Stage 2 English Communications
Text Analysis – Drama
Are the characters in The Female of the Species stereotypes? Which
ones? Why?
The characters in The Female of the Species are exaggerated portrayals of various groups in
society. The stereotyped characters, Margot Mason, Tess and Brian are depictions of the
differences between sexes and generations. Margot, the intellectual feminist luminary, Tess an
'exhausted' mother of two and Brian the professional, ‘Sensitive New-Age Guy’ are typecast
through the use of dramatic techniques such as language, costume, behaviour and props. Director,
Catherine Fitzgerald, has stereotyped these characters as a comedic device and to draw empathy
from the audience.
Brought to life by Amanda Muggleton, Margot Mason is based on iconoclast, Germaine Greer. The
Communication
Demonstrates
fluent and precise
writing with an
extensive
vocabulary (e.g.
intellectual
feminist luminary)
in a formal style
and structure. The
essay includes a
logical introduction
that clearly
outlines the
orientation of the
analysis,
introduces the
characters from
the play and
acknowledges the
role of the director.
behaviour of Margot throughout the play mirrors that of a Baby Boomer feminist with an inflated
ego. In Margot's opening monologue, she removes her bra, displaying her views on women's
liberation. She is in the process of purchasing expensive decorator items, a trait consistent with the
Baby Boomer.
"The independent, self-focused mid-life baby boomer will spend money, cash or
credit, on luxuries”.1
This is also indicated in the set with the fact that Margot's 'Country Home' is furnished with
sophisticated decor. Margot is an archetypal intellectual. Her dialogue is littered with verbose
language and numerous 'play on words', which the average person would not comprehend.
Analysis
Demonstrates
perceptive
analysis of a range
of ways in which
the playwright and
director have used
the language in
the play (e.g. the
monologue and
dialogue) and the
visual elements
(e.g. set) to
influence the
audience reaction.
"I suppose you say `Co-et-see'. It's Coetsee, darling. Like what you do when you meet the
Queen. "
Margot also proceeds to belittle the life of her daughter, Tess, believing that the family-oriented
values held by her are incomparable to intellect stating "...she was a traitor to potential".
Margot defines her daughter as a 'loser' who gave up her life for motherhood and a husband.
Margot's character also reflects the likes of Greer through her ego and celebrity status. In an
interview with Andrew Denton, Greer stated
"There aren't very many people on earth who are as educated as I am."2
1The Strategic Edge, 1996, Baby Boomers Grow Up, viewed May 7th 2008,
<http://www.thestrategicedge.com/Articles/babyboom.htm>
2
ABC, 2003, Enough Rope with Andrew Denton: Germaine Greer, viewed May 7th 2008,
<http://www.abc.net.au/tv/enoughrope/transcripts/s946782.1rtm>
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Stage 2 English Communications annotated student response for use from 2011
533573677 (October 2010)
© SACE Board of South Australia 2010
This egotistical characteristic is shared by Margot who prides herself on her celebrity status,
"Me courting celebrity? Darling, celebrity courts me."
Props on the set also elaborate on this; photos of Margot with celebrities such as Oprah Winfrey,
Bill Clinton and the Pope line her book shelves.
Tess Haughton, played by Michella Cantwell portrays a Generation X, stay-at-home mother who
has devoted her life to her family. However, motherhood has consumed Tess and she is on the
verge of mental-breakdown yet, it later becomes evident that she is also seeking personal identity
and self-fulfillment. Tess is a perfect stereotype – she is an exaggerated image of the characteristics
of some mothers in society. With her hair messy and wearing pyjamas and Ugg boots the entirety
of the play, Tess' costume suggests today's modem mother is so busy taking care of her family that
she neglects herself. Her character is a stereotypical representation as she cannot deal with the
pressures and expectations of a modern mother. Cantwell's physical acting technique also
exaggerates Tess' plight; flopping into a bean bag, crawling and moping around the stage displays
Tess' exhaustion and desperation. The delivery of lines in a high-pitched, whiney voice and often
yelling "I'm exhausted!" was a clear indication of Tess' feelings. However, it is not simply caring
Knowledge and
Understanding
Demonstrates
detailed and
comprehensive
knowledge and
understanding of
the ways dramatic
performances are
shaped by
costumes, acting
techniques and
the delivery of
lines.
for her children that exhausted her,
"Last night I made 74 shabby chic tissue box holders out of Cornflakes cartons and
electrical wiring, does that sound like airy fairy to you?"
This quote reflects how Tess' actions become a testament to the lack of affection shown by Margot.
Generation X women, such as Tess,
"...seek time to raise their children and don't want to miss a minute – as their parents did.”4
Yet Tess borders on martyrdom in that she overcompensates in every area that her mother neglected.
In this instance, Cantwell's character is stereotyped to allow empathy from the audience.
Brian played by Peter Michell is a SNAG (sensitive new age guy), trying to be `emotionally
supportive'. However, his attempts to be in touch with his feelings result in distancing him from his
wife:
"But some of us aren't afraid of feelings, Margot. We're not afraid of five little letters that
make a positive difference. If that makes us sentimental or corny, well that's okay."
3
Enfield, L. 2003, Urban Housewife, viewed May 9th 2008, <http://archive.theargus.co.uk/2003/7/1
/1 3 13 03.1itml>
4.
Human Resources, 2008, Generation X, viewed May 7th 2008,
<http://humanresources.about.com/od/glossaryg/g/gen x.htm
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Stage 2 English Communications annotated student response for use from 2011
533573677 (October 2010)
© SACE Board of South Australia 2010
Brian is a stereotypical male in that he assumes the role of primary breadwinner in the family,
however due to his effeminacy he lacks power in his relationship with his wife. This lack of
masculinity is highlighted visually when Brian, enters the set wearing an explicit apron displaying
the male genitalia. A contrast is clearly made through the use of humour .Brian has assumed the
traditional role of a woman by wearing an apron and 'cooking'.
"I've got some soup. We all need a nice bowl of soup and things will look much better.
Sometimes I think there's nothing better than a nourishing bowl of soup."
Other characters mention throughout the play how successful Brian's career is, however he lacks
common sense. Often Brian has the right intentions, yet he is be ridiculed, particularly by Margot.
Application
Demonstrates
detailed and
appropriate use of
evidence from
texts to support
answers including
reference to the
visual impacts of
the costuming and
direct quotes from
the script.
"Oh, there are a couple of things going on up here", Margot interjects "Yes, but only a couple".
Brian's costume identifies him visually as a business professional. Immediately the audience can
surmise Brian works long hours and is not the primary caregiver in the family. This in turn has
created conflict between Brian and Tess. The character of Brian has been stereotyped and
exaggerated, like Margot and Tess, as a comic device. Brian's effeminate ways and inability to
articulate are humorous. These qualities allow the audience to laugh at themselves.
Margot, Tess and Brian appeal to the audience through empathy and comedic devices. Margot
states "... these are the very people society has depended on to ask the questions that make us test
the structure of our life." Thus the depiction of stereotypes distinguishes differing ideologies and
generations. Overcompensation, martyrdom and paradoxical thinking, effectively highlight the
stereotypes seen in today's society.
Word count: 972
Additional comments
This is an ‘A’ example.

The analytical essay demonstrates the appropriate use of sophisticated language to convey
complex meaning about stereotypes and dramatic conventions.

Demonstrates knowledge and understanding of the ways the director and audience use language
techniques and strategies to make meaning of the stereotyped characters in the live performance.
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Stage 2 English Communications annotated student response for use from 2011
533573677 (October 2010)
© SACE Board of South Australia 2010
Performance Standards for Stage 2 English Communications
A
Knowledge and
Understanding
Analysis
Application
Communication
Detailed and comprehensive
knowledge and understanding of
the ways in which a wide variety of
texts are shaped by the
conventions of a particular form of
expression or communication.
Perceptive analysis of a range of
ways in which authors use the
conventions of different text types
to influence opinions and
decisions in familiar and
unfamiliar contexts.
Use of a wide range of language
skills and techniques to create
sophisticated and coherent texts
that address the meaning and
intention of the task.
Fluent and precise writing and
speaking, using appropriate style
and structure for a range of mainly
unfamiliar audiences and contexts.
Knowledge and understanding of
the ways in which creators and
readers of familiar and unfamiliar
texts use a range of language
techniques and strategies to make
meaning.
Analysis of complex connections
between personal ideas,
experiences, values, and beliefs,
and those explored in familiar and
unfamiliar texts.
Detailed knowledge and
understanding of the ideas and
themes in familiar and unfamiliar
texts.
Comprehensive and analytical
understanding of the ideas,
experiences, values, and beliefs
explored in a range of familiar and
unfamiliar texts.
Knowledge and understanding of a
wide range of ways of defining and
attracting a target audience for
familiar and unfamiliar texts and
examples of communication.
B
Knowledge and understanding of
the ways in which a range of texts
are shaped by the conventions of a
particular form of expression or
communication.
Knowledge and understanding of
the ways in which creators and
readers of mainly familiar texts use
some language techniques and
strategies to make meaning.
Knowledge and understanding of
some ideas and themes in familiar,
and some unfamiliar, texts.
Knowledge and understanding of a
range of ways of defining and
attracting a target audience for
mainly familiar texts and examples
of communication.
C
Analysis of a range of ways in
which authors use the
conventions of different text types
to influence opinions and
decisions in familiar, and some
unfamiliar, contexts.
Analysis of some complex and
simple connections between
personal ideas, experiences,
values, and beliefs, and those
explored in familiar, and some
unfamiliar, texts.
Analytical understanding of the
ideas, experiences, values, and
beliefs explored in a range of
familiar, and some unfamiliar,
texts.
Knowledge and understanding of
some of the ways in which texts
are shaped by the conventions of a
particular form of expression or
communication.
Descriptive analysis of a number
of ways in which authors use the
conventions of different text types
to influence opinions and
decisions in familiar texts.
Knowledge and understanding of a
number of ways in which creators
and readers of a narrow range of
familiar texts use some language
techniques and strategies to make
meaning.
Analysis of simple connections
between personal ideas,
experiences, values, or beliefs,
and those explored in familiar
texts.
Recounts of some of the ideas and
themes in familiar texts.
Knowledge and understanding of a
restricted range of ways of defining
and attracting a target audience for
familiar texts and examples of
communication.
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Analytical understanding of some
ideas, experiences, values, and
beliefs explored in a range of
mainly familiar texts.
Detailed and appropriate use of
evidence from texts to support
responses, with textual
references incorporated fluently.
Appropriate use of language to
convey mostly complex meaning in
a range of unfamiliar contexts.
Skills in using the structural,
conventional, and textual features
of text types for a range of
familiar and unfamiliar contexts,
audiences, and purposes.
Versatile and creative production
of texts for a variety of familiar
and unfamiliar contexts,
audiences, and purposes.
Use of a range of language skills
and techniques to create clear
and coherent texts that address
the meaning and intention of the
task.
Mostly fluent and precise writing
and speaking, using appropriate
style and structure for a range of
mostly familiar audiences and
contexts.
Use of evidence from texts to
support responses, with textual
references incorporated.
Appropriate use of language to
convey complex and simple
meaning in a range of familiar and
unfamiliar contexts.
Skills in using some of the
structural, conventional, and
textual features of text types for a
range of mainly familiar, and
some unfamiliar, contexts,
audiences, and purposes.
Production of texts for a variety of
mainly familiar, and some
unfamiliar, contexts, audiences,
and purposes.
Use of language skills and
techniques to create texts that
address the meaning and
intention of the task.
Generally fluent and functional
writing and speaking, using
appropriate style and structure for
familiar audiences and contexts.
Competent use of evidence from
texts to support responses, with
some use of textual references.
Appropriate use of language to
convey simple meaning in a narrow
range of familiar and unfamiliar
contexts.
Skills in using some of the
structural, conventional, and
textual features of some text
types for familiar contexts,
audiences, and purposes.
Production of texts for familiar
contexts, audiences, and
purposes.
Stage 2 English Communications annotated student response for use from 2011
533573677 (October 2010)
© SACE Board of South Australia 2010
D
Knowledge and
Understanding
Analysis
Application
Communication
Knowledge and understanding of a
limited number of ways in which
texts are shaped by the
conventions of a particular form of
expression or communication.
Reference to some ways in which
authors use a range of the
conventions of different text types
to influence opinions and
decisions in familiar texts.
Use of language skills and
techniques to create texts that
partly address the meaning and
intention of the task.
Knowledge and understanding of
some of the ways in which creators
and readers of a narrow range of
familiar texts use language
techniques and strategies to make
simple or factual meaning.
Reference to simple connections
between uncomplicated personal
ideas, experiences, values, or
beliefs, and those explored in
familiar texts.
Achievement of a level of fluency in
writing and speaking in personally
relevant situations, using
appropriate style and structure for a
narrow range of familiar audiences
and contexts.
Identification of some of the ideas
and themes in some familiar texts.
Analytical understanding of the
ideas, experiences, values, or
beliefs explored in a familiar text.
Knowledge and understanding of a
way of defining and attracting a
target audience for a familiar text
or example of communication.
E
Knowledge and understanding of a
way in which a text is shaped by
the conventions of a particular form
of expression or communication.
Knowledge and understanding of
the way in which a creator or
reader of a highly familiar text uses
a language technique or strategy to
make factual meaning.
Identification of an idea or a theme
in a familiar text.
Emerging development of
knowledge and understanding of a
way of defining and attracting a
target audience for a highly familiar
text or example of communication.
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Some use of evidence from texts
to support responses, with
restricted use of textual
references.
Skills in using some of the
structural, conventional, or textual
features of a text type for a
familiar context, audience, or
purpose.
Occasionally appropriate use of
language to convey simple
meaning in familiar contexts.
Production of a limited number of
texts for highly familiar contexts,
audiences, and purposes.
Reference to the way in which an
author uses the conventions of
different text types to influence
opinions and decisions in a highly
familiar text.
Attempted use of a restricted
range of language skills and/or
techniques to create a text or
texts that attempt to address the
meaning or intention of the task.
Recognition of a simple
connection between a
straightforward personal idea,
experience, value, or belief, and
that explored in a highly familiar
text.
Restricted use of evidence from
texts to support a simple
response, with textual reference.
Development of understanding of
the ideas, experiences, values, or
beliefs explored in a highly
familiar text.
Skills in using the structural,
conventional, or textual features
of a text type for a highly familiar
context, audience, or purpose.
Emerging development of fluency
in writing and speaking in
personally relevant situations, using
appropriate style and structure for a
narrow range of highly familiar
audiences and contexts.
Occasionally appropriate use of
language to convey literal meaning
in highly familiar contexts.
Production of a text for a highly
familiar context, audience, and
purpose.
Stage 2 English Communications annotated student response for use from 2011
533573677 (October 2010)
© SACE Board of South Australia 2010