for its well-developed female characters; the males are allowed a very
limited space only and are not developed in any depth or detail. There is a stark contrast
between Maurya, the desperate mother on the verge of a break-down, and Cathleen, the
pragmatical and reasonable daughter who attends the necessary tasks to keep the household
running while the mother is very much paralysed by her forebodings. At the beginning,
Maurya has still one son left and some hope, so she concentrates all her feeble efforts on
preserving Bartley. When Bartley is lost, Maurya is broken and resigned. Without a man in
the house, the family is ruined, and the mother has nothing more to hope for. At the same
time, Maurya has found her peace, she has nothing more to fear or to worry about, and she has
nothing more to lose. At the end, Maurya seems to accept the inevitability of fate and the fact
that the sea not only sustains them, but also demands something in return. (Dr. Arghya Jana
literature
guide,
2
October
2012,
study
guide
on
riders
to
the
sea,
http://arghyajanaliteratureguide.blogspot.com/2011/10/study-guide-on-riders-to-sea.html)
The play closes with Maurya'sfatefulacceptance as she says, "They're all gone now and there
isn't anything more the sea can do to me… No man at all can be living forever and we must be
satisfied."
2.3.2 Setting:
The whole action is concentrated on a poor fisherman‟s cottage and in one day. J. M.
Synge‟s „Riders to the Sea‟, like other one act plays, conforms to the three unities, the unity of
time (the actions take place in one day), the unity of place (the play takes place in one
location, the Aran Islands) and the unity of action (the play shows the weakness of Mauryain
the face of a merciless fate which acts through its agent, the sea). Thus, although the play is
short in size, it achieves a universal appeal.
45
2.3.3 Language of the play:
The language of the play is modeled on Gaelic speech. It demonstrates the richness
and poetic language of Irish people. In Riders to the Sea, poetry does not lie in its linguistic
expression, but in the very setting itself. From its expanse, the dramatis personae draw their
sustenance a local colour added by a treatment of nature that is unique, a pronounced
recognition of the variety of life.
In Riders to the Sea Synge used a language which composes music of its own. He was
attempting to shape his poetry out of colloquial speech. Unlike in poetry where the language
or speech is morally heightened, Synge in this play deliberately imitates the unalloyed
expression of the common speech forms of the Aran Islands. He does this by certain easily
recognizable method. First, the use of present participle applies a cadence to the ear. The
speech of the common Islanders has a characteristic rhythm which Synge profusely employs
in the course of the play. In general, sentence condensers preferred dependent clauses and
verbs with –ing endings are exploited in contexts where these forms would not come in
question in Standard English: „I‟m thinking it won‟t be long... (= I think it won‟t be long).
Also, reflexive pronouns are commonly used in a non-reflexive function: „...some
time herself will be down looking by the sea‟ [= some time she will be down looking] or even
„Where is he itself?‟ (= Where is he?). Another peculiarity is the occasional periphrastic form
with after used in the function of present perfect: „The young priest is after bringing them‟ (=
The young priest has just brought them).
(Synge
john
Millington,
Riders
to
the
Sea,
12
October,
2012,
http://anglistika.webnode.cz/products/synge-john-millington-riders-to-the-sea-/)
2.3.4 Character list:
Characters in Riders to the Sea are Maurya, and the two sisters Cathleen, Nora and
their brother Bartley, men and women.
Maurya:
Maurya, is an old Aran fisher-woman, whose name echoes the Greek word moria, meaning
fate, living on one of the Aran Islands at the mouth of Galway Bay on the western coast of
Ireland, a wild, desolate, impoverished area. She is a poor victim of dark fatality as
represented by the unrelenting sea. The most important aspect of her characterization is the
46
change in her attitude to life & death after her last son & the last surviving male member of
her family, Bartley, is drowned in the sea.
Bartley:
He is the one of the two riders in the play. He goes to the sea in stubborn defiance of his
mother's repeated entreaties because of her premonitions. Bartley being the last male member
of Maurya's family, his death salvages the old mother as she accepts the inevitability of death.
Cathleen & Nora:
They are the two daughters of Maurya. The elder daughter, Cathleen, is more responsible and
hard-working, taking care of the household. Nora is a bit immature and innocent, serving as a
link with the world out of doors. Both Cathleen and Nora are young peasant girls cofined to
their domestic chores. Cathleen, the elder sister, is a bit more experienced than Nora who
serves as a link with the world outside.
(SarkayTanar, October 2012, characters analysis of Riders to the Sea)
2.3.5 Theme of the play:
One of the main themes in the story is that of the sea. Mauria‟ssons are always
leaving her to be killed by the sea along with her husband;Maurya has become terrified of its
power and wants desperately to find a way to save her two remaining sons from its power. In
the end, however, she cannot do so and the final two ends up drowning and the incredible
power of the sea both as an attraction and a destroyer is made evident.
Another theme is that of fate and the inevitability of it. Of course her sons and her father did
not have to go to sea and not everyone who goes to sea drowns, but Maurya finds a sort of
fate in the power of the sea over her family and her dreams and her waking life are haunted
with the power of the sea. Itreaches desperately out and takes away her most precious ones.
2.3.6 Symbols:
1. Themost powerful symbol is the Sea. It functions as the giver and taker of life. The
sea symbolizes the tragic destiny of the Aran islanders. The sea is a supernatural entity over
which even the Almighty God of the Christians has no control. That is evident from
47
Maurya'srejection of the „young ' priest. On the other hand the sea also provides the livelihood
of the human who go to the sea and live beside the sea by providing many things. So the sea
is the fate controller of the people.The sea is both provider and destroyer, provides life,
connection with the mainland, but it takes life. Its power is the main theme of the play,
illustrated for the audience by the tearing open of the door at the beginning, and by the
descriptions given by the girls. Their sense of time, of direction is determined by the sea. The
fishermen struggle to get a living out of the sea. (MitraDwaipayan, October 14, 2012,
symbolism in Synge‟s Riders to the Sea)
2.The Number Nine: The number nine is a magical number and it is a symbol of bad luck. It
is used in different places in this play. When the play starts Maurya says to Nora, “Michael is
washed up tomorrow morning or the next morning or any morning in the week….” If we total
up these mornings we get the number nine. When Bartley died nine unknown women came to
Maurya‟s house. In the last part of the play Cathleen said, “An old woman……. she will do,
and isn‟t it nine days herself is after crying and keening.” So number nine is a symbol of
unluck. In a speech Mourya says to Cathleen, “I‟ll have half an hour to go down and you‟ll
see me coming again in 2 days, or in 3 days, or maybe in 4 days if the wind is bad.” The
increasing fear that her son might not return is felt through the utterance of numbers.
3.Red Horse: Red horse which is ridden by Bartley and the grey pony following it can be
interpreted as Michael‟s ghostwhich is a symbol of death.
4.The Bread: The bread, which was baked for Bartley by the two sisters, is a symbol of life. It
is the only thing that the sisters can offer to their brother. Maurya tried to give it to Bartley
but she failed. So the sisters are worried that their brother is going to leave the shore without
their blessing. Therefore the bread functions as a blessing. At last she serves the bread to the
coffin maker.
5.Holy Water: Holy water is a symbol. It functions as a miracle. In this play Mauryaspreads
the holy water to the dead body and dress of Michael. It is used as an element to soothe or
console a person in agony.
J. M. Singh also uses other symbols such as stick, white board, booth (pin) etc.
Thus, Singh is able to apply the symbols carefully and successfully to modify the play to the
audience.
48
2.3.7 Cinema and Opera:
The play Riders to the Sea was first performed on February 25, 1904 at the Molesworth Hall,
Dublin by the Irish National Theater Society.
At least two motion picture versions of the play have been made:
In 1935 a 40minute black and white movie directed by Brian Desmond Hurst with screenplay
adaptation by Patrick Kirwan with Sara Allgood.
(Kataoka Yumiko, 2003, Riders to the Sea Irish voices, British echoes)
A 1987 47-minute colour movie directed and adapted by Ronan O'Leary with Geraldine Page.
The composer Ralph Vaughan Williams made an almost verbatim setting of the play as
an opera, using the same title exists.
American composer Marga Richter also set the play as an opera, using the same title.
German composer Eduard Pütz also set the play as an opera, using the same title.
Bruce Montgomery wrote a light opera, Spindrift, that was based on Riders to the Sea.
(Wikipedia free encyclopedia, June 2013 Riders to the Sea, opera)
2.3.8Glossary of terms:
Most of the unknown words are related with the tragedy of the family. We can have the
students to create different tragic situations with the same glossary. Such an exercise will
allow them to be more active. With their contribution to each other very interesting idea will
increase their self-confidence and knowledge of the student.
Burial: (noun) the act of putting a dead body into the ground, or the ceremony connected with
this.
Lament: (verb) to express sadness and feeling sorry about something.
Destitute: (adjective) without money, food, a home or possessions.
Halter: (noun) a piece of rope or a leather strap which is tied round an animal's head so that it
can be led by someone or tied to something.
Rye: (noun) a type of grain, the seeds of which are used to make flour or whisky or to feed
animals.
49
Kelp: (noun) a large brown plant that grows in the sea, used in some foods and medicines.
Pier: (noun) a long structure sticking out from the land over the sea, along which people can
walk or to which large boats can be tied and which sometimes has restaurants, etc. on it.
Perished: (adjective) extremely cold.
Flannel: (noun) a small cloth used to wash the body, especially the face and hands.
Sleeve: (noun) the part of a piece of clothing that covers some or all of the arm.
Stitch: (noun) a particular type of stitch made in sewing or knitting, or the pattern which this
produces.
Knitted: (adjective) made using wool or thick cotton and two long needles.
Keen: (adjective) very interested, eager or wanting (to do) something very much.
Ail: (verb) to cause difficulty and problems for
Galloping: (adjective) increasing or developing at a very fast and often uncontrollable rate.
Choked: (adjective) unable to speak because you are upset.
Threshold: (noun) the floor of an entrance to a building or room
Pony: (noun) a small type of horse
Sup: (verb) to drink or to eat.
2.3.9 Quotations:
1."They're all gone now and there isn't anything more the sea can do to me...No man at
all can be living forever and we must be satisfied." Maurya
The play closes on the note of Maurya's fatalistic submission. She can sleep now with no
worry but that of starvation. She accepts the sea's power, defers to the greatness of the sea,
and signifies this resolution by raising her head. She then begins her monologue which
verbally completes her acceptance of their fate.
2. “He’s gone now, and when the black night is falling I’ll have no son left me in the
world.” Maurya
Maurya feels even more concerned about the weather, and she wants that Bartley should not
go this day when the wind is raising the sea and there was a star up against the moon during
50
the night. As Bartley is firm about going, Maurya warns him on the gloomy forecast that he
would be drowned like the rest. When he is actually gone, she wails: “He‟s gone now, and
when the black night is falling I‟ll have no son left me in the world.”
3. “They’re all gone now, and there isn’t anything more the sea can do to me.” Maurya
On learning of Bartley‟s drowning maurya says that. There will be no need for Maurya to feel
any anxiety about anybody in future because the sea has already taken away from her all her
men
4.“Isn’t it sorrow enough is on everyone in this house without sending him out with an
unlucky word behind him, and a hard word in his ear?” Cathleen
Cathleen blames her mother for not giving Bartley her blessings as he is leaving considering it
as a bad omen.
5. "...if Michael is washed up, to-morrow morning, or the next morning, or any morning
in the week him, by the grace of god."
At the very beginning of the play we see that, the four sons of Maurya have already lost their
lives in the sea. Now the fifth one, Michael has been missing for nine days and the family
members are waiting to recover the dead body of and to receive it.
(Amir Mohammad Kabir,2009, discussion of the significance of the role of Fate in Riders to
the Sea)
(Inas Abdul- MunemAzzawi&NibrasJawad, college of arts, English department, july2013,
J.M. Synge‟s plays: the creation of Irish cultural identity)
In this play, tragedy comes to the characters without any tragic flaw the characters are not
responsible for their death. Here destiny or fate controls everything that nothing can avoid it;
life means nothing but tragedy and unconditional surrender to the mysterious fate. People in
the "Island" are struggling against the sea in order to support their daily life ignoring the
possibility of death, because they have no other choice to avoid the sea. Last of all we can say
that, 'Riders to the Sea' is unique creation of Synge and a great example of fatal play. In this
play all the characters are the victim of the fate.
This is how Synge has achieved enormous success in sustaining the unrelieved pity by
concentrating on a single scene in a cottage.
51
CHAPTER III
Teaching “Trifles” and “Riders to the Sea” to the third and fourth class
students of English literature atSelcuk University
3.1.Working with the fourth class students on the play Trifles
At the beginning of this work, I wanted to know what the background of the students‟
about drama is, and how they were dealing with a play while reading it in the class.Do they
have any information about what the setting of a play is, how to analyze the characters of a
play and what are the images and symbols in a play?Knowing this information will help me to
progress in the way I teach the plays and the way I deal with the students while teaching.
So while teaching the play trifles by Susan Glaspell I worked with students from Selcuk
University the fourth grade, three questions were raised, the questions are about the setting,
the characters and the images in the play. The results of the questions are explained in the last
part of their answers for each question, by this way I got some information about their level
and I was able to know what the background of the students for drama is. I got many
different answers from them, and here are some examples:
3.1.1.Setting
1. The place is kitchen which is very depressing, untidy and grey. The kitchen is a special place
for the women, and in the play Trifles, the kitchen functions special space where the proofs
which can be found about Mrs. Wright. (NergizGecer)
2. The Play is written in 20th century, cold weather, and the kitchen is abandoned so we can say
that the setting is related to the topic of the play. The order of the kitchen is expected by
women so female characters actually know the differences in kitchen. When I read it, I
thought about the reason why the kitchen is given and I realized its function. (KezbanZeydan)
3. From the setting of the play the writer makes us wonder about the rest of the play. The writer
of the play takes us and leaves us in a kitchen so we start to think on it. We think that Mr.
52
Wright may have killed her husband. The image of kitchen makes us think and wonder.
Because it is known that kitchen is peculiar to women. Everybody may think that she is guilty
when they see the abandoned kitchen. As a result of this, setting of this play is edited very
cleverly and it creates a different atmosphere for us to understand the events in this play.
4. The time is the early twentieth century winter is season. The action takes place in an untidy,
abandoned kitchen of John Wright‘s farmhouse. In the play, setting provides clues for solving
the murder. The Setting portrays the values and attitudes of the characters, giving deeper
meaning to the play‘s outcome. The setting conveys the reason of the murder. Everything
around reveals the life of a woman. (meltemsedaduman)
5. The crime scene investigation starts with the setting in the play. That setting is developed by
images which are used to make audience feel the dead silence. In the beginning, a stove
functiones as an instrument which subtly makes the audience feel the coldness of the scene.
Moreover, while gathering the evidence in two-storied estate of the Wright‘s, the instruments
such as sewing box, bird cage and scissors that commonly seen as trifles are found by two
female characters. Those trifles are all functioning together as a sub-plot which deciphers
the riddle of the crime. Thus all those trivial instruments scattered around intelligently as
parts of setting. The rocker is another instrument used in setting. It served as a relieving
instrument after the homicide. That rocker reveals the generated self-relief after the crime.
(Umit Kizil)
6. The place is the kitchen in the abandoned farmhouse of John Wright. There are unwashed
pans under the sink, a loaf of bread outside the bread box, a dish towel on the table, and other
signs of uncompleted work. (AyseCoskun)
7. Glaspell is a feminist writer. She shows the position of woman with the help of setting. It was
written with a feminist perspective. Glaspell uses simple but functional elements in the
setting. Time and stage setting help us to understand the inner world of woman. Kitchen as a
stage setting is so functional. Kitchen is like a cage for Minnie Wright. She spends her all
time in the kitchen. The gender roles which are loaded to women by patriarchal system are
described very well. Farm is also functional. It isolates the people from outside world. At the
same time, winter as a time setting is so functional. Winter takes place as a time setting. It
describes her loneliness and rudeness of her husband. She has no friend apart from her
canary. When her husband kills her canary, she becomes lonely. (IlknurKanik)
8. The play begins with a kitchen scene that seems to be ―left without having been put in order‖.
Throughout the play, it is emphasized that a kitchen is a place just for ignore. Because it seem
53
as a waste of time to be in there, because kitchen is always dedicated to women. Actually, it is
the key point to solve the murder. (AhsenMutlu)
9. Setting focuses on women‘s world which is not understood by men. It is a world where women
discover their emotions, thoughts and their own identity also the realities sometimes. Men
never try to discover women‘s hidden world. On the contrary, they always hold up to ridicule.
(MuzeyyenDemir)
10. The only time sense of the setting of the play is the winter that can be understood from
characters‘ complaints about the cold weather. Act is taking place in a kitchen which
generally symbolizes woman role and domesticity. Normally, we expect a peaceful
atmosphere in the kitchen, however; this kitchen is in a big mess. Characters of the play enter
into this big mess in order to investigate a murder; as I mentioned above; no one expects such
a crime to be committedby a housewife. Nevertheless, setting explains the unhappiness in
family and the isolation or the loneliness of the female character, so that we can have a
reason why the unhappiness may cause the murder. (FatmaEroglu)
11. The details of the setting of Susan Glaspell‘s one-act play Trifles provide clues for solving the
murder. The setting for Trifles is a bleak, untidy kitchen in an abandoned rural farmhouse.
The place creates a sense of completeness because without the setting, the actions would seem
less significant. (NebahatOzcan)
12. The stage of the play is a kitchen of a farmhouse. It has a gloomy atmosphere. There are
unfinished works. It is a mess. And upstairs of the farmhouse Mr. Wright was killed. The time
is uncertain.The weather is very cold. Every detail fits for bad things. The atmosphere of play
is scary and tries to tell that a bad event happened. (CuneytErtekin)
13. The setting of the play ''Trifles'' is the kitchen of Wright's farmhouse. At the beginning of the
play the kitchen addressed as abandoned. Glaspell uses the kitchen setting to emphasize the
behaviors of genders toward each other. Because of the uncompleted works in kitchen,
County Attorney degrades Mrs. Wright. For example in the play he says '' Dirty towels!
(Kicks his foot against the pan under the sink)Not much of a housekeeper, would you say,
ladies?'' In my opinion kitchen isolates women from the real world. It is interesting that Mrs.
Wright spends her time in a kitchen and Mrs. Hale and Mrs. Peter remain in the kitchen
throughout the play. Setting shows us the gender discrimination in the play. (YakupCinar)
14. Setting of the play ‗‘Trifles‘‘ by Susan Glaspell is Mrs. Wright‘s kitchen. In the kitchen
women find some clues for solving the murder. The Writer uses the kitchen to show us the
54
attitudes between genders. Kitchen is like a prison for women where they spend most of their
time. Kitchen isolates the female from the outside world. For example; Mrs.Hale never had
the time to visit her friend because she lived so isolated: ‗I would, wouldn‘t I? I wish I had
come over sometimes when she was here. I- (looking around room) wish I had.
(EmrahAkkoyun)
15. The place is Mrs. Wright‘s kitchen. Kitchen is dirty. There are ruined fruit preserves, a dish
towel, and dirty pans in kitchen. Kitchen is an important place for women. The untidiness in
the kitchen refers to Minnie‘s psychological situation. Kitchen is restricted place for the
women, therefore setting is kitchen because kitchen restricts woman‘s freedom and
Identity.(SelvaCakir)
16. Setting is a kitchen in the farmhouse, which is abandoned. Play is a one act play and the
secret exist in one place which is the kitchen of Wright‘s farm house. The kitchen has
unwashed pans under the sink; a loaf of bread is outside the bread-box.In brief, everything in
farmhouse is left incomplete unfinished. Murder takes place in the upstairs of the farmhouse.
The upstairs is dirty, untidy and messy as the kitchen is. Besides season is winter and it is
cold. (HakkiOzturk)
17. Setting of the play is the kitchen. In this play, untidy kitchen refers to unsuccessful attitudes of
the woman. (BurcuTurgut)
Generally the answers of the students about the setting were almost the same, but also
there were some different ideas. Most of them talked about the place, the kitchen, and talked
about its being messy, dirty and unwashed pans on the sink dirty towels. Some of them
connect this situation to Mrs. Wright, saying that she is not caring for her home works,
another idea they relate the kitchen to the women characters and their finding of the proofs,
because when the student read the play he/she will see that all the actions take place in the
kitchen. Women know every detail in the kitchen, and the actions take place there which helps
the female characters to find the evidences about the crime. The setting of the play helps the
students to be sure that the murderer is Mrs. Wright. The setting helps the reader to
understand in which conditions the women live. The setting shows the unhappy life of the
characters which may cause a murder. Although the actions take place in the kitchen and all
the clues were provided there, men did not search for the murder clues in the kitchen because
its being in this disorder made the men not to think about searching for evidences there. The
kitchen is linked to the attitudes of genders, and in other words the kitchen here is a prison for
women whom they spend most of their time. Some of the students mentioned some details
55
about the time and the weather, one answer from a student who connects the setting to the
images or the things found in the kitchen, this is totally a different point of view of the
student, for example he mentions the stove there which shows that the weather is cold, and all
the things in that kitchen are a part of setting he says. The rocker reveals the generated selfrelief after the crime. Also another place is given which is the upstairs room were Mr. Wright
was killed, the weather and the atmosphere of the play show that there is a murder or a bad
thing happened. In another answer the student wants to link between the place and the
behaviors of the genders towards each other, when the men see the uncompleted works in the
kitchen how they criticize women. It is a different point of view when the student here says
that kitchen isolates the women from the world, by giving the example of Mrs. Wright and
Mrs. Hale and Mrs. Peters
3.1.2.characters
There was another question about the characters‟ credibility in the play, many
different points of view were given by the students here are some of them:
1.
I do not find the female characters believable. The reason is that, in reality the proofs
cannot be concealed. It is not true to pull up the sewing, again to sew the log cabin pattern,
hiding the bird in pocket, to camouflage the jams. What is the truth is that they must record
what they have lived, seen and found in the house about Mrs. Wright. They gave harm to Mrs.
Wright instead of benefiting. A woman understands a woman, but, why do the female
characters conceal the proofs? This is not believable. In reality, there cannot be happen such
a situation. The murdering has been done and its expression must be explained with the
proofs. The male characters have left the kitchen to the female characters. Although the male
characters search the events, it is woman characters that have discovered and solved the
background of the event. "Among women, there is no sisterhood" but, in this play, it is
arguable. The reason is that it is ambiguous whether women help Mrs. Wright to meet her
freedom or they help her to remain in prison. (NergizGecer)
2. The Writer is a female and feminist. She writes the play in detail. She shows the male
characters as investigators but actually female characters are very clever but they act like as
if they don‘t understand anything about the murder. Female characters discovered the
murder. (KezbanZeydan)
56
3. When I analyzed the credibility of character in trifles I observed that they are so deceptive.
For example when I read the sentence of Mrs. Peters I understand there that maybe she is not
regretful for her not visiting Mrs. Wright. She says that: '' I had not visited the Wright ' house
for over a year because of its bleak. When I analyzed the emotional state and manner of Mrs.
Wright I understand that she is the murderer of her husband. The writer of play gives the
credibility of character in this scene but in some scenes I cannot capture this lot.
4. In the play, Glaspell shows that men and the women have two different reasons for being
there. By the way, Glaspell invites the reader to question the roles of women and men in the
society. She especially examines the roles of women in a society. Men clearly dominate almost
every aspect of life and women are often left with little importance. As a reality of patriarchal
system, throughout the history women are expected to be a good mother, wife so on.
Unfortunately, most of the time women are not seen as an individual or subject. Restrictions,
which are imposed by the patriarchy, limit the life of women. By the characterization and
dialogues, Glaspell puts a mirror to the society.(MeltemSedaDuman)
5. Of all the characters, Mrs. Hale is the one who excavates the encrypted homicidal evidences
scattered around the house. Though Mrs. Hale starts as an indifferent outsider in the play,
she becomes really sensible for Mrs. Wright.
Mrs. Hale‘s statement which shows her
disillusionment as follows:
MRS HALE: I might have known she needed help! I know how things can be—for women. I
tell you, it's queer, Mrs Peters. We live close together and we live far apart. We all go
through the same things—it's all just a different kind of the same thing, (brushes her eyes,
noticing the bottle of fruit, and reaches out for it)
It can be understood from her statement that she has her disillusionment after
comprehending all the trivial, however, vital elements of Mrs. Wright‘s mistake. Mrs. Hale is
a round character who starts as an indifferent neighbor, however becomes the one all
comprehends the outcomes with their roots. All the other characters are serves as minor
instruments which are notably revolves around Mrs. Hale and her disillusionment. (Umit
Kizil)
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6. Mrs. Wright is calm. Hale suspects her of killing her husband. Sheriff realizes Mrs. Wright
has prepared some clothes for her. Mrs. Wright says somebody slipped a rope round his neck
and killed him and she did not wake up. Mrs. Hale cannot believe she would kill her husband.
She knows Mrs. Wright used to wear pretty clothes and be lively when she was Minnie Foster,
one of the town girls singing in the choir. Mrs. Hale wants Mrs. Peters to believe her. Mrs.
Wright has asked for an apron and her little shawl, worrying about her fruit. Mrs. Peters
confesses that Mr. Henderson will make fun of her saying she did not wake up. Mrs. Hale
orders her to look at the sewing. She says it looks she did not know what she was about. They
have a conclusion that Mrs. Wright has killed her husband because he killed her bird.
(AyseCoskun)
7. This play mentions the values and attitudes of women at its written era. During this time,
women did not have right. The only imputed characteristic to women is to care of home and
children. Women were described as an angel at home. Thoughts of the women were not
important. We can see the gender roles which are loaded to characters in the play. In the real
life, men are described as wise and intellectual. There is a parallelism between play and real
life. Men in the play do not ask the opinions of women. Men do not input them into the
investigation. Men see themselves as intellectually superior about solving the murder mystery.
But women note trifle things which help to solve the murder mystery. These trifle things are
ignored by men. Men put women into the background in the real life, too. So credibility of
characters is so powerful. (IlknurKanik)
8. We have male and female characters clashing with each other. The men of the play feel
superiority over women, and ignore what they say, because they think women talk about
unimportant things. The women of the play are much more curious. Maybe Glaspell wants to
say that the one boasting about himself or herself is mistaken.(Ashen Mutlu)
9. Men are seen as they know the realities always. But it at only assumption. Because they never
give important to the hidden things they never reach a conclusion on the cases. They have
always a prejudice towards the women. Men always assert that they are right. It is only an
accepted opinion in the man dominant world. Women thoughts are usually ignored and men
usually do not give importance to their opinion. (MuzeyyenDemir)
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10. We have three male and two female characters, from the beginning of the play male
characters put emphasis on the mess of kitchen that is the responsibility of a housewife, and
makes fun of behaviors or attitudes of the two women. They look down on women and
exaggerate their work that they are in there for the sake of law but women are for trivial
things. Glaspell creates such an atmosphere that they will find evidences and put an end to
investigation, however they pay attention to wrong areas. On the contrary, Mrs. Hale and
Mrs. Peters come to a conclusion. The emphasis on the importance of female roles or works
is destructed by this way at the end of play. Furthermore the dependent role of women to their
husbands disappeared that in the name of law men can easily conclude the investigation but
women make empathy and conceal the guilt for their own concept of law. (FatmaEroglu)
11. The men within this play betray a sense of self-importance. They present themselves as tough,
serious-minded detectives, when in truth they are not nearly as observant as the female
characters. Their pompous attitude causes the women to feel defensive and form ranks. Not
only do Mrs. Hale and Mrs. Peters bond, but they choose to hide evidence as an act of
compassion for Mrs. Wright. Stealing the box with the dead bird is an act of loyalty to their
gender and an act of defiance against a callous patriarchal society. (NebahatOzcan)
12. Women can understand the female bonds. But although the men look at the same direction as
women look, they cannot see the details. The other women in the society, also, may have the
same borders or hardship. So women can see the different things not like men.
(AhmetDurmus)
13. Characters of the play are very credible. As characters are defined very well. Three men and
two women. A young County attorney is eager to find the true. He often walks around and
asks questions but never satisfied. Mr. Peters and Mr. Hale are middle aged, rural, ordinary
people. Two women are also detailed. Mrs. Peters is slightly wiry woman, a thin nervous face.
Mrs. Hale is larger and would ordinarily be called more comfortable looking. And the two
women perpetually talk about everything related staff and event. These features make the play
more credibility. They help readers to depict images of characters and what happened.
(CuneytErtekin)
14. Characters are not credible, because they are hiding something. Especially woman firstly did
not mention about death although they know. Because they are under the patriarchal pressure
and the others do not believe them. On the other hand, while Mr. Hale was talking to County
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Attorney he changed his ideas because County took a note. So, reader cannot understand who
says the truth. Mrs. Hale fells guilty for not visiting Mrs. Wright. (Pinar Cakir)
15. There are seven characters in play ''Trifles'' by Susan GLASPELL. When we analyze
characters of the play, we can see inequality between genders. Male characters are dominant.
In the play male characters are described as man of duty. Male characters degrade women
characters in the play. Male characters mock with women's action. For example '' They
wonder if she was going to quilt it or knot it'' says Sheriff. They do not expect reasonable
behaviors from women. Women characters do not have identity. The women have no first
name and take their husband‘s last names. For example Henderson tells Mrs. Peter that she
is married to the sheriff, she is married to the law therefore is a reliable follower of the law.
In conclusion we can see an identity problem of women and the distinction between genders
in the play. (YakupCinar)
16. We have seven characters in the play‘‘ Trifles‘‘ by Susan Glaspell. When we examine
characters in the play, we see inequality between genders. Male characters are dominated
throughout the play. They always isolate the female characters. For example, Hale: ‗well,
Women are used to worrying over trifles.‘‘ From this quotation we see he scorns the female
character. Women have not their own identity. They are known with their husband‘s surname.
Shortly, we can say existence of female characters depend on male characters.
(EmrahAkkoyun)
17. According to me, characters are persuasive. Characters are Country Attorney, Sheriff, Mrs.
Hale, Mrs. Peters, Mr. Wright, Minnie. Mr. Wright is good person but he is difficult.
Therefore he is one of the causes of murder for Minnie. Minnie has hard life and she has not
communicated with anybody. The fear of Minnie, her smile and quietness indicate a murder,
thus Minnie is persuasive character. Mrs. Hale is Minnie‗s loyal neighbor. She is comfort and
mature woman. Mrs. Hale and Mrs. Peters are important characters because they find some
evidences. They understand Minnie‘s situation. In here, women are more sensitive than men
because they find important evidences. (SelvaCakir)
18. According to the play, men characters are most reliable than women. Because, women in play
are seen more passive than men. But, in fact, it is not so. Women in play found solution and
know the truth. (BurcuTurgut)
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19. John Wright is a local farmer, he was commonly considered a good, dutiful man, but he were
also a hard man and neglected his wife's happiness. He paid little attention to his wife's
opinions and prevented her from singing. He does not have good, healthy relationship with
his wife. He is killed by unknown person, but his wife is suspected. Minnie Wright is wife of
John Wright. Minnie Foster, she used to be a happy, lively girl who sang in the local choir,
but after she married John Wright, she became unhappy. Although she does not appear in the
play, she is the main suspect in her husband's murder and sends Mrs. Peters and Mrs. Hale to
collect a few minor items for her from the farmhouse although she knows that her husband is
killed, she has no reaction. George Henderson, county attorney, has been called to investigate
the murder of John Wright. He is young and professional in manner, but he often dismisses
the female interest in minor details of domesticity, and he disparages Mrs. Wright for what he
perceives as her lack of homemaking abilities. Henry Peters is middle-aged local sheriff and
husband of Mrs. Peters. He is at John Wright's house to examine the scene of the crime. Like
Henderson, he gently teases the women about their interest in Mrs. Wright's quilt. Lewis Hale
is a neighboring farmer of John Wright and also first person to see dead body. Mrs. Hale
is the wife of the farmer Lewis Hale, she is of a heavier build than Mrs. Peters and resents the
condescension shown to her by the men in general and Henderson in particular because of
her gender and domestic occupation. She remembers Mrs. Wright as the young Minnie
Foster, and she feels sorry for Mrs. Wright. Mrs. Hale regrets not having come to visit Mrs.
Wright to alleviate her cheerless life. Mrs. Peters is a relative newcomer to the town who
never knew Mrs. Wright before John Wright married her; Mrs. Peters is "a slight, wiry
woman" with a "thin, nervous face." She is married to the sheriff and prefers to follow the
law, often apologizing for the behavior of the men because they are only doing their duty.
Mrs. Peters understands loneliness and the world of the female domestic. Both of them, Mrs.
Peters and Hale, are the most remarkable characters in play. They always pay attention to
trifles which are related to the murder. Their life style is partly same with Mrs. Wright. They
spend time in farm and have works of farmhouse. They are not happy and have personal
problems withhusband and farm. They always give comfort to their husbands. It shows that
women are the second class person in society. When we think about the position of women in
play we can see their attitudes are normal. To exemplify, they worry about cherry conserves,
only problem for them is whether cherry conserves spoil or not. (HakkiOzturk)
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Different answer were given by the students about the characters, female characters are
not believable that‟s because they conceal the truths about the crime, they must record what
they have lived and found in the kitchen. It is ambiguous whether women help Mrs. Wright to
meet her freedom or they help her to remain in prison. Another answer says that stealing the
box with the dead bird is an act of loyalty to their gender and an act of defiance against a
callous patriarchal society. Male characters have left the kitchen to the female characters,
while they have to search for the clues everywhere. Male characters are shown as
investigators but they were not able to find the truth. One different answer about the
characters is their being deceptive. An example is Mrs. Peters '' I had not visited the Wright '
house for over a year because of its bleak.‖ This shows that she is not regretful for her not
visiting Mrs. Wright. And by analyzing the emotional stat of Mrs. Wright the student
understands that the murderer is her. Another answer is that men and women had different
reasons for being there, Men clearly dominate almost every aspect of life and women are
often left with little importance, women did not have right. The only imputed characteristic to
women is to care of home and children, men are described as wiser and intellectual. Men in
the play do not ask the opinions of women; do not input them into the investigation. They see
themselves as intellectually superior about solving the murder mystery. Menpresent
themselves as tough, serious-minded detectives, when in truth they are not.
Some of the students talked about the characters one by one and described them in details.
Characters are Country Attorney, Sheriff, Mrs. Hale, Mrs. Peters, Mr. Wright, Minnie. Mr.
Wright is good person but he is difficult. Mrs. Hale is Minnie„s loyal neighbor. She is comfort
and mature woman. Mrs. Hale and Mrs. Peters are important characters because they find
some evidences. John Wright is a local farmer, he was commonly considered a good, dutiful
man, but he was also a hard man and neglected his wife's happiness. Minnie Wright is wife of
John Wright. Minnie Foster, she used to be a happy, lively girl who sang in the local choir,
but after she married John Wright, her life became unhappy. Henry Peters is middle-aged
local sheriff and husband of Mrs. Peters. Most of the answers were convincing and successful,
students tried to give their best answers and they were really good at giving their opinions
about each character and about the actions.
3.1.3.images and symbols:
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A question about the images and symbols that are used in the play is raised in class,
also asked to the same students; some examples of their answers are given below:
1. BIRD: Mrs. Wright equates herself with the bird in the cage. That is, she is like a bird
captured in the cage. She is like a prisoner in the cage who is waiting to meet her freedom.
JAM: As a woman, Mrs. Wright gives importance to the jams. The sudden explosion of the
jam glasses shows the limit of Mrs. Wright. Both the jam and the glass show the effect and
reaction problem. For me; the glass is Mr. Wright while the jam symbolizes Mrs. Wright.
With the overflowing of the jam from the glass, Mrs. Wright's reaction can be seen easily. The
jam took the shape of the glass. However, now, the murdering of the bird equates with the
overflowing of the jam.
THE CHAIR: The go-back chair shows the robotic sort of life. In addition to it, it shows the
depression of Mrs. Wright in the house.
PATCHWORK:The coming of different, small pieces together shows Mrs. Wright's creativity
and patience. The patchwork is the aim to make a whole with different pieces. In spite of Mrs.
Wright's place at home and the pressure of her husband, she finds a way to rely on. The
patchwork would have been either a tablecloth or an escaping map.
The cold weather, the dirty kitchen, the stale bread, the dirty towels show not only the
depressing atmosphere in the house, but also the life which is abnormal. In addition to it,
these also show the pressure in the house which is likened to a woman who is under the
pressure of her husband. In the house, there is not a happy lifestyle. It is the possible situation
of the house when there is no woman in the house. (NergizGecer)
2. When I thought about the images deeply, I discovered what it means. Bird and fire draw
attention during the play. I think the bird is freedom of Mrs. Wright and it reveals the murder.
Fire means passion of the wrights' marriage. When the fire was out, it meant their love was
also gone. (KezbanZeydan)
3. When I analyzed this play I saw that there are many images. For example the image of bird
in this play reminds usof Mrs. Wright‘s voice and her desire to sing. But her husband didn‘t
like the bird and thus he has strangled the bird. And moreover, it is symbol of Mrs. Wright‘s
63
freedom and happiness. Another image is 'stove'. It is maybe the border that is established by
the patriarchal society. When I analyze the image of ' kitchen' it is peculiar to women.
4. In the play, ―knot ―is an important symbol as it indicates women‘s bond. Also there is a link
between ―Jar of cherries‖ and Minnie‘s life. Image of the ―Jar of cherries ―symbolize the life
of Minnie. Glaspell shows how fragile they are and how fragile Minnie is. In the play names
of the characters are also important.‖Wright ―refers to social stereotype of women seeking
right. Names represent the roles of men and women in the society. And also in the play, Mrs.
Hale and Mrs. Peters take the name of their husband. We do not have any idea about their
names. Glaspell shows that in the society, women do not have their own identity, they are
wives of their husbands. Bird and birdcage are other important images in the play. In the
play, Minnie is described as a bird in a birdcage. Because her husband and marriage limit
her life. The bird is caged just as Minnie is trapped. Birdcage also represents the role of
women in society, the bird being women and the cage is the male dominated society.
(MeltemSedaDuman)
5. The images of coldness and fogginess are evident at the beginning of the play. Those two
images are served as the outcomes of the dead silence, a silent atmosphere where everything
seems uncanny and weird. The death of a person creates indistinctness as it brings the
question of afterlife and regrets. That thoughtful atmosphere is mostly depicted as cold and
mystic. The rocker, the bird cage are all symbols in accordance with the setting and the
images. The mystic and uncanny atmosphere supports the homicidal images which are
considered as stereotypes of homicidal literature. The stove image makes the audience feel
the coldness of the scene unconsciously, furthermore the image of bird cage functions
explicitly as the symbol of everlasting desire of a woman for her freedom. The image of dead
bird is an extreme sort of violent action. The singing bird was a symbol of free and happy
human soul which can freely travel and sing whenever it wants. However, the extreme violent
action which caused the death of the canary is a powerful image. An image which guides the
audience to see the facts behind that homicide. (Umit Kizil)
6. Images are so live and dynamic. Ruined fruit preserves, bread that has been left out its box,
unfinished quilt, a half messy table top, an empty bird cage, unwashed pans under the sink all
are the daily duties of her. She could not complete her routine works because of John
64
Wright‘s murder. All images describe the position of women in the life. Women spend their
time by cooking, cleaning, sewing, caring of the home and children. As Carter said, women
were decorative, useful in the home but that‘s all. For instance, the image of cage is so
functional. Because it symbolizes the statue of woman. Woman is at cage. As Sylvia Plath
said, women are at bell jar. But the death of John Wright, she became free. Her
responsibilities to him are gone. So images are so functional. (IlknurKanik)
7. We have certain images functioning effectively in the play. First, we have a messy kitchen
image. It is related to the women‘s issues. Together with this image, we have apron, sewing
box, quilt and shawl all of which symbolize ―trifles‖, namely unimportant things. However,
this is the perception of men. Throughout the play, the men focus on the room upstairs, and
they are interested in so-called important clues. On the other hand, the women of the play
stay in the kitchen and investigate the around. At the end of the play, the ones who get
through with the issue by paying attention to the unimportant details are the women
themselves. It is very ironic that women seem to be more intelligent than the men who think of
themselves as clever people. Such an ending breaks the stereotyped thinking on women‘s
intelligence. Then, the bird-cage image symbolizes Minnie‘s heart itself. It is a massage that
the woman is actually under the control of her husband. It is another clue for the murder.
Finally, the word ―knot‖ has a resemblance with the word ―not‖. It is a massage that Mrs.
Hale and Mrs. Peters will not give away the secret, and I think that the word ―quilt‖
resembles with the word ―guilty‖. In the light of the image ―bird-cage‖ and the word ―knot‖
and ―quilt‖, Glaspell wants to emphasize that John Wright‘ wife is not guilty because of
killing her husband. (Ashen Mutlu)
8. The most remarkable image is the kitchen and the staffs hidden in it. This image sets light to
the inner World of the women. All the images in the kitchen reserve the emotions and realities
of the human being. A woman who is fed up by living tries to hold on to the life by current
affair. The second remarkable image is the bird. Mrs. Wright did not have a child and she had
a bird as her child. It was dead. Women in the play see the realities by questioning this dead
bird. (MuzeyyenDemir)
9. The images of the play are also focusing on the same subjects, bird and cage image
symbolizes the loneliness of Mrs. Wright and the feeling that her home is a kind of cage for
her that (as we understand from the explanations of Mrs. hale) she cannot communicate her
65
husband in a proper way. In the private domestic sphere of the house Mrs. Wright is really
unhappy with her irrelevant and dull husband contrary to her former lively character. The
bird is the way of her out coming from loneliness with its friendship, but Mr. Wright takes it
from her hands and this is the last point for Mrs. Wright. She takes revenge of her friend or
bird in the same way. The role of women is emphasized through the dialogues which are set
on the works of kitchen and knitting throughout the play, hence these images proves gender
roles. (FatmaEroglu)
10. Mrs. Wright in due course bought a canary because she thought this bird would be her way of
escaping from reality or maybe fill the void of never having a child. The canary grew to be
very important to her and in a way symbolized her feelings and dreams. There was a
comparison made by Mrs. Hale saying that Mrs. Wright was in a way just like a canary.
When the bird would sing, it would remind Mrs. Wright from when she was in the church
choir. The bird was eventually became the one thing that kept her going in the world of
neglect and lack of appreciation. When Mr. Wright wrung her bird‘s neck, Mrs. Wright‘s
bottled up emotions from all those years of neglect exploded and she took revenge on her
husband for killing her one joy in life. Mrs. Wright avenged her canary by strangling Mr.
Wright‘s neck just the same way her precious bird was.(NebahatOzcan)
11. I think the house symbolizes a whole world taking place the strict norms and constraints on
women. How much strong the norms, the rules of society are used the cage image. With cage
image refers to these rules around Minnie. The canary is a kind of bird which has beautiful
song. In the play is told Mr. Wright strangling the bird. With this image, the thoughts of
women, such as hope and freedom, are strangled by her husband. Mrs. Hale and Mrs. Peters
represent the silence of society, I think. There is an untidy atmosphere, so there must be a
quiet noise happened there before. In spite of this noise, they stay in silence during acting.
The jar of cherries is another example of symbolism in the play. When the women are alone
in the kitchen, Mrs. Hale sees that there is one jar of cherries, it is not broken but it is still
good. The women can understand the female bonds. But although the men look at the same
direction as women look, they cannot see the details. (AhmetDurmus)
12. Images based on trifles, description of farmhouse and people who have jobs there. Every tiny
detail was narrated. For example; sewing style of Mrs. Wright or definition of kitchen which
66
tells a kind of story. Images also help readers to understand the play with its details.
(CuneytErtekin)
13. The man thinks that the node is a simple word but actually the node is a secret for them. It is a
symbol of node which is thrown the husband's neck. The other symbol is bird. Mrs. Wright
thinks that the bird is like her unborn child. Literally, voice of the bird is known as voice of
the soul. When the bird died, the soul also died. Mr. Wright does not like the people who sing
a song. Also Mrs. Wright was singing when she was young, as if the man killed his wife when
he killed the bird. (Pinar Cakir)
14. Images: Cage image refers to women who are limited to house. Cage symbolizes isolation of
women from outside world. We have sewed and preserve images in the play. These works are
trifles according to male character in the play. For example; in the play Hale says that ''
Well, women are used to worrying over trifles '' This is the only role of women in society.
These images are what accepted from women to do. We have also the bird image in the play.
In my opinion the bird image symbolizes Mrs. Wright's hope. For Mr. Wright the bird is very
dangerous. I think that the bird's song is a symbol of his wife‘s desire for freedom and
happiness. Therefore Mr. Wright strangled the bird. This image refers to the death of Mr.
Wright. (YakupCinar)
15. We havecage, bird. Sewing and preserve images in the play ‗‘ Trifles‘‘ by Susan Glaspell.‘‘
Cageimage is referring to the women who are limited to the kitchen. Bird is usually caged by
its owner, in the play women are like bird caged by their husband. It is like a prison for
women. Preserve and sewing images are related with women‘s private hell. These things are
what expected from women to do. The bird image is very dangerous for Mr. Wright. Because
bird‘s singing can move some feeling of his life. It causes some awareness in women. So as to
prevent his wife‘s desire to rescue her from this prison, he killed the bird.(EmrahAkkoyun)
16. There are several images in Trifles. These are bird image, fruit jam, sewing box, handwork.
Image of bird is important. Minnie is a lonely woman and the bird is like a friend of Minnie,
This bird is symbol of communication for Minnie. Moreover, the bird is like Minnie‘s child.
Mr. Wright kills bird and Minnie kills Mr. Wright. Bird is the identity of Minnie. Sewing box
can be grave of her freedom. Bird is like her child, so death of bird is the death of her child.
67
The bird in the sewing box is evidence, too. The other images are preserved fruit and
Minnie‘s handwork. Fruit jam and handworks are an image of loneliness and housewife.
Fruit jams fill emptiness in women‘s life. (SelvaCakir)
17. All images are hidden in the kitchen in my opinion. Because, they refers to the loneliness and
isolation of woman in this play. In addition that, fire and bird images are shown us. Bird
image represents freedom of woman and it reveals the murder. Fire image represent passion
of the marriage. (burcuturgut)
18. The first symbol that Susan Glaspell uses is the party telephone. Lewis Hale's reason for
visiting the Wright's home after John Wright's murder was to inquire about sharing the cost of
the telephone service. The idea that Wright was not enthusiastic about having a party
telephone for his wife to connect with other people makes me assume that Wright did not want
her to communicate with others. While all of these characters were in the kitchen, George
Henderson states that Mrs. Wright "wasn't much of a housekeeper," referring to the kitchen
that was left a mess .Mrs. Hale defends Mrs. Wright by telling the man that there is much
work to be done on a farm. Susan Glaspell uses a quilt as a symbol to further reinforce her
argument. Before the murder of her husband occurred, Mrs. Wright was making a quilt. Mrs.
Hale notices that the quilt was a log cabin pattern. The log cabin pattern is significant
because it suggests a notion of restriction and emptiness. There is no evidence that the cabin
is warm and comfortable, so the quilt personifies the restriction and negativity in their
marital relationship. Finally, the most significant symbol is the bird. While Mrs. Hale and
Mrs. Peters were downstairs without the men, they go through Mrs. Wright's sewing basket
and find a dead bird wrapped in silk. The women see that the bird had been strangled by a
rope around its neck. Mrs. Hale states that Mr. Wright would not want to have a bird in the
house because he disliked singing. Mrs. Wright, or Minnie as she was known then, was in the
choir in her younger years and others enjoyed her voice. Mrs. Hale went on to say that Mr.
Wright "killed his wife's singing". (HakkiOzturk)
Students had very detailed answers about the images used in the play. Most of them
mentioned the bird, which was an image for Mrs. Wright‟s freedom and happiness. She did
not have children so the bird was like a child for her, which shows her loneliness. The bird
was her out coming from loneliness. Others talked about the dead bird, it is an image of a
violent action, and this is a powerful guide to show the audience the truth behind the crime.
68
Another explanation was about the birdcage, which presents the role of women in society.
The bird is women and the cage is men dominating the women.
Other images given by students are the jams, the chair the fire and stove. Sewing box, quilt
and shawl, all of them are “Trifles”, namely unimportant things. Sewing box can be grave of
her freedom. The cold weather, the dirty kitchen, the stale bread, the dirty towels show not
only the depressing atmosphere in the house, but also the life which is abnormal. The stove
image makes the audience feel the coldness of the scene unconsciously.In the play names of
the characters are also important.”Wright “refers to women seeking right. Names represent
the roles of men and women in the society. And also in the play, Mrs. Hale and Mrs. Peters
take the name of their husband. Glaspell shows that in the society, women do not have their
own identity; they are wives of their husbands. All images describe the position of women in
life. Women spend their time by cooking, cleaning, sewing, caring for the home and children.
One distinct answer that was that a symbol that Susan Glaspell uses is the party telephone.
The idea that Wright was not enthusiastic about having a party telephone for his wife to
connect with other people shows that Wright did not want her to communicate with others.
As a result students‟ answers were mostly convincing and proved that they have a good
background about drama and its features.
3.2.Watching the film and using the Venn diagram:
Texts and film texts are both written. When watching a film carefully you can see and
hear the details, where as when reading a book you are able to imagine them, and create the
pictures in your mind.
While writing a book the author only has to imagine it and write it down, but when making
a movie the director, producer, and screenplay writer have to work together to create the
scenes, make the special effects, and of course to find the perfect actors/ actresses for each
major and minor role.
There is also a considerably more amount of money involved in making a film. You have
to make the scenes, hire the actor, pay the workers, directors, producers, buy the
69
advertisements that the films are made on, and last but not least they either have to make their
own story, or buy the rights from the original author of the story they decide to use.
(What
are
the
differences
between
a
book
and
a
movie?
March
2013http://wiki.answers.com/Q/What_are_the_differences_between_a_book_and_a_movie)
When it comes to watch the movie, watching it on video might be better than going to a
theater especially in classes it would be more useful to stop the film. By watching it, you can
stop the film for discussion and this is something you cannot do in a theater. If the film has an
undesirable content, you may also choose not to finish watching it.
If the play cannot be read before the movie is viewed, try watching the movie, and then read it
together. In this procedure while reading the book we may also discuss the content of the film
and the content of the play. A good question to ask is, “If you were the author of this play,
would you approve of the way the movie producers created this scene?” Or, “How would you
were the play writer and then saw this scene as the movie producers created it?”
A more academic activity is to read the play first, then watch the movie. While the movie is
playing, have the student complete a Venn diagram which compares the two (film and play).
A Venn diagram helps the student to focus on the comparison. If the student has seen the
movie first and then reads the book, have him or her complete the Venn diagram while
reading the play.
Venn diagram for comparing a book and movie
A similar idea, but in simpler format, is to have the student write five things that were in
the play but not in the movie, five things that were in the movie but not in the book, and five
things that were in both. After doing a comparison of the book and the movie, it is good to
have the student write down which of the two he or she prefer the movie or the play. Then the
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most important part asks for two reasons to support this decision. If you only ask for one
reason, it will usually be, “It was more exciting.” A second reason requires more thought in
the choice.
Many teachers agree that film should be used as an educational tool in the classroom. They
also agree that students respond better to the film as a visual text especially when teachers use
contemporary films from the popular culture. (Thomas Smith Geoffrey, June 2009, is film an
effective teaching tool for high school literature? p: 7)
3.3 Teaching Trifles and Riders to the Sea with the film productions:
3.3.1 Trifles, its film version and the Venn diagram:
After reading the play “Trifles” by Susan Glaspell with 50 students in the third class,
we watched the film version of the play. Then I asked them about both the text and the film
and they gave their opinions using the Venn diagram. Many ideas and answers were given by
the students. Most of them were nearly the same. They prefer watching the film after reading
the text, and they explained how effective this would be while teaching a play in class.
Watching the film of the play made it more permanent and easy to remember the details. In
order to understand the play reading the text and then watching its film version will help the
students to understand the play better. Students find the film very exciting and interesting.
They explained how they found each detail in the film they enjoyed and appreciated the
characters and their feelings were shown in the film. So watching the film was a supporter to
us. Film helps students to visualize the things better than the text itself.
When they talked about the differences and similarities of both the film and the text, both
are effective and somehow the same, both are emphasizing on the importance of women
which is the main topic of the play, we see men and women roles in that society. There are
very little changes in the film and that makes it easier to comprehend. In the text the writer
explains each detail; in the film the director shows the details in the scenes with the zooming
on images.
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Those students who contented themselves with reading the play only, did not like watching
the film, they prefer reading the play and imagining each detail in the text on their own, like
the setting, characters and their feeling. By this way there is also the fact that the students will
improve their imagination and their dream world. Also they prefer reading the text because
they find a chance for discussion and to make more comments.
After all and after the process of calculating the percentage of 50 students who preferred
the film and those who preferred only reading the play, ended up with the result that %75 of
them found the film helpful students agreeing positively, while of %25 them who didn‟t find
the film very helpful in understanding the play.
3.3.2 Riders to the sea, its film version and the Venn diagram:
After reading the text and watching the film with the 3rd class students, and applying the
Venn diagram on 50 of them. Again I got many different answers and ideas about the film and
the play. My aim here is to know whether the film was helpful at understanding the play or
not. From the answers I see that watching the film helped the students to understand the play,
most of the students liked the film and they say watching the film is very effective for
understanding the text. The film comes as musical for that reason we can see the characters‟
emotion and from their face expressions we can understand what they feel, the scenes at the
movie shows their life conditions in a striking way and how overwhelming it was. Another
point of view says that watching the film makes us not to forget about the events and the
whole story. It‟s being musical makes the events more effective. With the film the play
became more comprehensible. Finally their point of view is that both reading the text and
watching the film helped them to understand the play perfectly. Therefore, we must watch the
film after reading a text, because a film gives more detail and becomes memorable.
Those who did not like the film they find it boring and the reason is its being musical
which makes it difficult to understand the characters‟ speech. That‟s why learning with
watching a film cannot be helpful every time. So choosing the film here is very important. But
at the same time they say it is very successful to watch a movie after reading a play because
that will make the text easier to understand. Another point of view is that reading a text gives
a chance to ask what they didn‟t understand from the speech. Some of the students say that he
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prefers the text because he understands the writer‟s message in that play, whereas in the film
the director reflects his own point of view. This is totally a different idea.
After receiving the students‟ answers and their different ideas about the play and its film
version, I calculated the percentages of the students who preferred watching the film and the
students who preferred only reading the book. There were 50 students, %68.75 of them
preferred watching the film and liked the film version of the play, and they find it useful and
effective.
%31.25 did not like the film, and they preferred reading the text without watching the film as
I mentioned before they were satisfied only with the book.
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CHAPTER IV
CONCLUSION
Firstly, the study aimed to find out what is a one act play? How it is written and
performed? What are the techniques used in this kind of play? How to teach, read and analyze
a one act play? What are the methods used in teaching such plays? The essential factors that
are considered in selecting a one act play to teach? All these were discussed and explained in
detail in the previous chapters. Secondly the study also aimed to show a different way of
teaching this kind of plays, which is teaching one act plays with the film version of the same
play. And finding out how effective this was. This project was done with students of the
English department at Selcuk University. The study was carried out in the light of this main
question:
Does a film version or a play effect the teaching of one act plays? Do the students enjoy and
learn more effectively when this way of teaching a play is taught in class?
The answers of the questions above reached a result after having calculating the percentage
of the student‟s responses. And that was applied by using the Venn diagram with the students
in explaining their opinions about the text of the play and its film version. The result was in
both plays Trifles and Riders to the Sea, almost the same because watching the film version of
the plays recorded a result which was higher than the one that is only reading the text of the
play. In the play Trifles %75 of the answers preferred watching the film after reading the text.
And %25 of them didn‟t like the film version of the play, and preferred reading the text
without watching the film.
In Riders to the sea, I got almost the same result; %68.75 of the students who liked watching
the film and found it useful. Whereas, %31.25 of them did not approve watching the film. The
reason here was that the film version was a musical. Those who didn‟t like the film stated that
if the film was not a musical that would be better and helpful, and choosing the right film is
important in teaching a play with this method. So one can conclude that here if the film was
not a musical one would get a much better result than this one. Here we estimate that the film
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version and the quality of it are very important in teaching a play. We should take into
consideration that the selection of the film is an important point which may affect the
teacher‟s teaching method and also the understanding of the students during the teaching
procedure. Finally %72.22 out of 100 students agreed to watch the film. And %27.7 of the
students did not. What we get here is that this method was really helpful and successful for
teaching a one act play and can be followed in the classes. Any teacher can select a play and
search for its film version and apply this method with his/her students in the class. It can be
used in schools and colleges for different age groups. There is no limitation in teams work.
Students of today are „digital natives‟, as shown in the research by Fetheringill (2000),
Sommer (2001) and Hurell (2001), and they prefer to learn through digital and visual media
rather than through traditional print tools.
The point which we have to focus on and carefully consider is selecting the right one act
play and then to choose a good version of its film. Teachers must be aware of the type of play
they choose and prepare their students to watch and discuss on the film version of that play.
Before starting to teach the play all what is related to that play should be well prepared.
Reading the text well and analyzing the play in detail must require imaginative and creative
discussion in class. This would improve their self-confidence in literary criticism it would be
very helpful. The teacher should be prepared for the questions that will be raised by the
students.
In our study time, time was one of the biggest limitations in applying this process. Students
had very little time to read the text and then watch the film when writing their answers. If
there had been no limitation of time it could be much more effective and there would be more
activities applied and done with the students. Finally, I have got a good result in following
and applying this method and I understood how useful and helpful it is to make the students
watch a film after reading a text of a one act play. The conclusion is that the technique of
using film as a teaching tool works and students enjoy and prosper from it. But it needs more
planning, practice and control with examinations. Therefore, teacher‟s part to really make it
work at its best one has to be prepared beforehand as the text itself allows.
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APPENDICES
Appendix 1 Venn diagram of the play Trifles by Susan GLASPELL, a work with the fourth
class students.
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Appendix 2 Venn diagram of the Play Riders to the sea by Synge, a work with the third class
students.
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