Hector and Irwin. Consider: First meeting Ages/time in profession Sexuality Attitude to education Attitude to truth Attitude to Literature Impact on each other Impact on boys Their shared lesson together Symbolism of crash How opposition generates comedy: specific moments.
Ages/time in profession
Attitude to education
Attitude to truth
Attitude to Literature
Impact on each other
Impact on boys
Their shared lesson together
Symbolism of crash
How opposition generates comedy: specific moments
Setting of play in all boys’ school. In 1980s.
Dominant opposition of two main male characters
MrsLintott: is she Bennett’s compromise ‘answer’?
Sex as war: sexist humour?
Women as objects: prostitutes, “totty”. Sexual exploitation: by Hector, by Head?
Women ignored: Head’s wife, Rudge “Fridays”
Women as quietly successful: Lintott produces results
Absence of women means men shown for what they are?
Is role ‘tokenistic’? Males in control? Literary quotations mostly male?
Use French scene: explore how the humour is generated and the serious ideas being explored:
Metaphor humour: “reconnoitered the ground”
Laddish humour: “the big push”.
Scripps “No. Go on.” Humorous contradiction.
Euphemism, preceded by dramatic effect ellipsis: “….the actual place”
Scripps crude outburst: “Shit.”
Formal language of military conflict deflated with crudity “particularly her tits”, after another ellipsis.
Humorous revelation about Felix
Posner’s corrective analysis still humorously continues military metaphor.
Posner’s infatuation and singing of ‘female’ song “Bewitched”
Head’s character: hypocrisy. Will be used at end by Dakin.
Dakin’s character: smart, sexual (predatory to Fiona and Irwin?), cocky (!)
Posner’s torment: sexual, intellectual: he is torn apart by conflict between Hector/Irwin after being dispassionate about Holocaust.
Women as objects.
Play full of lexis of war: seriousness and silliness put side by side.