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

Consider the representation of 'underdogs' in Silence by Moira Buffini, Kosher Harry by Nick Grosso and Scaramouche Jones by Justin Butcher.

Extracts from this document...


Danielle Abulhawa Dra -1003 Consider the representation of 'underdogs' in Silence by Moira Buffini, Kosher Harry by Nick Grosso and Scaramouche Jones by Justin Butcher If you were to look up the word 'underdog' in the dictionary you would probably be met with such definitions as this, which is taken from the Cambridge dictionary "A person or group of people who have less power, money, etc. than the rest of society, or (in a competition) the person or team considered to be the weakest and the least likely to win." I feel that the 'underdog' within a text can be a single character or an entire faction of people. It is certainly very interesting to see how the three playwrights have chosen to represent these characters. We usually feel a great deal of empathy towards the 'underdog' whenever they are present. Viewing the differences and similarities in the ways the three playwrights have represented the underdog character, it is easier to distinguish their more illicit meanings within the plays. I will be examining these representations and trying to seek out any of the themes which are linked completely with these characters, hopefully I can understand further how each method of representation can influence an audience's understanding and which method works best in conveying an opinion. ...read more.


The cabbie, the waitress, the man, and the old lady are all so contemptuous of certain other people whom they make reference too; we see them as ignorant and dismal. The only characters we might feel some sympathy or even empathy for are the off-stage characters, those that are the subject of most of the conversation throughout the play. The waitress talks about another waitress who used to work at kosher Harry's, she says "well I called her gladiola I mean her real name was bratislavan or something I mean I couldn't say it I can hardly say brata bleeding slava" she also labels the new, foreign waitress with this same comical name. Then we see the cabbie making comments about "these Jews" and then talking about his son who "shares a class with a fucking paki". It could be viewed that these speaking characters themselves are the underdogs, they lead very mundane lives and have little more to talk about than a few highly racist, sexist or just generally non- p.c. ramblings, on the other hand you could say that characters like 'Gladiola' and 'Poppadom' who are merely spoken about within the text, are the real underdogs of the play. ...read more.


It is especially difficult to determine the representation of underdogs because the term can be ambiguous, particularly in Kosher Harry, Scaramouche Jones and Silence. All three playwrights aim to give voice to an oppressed party, in very different ways. What I have realised is that by making a character appear as an underdog in the eyes and ears of the receiver does create empathy for them instantly and this is a very effective way to create sympathy for a particular cause, theme or political belief.. In Kosher Harry, Nick Grosso seems to almost challenge our role as a receiver by forcing us to think more carefully about who is most unfortunate. In Scaramouche Jones, Justin Butcher seems to create a distancing affect for the receiver forcing us to think about the themes of the play not merely sympathise with a character. Whilst in Silence, Moira Buffini aims to emotionally attach the receiver to a character whom we can relate to personally. If we consider that the role of the underdog within all three plays is to convey some other theme, then whichever style of representation a playwright may choose, in order to convey an idea or belief, the successfulness of this transference is in fact dependant on those who are receiving it. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Reviews of Personal Performances 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 GCSE Reviews of Personal Performances essays

  1. Drama portfolio - Oppression.

    Other groups demonstrated things such as terrorism. This exercise helped me realise and respond, and empathise with what oppression can drive people to. One of the final pieces we did, was that of looking at Prose extracts about Emmeline Pankhurst, a suffragette who died in protest for the women's vote.

  2. Critically evaluate the practical use of Person-Centred Counselling and its limitations as suggested by ...

    However, there is less stress on empathy than in Rogers model. The ability to enter into the client's world, which is sometimes referred to as 'being within the clients frame of reference', is a fundamental prerequisite of the person-centred model.

  1. Communication within the health and social services.

    These barriers could be; PHYSICAL BARRIERS: (special needs). Stammers and speech defects: if the person suffers from a speech defect or stammer, I will need to be patient with the person and try not to finish their sentences for them, as this would be seen as intimidating.

  2. Response - Scaramouche Jones

    When we got our feedback for our objects we realised that we could have chose much less literal objects, which would have enabled us to be more creative and use our bodies in a much more diverse way. For example one group formed a flame with their bodies which was extremely effective.

  1. Developement - Scaramouche Jones

    as he works well with paragraphs of speech rather than short lines, and can interpret a long set of lines much better. I took the part of Scaramouche's mother, Alex took the part of Yazu the Snake Charmer and we all made up for other small parts.

  2. We had to create a tableaux image of the four strong words in the ...

    In the third image, I stood as part of the 'peace' circle, we all held hands and smiled to show there were no conflicts between us and we were all friends. For the last image, war, I had a very angry but satisfied look on my face as I stood over the body I had killed.

  1. The Dramatic aim of my play was to inform people and make them aware ...

    We then used some of our own ideas, building them into our own new and original piece. Our character decision was simple. We needed a woman who, at first, is quite brave and like any other person but then begin to get very weak and small.

  2. Ovid's Metamorphoses: Pygmalion - Why did Pygmalion choose to portray his perfect woman.

    ornat quoque vestibus artus, dat digitis gemmas, dat longa monilia collo; aure leves bacae, redimicula pectore pendent; cuncta decent. nec nuda minus formosa videtur. We are told before the story that Pygmalion is the king of Cyprus and so I think that he could do almost anything weird and not be banned.

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