• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

The language in look back in anger

Extracts from this document...


Language The language in look back in anger is different compared to its contemporaries. The language is realistic; the characters are able to say what they would say in that situation in real life. In a way the writer John Orsborne had no limits because if something had to be real it needed everything to be realistic. Orsborne uses his characters as a mouth piece to examine the reality of life in the 1950s in Britain. Cliff has a Welch accent which is shown when he says like "boyo" and "dullin". At the start of the play there seem to be a lot of exposition from the characters to describe themselves or tell us about the situation. For example " James Porter, aged twenty five, was bound over last week after pleading guilty to interfering with a small cabbage and two tins of beans on his way home from the Builders Arms." This tells us Jimmy's age and that he likes going to the pub, and shows that Cliff seems to have a sense of humour. ...read more.


this is ironic because as he gets the message from the call that Hugh's mother has had a stroke. Jimmy at some extent is a product of what has happened to him during his life. The play involves a lot of emotion. Jimmy chief motivating emotion is anger through out the play until the end when he embraces Alison, this is no doubt it is the characters most vulnerable point in the whole play. The pauses are very important in the play because they make the moments of tension more effective, and shows us the emotion of most of the characters. For example when Alison tells cliff she's pregnant. Alison: you see- (hesitates) I'm pregnant. Cliff: (after a few moments) I will need some scissors. Alison: They re over there. Cliff: (crossing to the dressing table) that's something, isn't it? When did you find out? At this point it shoes that Cliff is troubled about this, that's why he asks for the scissors just to hide his feelings for her. ...read more.


Alison: Get out! Jimmy: (her head shaking helplessly) clear out of my sight. This s the first time that Alison is actually showing that she is angry with jimmy. Even though the fight that caused the accident was between him and Cliff. The monologue that I worked on in class was from act 2 scene 1 when Alison is about to go to church with Helena and jimmy is not in favour of her decision. In this monologue I had to think of the emotions which where associated with jimmy at the time, and I had to picture they way he would talk and act to these emotions. At the start of the monologue he is motivated and wants every one to see how he feels and as he goes on he loses his inspiration because he knows that no one is paying any attention to him. The emotion and realism in the language makes the play very realistic because it helps the audience understand the situation the characters are in and helps the audience make a good mental judgement of the characters. Kondwani Katenga-Kaunda ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Brian Friel section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Brian Friel essays

  1. Free essay

    Tensions in act1

    'And what's Yolland's function? What's 'incorrect' about the place names we have here?' 'Nothing at all. They're just going to be standardised.' 'You mean changed into English?' 'Where there's ambiguity, they'll be anglicised' This is also significant and may be the most important part of the act 1.

  2. The significance of language in any dramatic production, or indeed any piece of ...

    when commanded by Pozzo to "think", (Beckett, p41), and nonsensical dialogues of the type in which Estragon and Vladimir engage throughout the play, indicate what Esslin refers to as "the open abandonment of rational devices and discursive thought", (Esslin, p24).

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work